Length1h 48m
About this audiobook
Leonardo's early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo's teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.
Audiobook details
GenreOther
Length1 hr 48 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateJul 1, 2011
LanguageEnglish
Table of contents
1Leonardo da Vinci
2© Confidential Concepts, worldwide, USA
3Biography
4studio until 1477.
5bank of the Arno in the town of Vinci
Show all chaptersShow less
6Giovanni Amadori. For her part, Catarina
7As an artist, from his very first works, he
8Lily
91472 Oil on wood, 98 x 217 cm Galleria degli Ufizzi, Florence
101473 Pen and ink, 19 x 28.5 cm Galleria degli Ufizzi, Florence
11sculptor, an architect, an engineer and a
12At
131478 Oil on canvas, 49.5 x 33 cm Hermitage Museum, Saint Petersburg
14curious about all the sciences and intent on
15Milan the most important city in Italy and
16the
17But these roles of director and decorator
18long hall.
19c.1475-1480 Silverpoint, 28.7 x 21.1 cm British Museum, London
20architect and a theoretician of architecture.
21causes, and their remedies: “First, treat the
22Saint Jerome Praying in the Wilderness
23tryside a healthy and fertile place.
241483-1490 Oil on panel, 54.8 x 40.3 cm Czartoryski Museum, Krakow
25its nature, its currents, and its laws of
26fully profit from it.
271485-1490 Ms B. fol.17v Institut de France, Paris
28constant effort of his soul in the service of
29an occasion for research and discovery.
30In his letter to Ludovico il Moro, which
311489 Pen and ink, 19 x 13.3 cm Royal Library, Windsor Castle
32ACHA:LE:VI: - an abbreviation of Academia
33Various Studies
34A Study of a Woman’s Hands
35intensity of his youth in Florence.
361490 Pen and ink, 34.4 x 24.5 cm Galleria dell’Accademia, Venice
37preparations for an entertainment at the castle
38itself to him from an observation he alone
39himself to works of lesser importance; but he
40Did
41this
42artist as a humiliated man who
43A Rocky Ravine
44and, although sad, at peace with himself.
45In 1501 Leonardo appeared in Florence.
46stranger there. During the sixteen years that
47political and religious reform on his funeral
48c.1495 Pastel and charcoal, 40 x 32 cm Pinacoteca di Brera, Milan
49Saint Anne, the Virgin with the Child and Child John the Baptist
50Bembo, Bandello, Arioste, and Tasse all
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