Length9h 1m
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
Length9 hrs 1 min
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateDec 28, 2023
LanguageEnglish
Table of contents
1Leonardo Leonardo da Vinci da Vinci
2permission of the copyright holder, throughout the world. Unless
3PREFACE
4LEONARDO’S CHILDHOOD AND HIS FIRST WORKS
5and after Donatello – of the monumental treatment of the horse.
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6outburst of genius.
7Alte Pinakothek, Munich.
8The names of certain men of genius, Archimedes, Christopher
9LEONARDO’S CHILDHOOD AND HIS FIRST WORKS
10Galleria degli Uffizi, Florence.
11Leonardo.
12LEONARDO’S CHILDHOOD AND HIS FIRST WORKS
13Ottavio de’ Medici.
14Galleria degli Uffizi, Florence.
15Leonardo.
16Todi.
17exigencies of science.
18their initiator.
19LEONARDO’S CHILDHOOD AND HIS FIRST WORKS
20accept the youth as his pupil.
21Casa Buonarroti, Florence.
22Colleone, his unfinished masterpiece.
23though Verrocchio perhaps rather overshot the mark.
24LEONARDO’S CHILDHOOD AND HIS FIRST WORKS
251496; then, after 1500, once more in Florence, where
26A tender friendship united Lorenzo and his master, whom he
27Pen and ink. Bibliothèque de
28LEONARDO’S CHILDHOOD AND HIS FIRST WORKS
29As to Zoroastro di Peretola, the pupil, and not the fellow-
30and honour thereby.”
31Musée du Louvre, Paris.
32LEONARDO’S CHILDHOOD AND HIS FIRST WORKS
33David (1476), but less harsh, more rounded, the mouth less
34Biblioteca Reale, Turin.
35LEONARDO’S CHILDHOOD AND HIS FIRST WORKS
36Duke of Milan.”
37LEONARDO’S CHILDHOOD AND HIS FIRST WORKS
38Oil on wood panel, 98 x 217 cm.
39Palermo.
40ideal beauty.
41Pen and ink, 7.8 x 9.2 cm.
42for various reasons.
43LEONARDO’S CHILDHOOD AND HIS FIRST WORKS
44fifteenth century.
45Royal Library, Windsor Castle.
46the hand of the master – “quod est demonstrandum.”
47stiffness in their clumsy necks.
48dates from a much later period in the artist’s life.
49In his first efforts as a sculptor, the biographer tells
50An admirable terracotta in South Kensington
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