It is a miracle that any one man should have observed, read, and written down so much in a single lifetime."--Kenneth Clark Painter, sculptor, musician, scientist, architect, engineer, inventor . . . perhaps no other figure so fully embodies the Western Ideal of "Renaissance man" as Leonardo da Vinci. Leonardo was not content, however, to master an artistic technique or record the mechanics of a device; he was driven by an insatiable curiosity to understand why. His writings, interests, and musings are uniformly characterized by an incisive, probing, questioning mind. It was with this piercing intellectual scrutiny and detailed scientific thoroughness that Leonardo undertook the study of the human body. This exceptional volume reproduces more than 1,200 of Leonardo's anatomical drawings on 215 clearly printed black-and-white plates. The drawings have been arranged in chronological sequence to display Leonardo's development and growth as an anatomist. Leonardo's text, which accompanies the drawings--sometimes explanatory, sometimes autobiographical and anecdotal--has been translated into English by the distinguished medical professors Drs. O'Malley and Saunders. In their fascinating biographical introduction, the authors evaluate Leonardo's position in the historical development of anatomy and anatomical illustration. Each plate is accompanied by explanatory notes and an evaluation of the individual plate and an indication of its relationship to the work as a whole. While notable for their extraordinary beauty and precision, Leonardo's anatomical drawings were also far in advance of all contemporary work and scientifically the equal of anything that appeared well into the seventeenth century. Unlike most of his predecessors and contemporaries, Leonardo took nothing on trust and had faith only in his own observations and experiments. In anatomy, as in his other investigations, Leonardo's great distinction is the truly scientific nature of his methods. Herein then are over 1,200 of Leonardo's anatomical illustrations organized into eight major areas of study: Osteological System, Myological System, Comparative Anatomy, Nervous System, Respiratory System, Alimentary System, Genito-Urinary System, and Embryology. Artists, illustrators, physicians, students, teachers, scientists, and appreciators of Leonardo's extraordinary genius will find in these 1,200 drawings the perfect union of art and science. Carefully detailed and accurate in their data, beautiful and vibrant in their technique, they remain today--nearly five centuries later--the finest anatomical drawings ever made. Dover (1983) unabridged and unaltered republication of "Leonardo da Vinci on the Human Body: The Anatomical, Physiological, and Embryological Drawings of Leonardo da Vinci, " originally published by Henry Schuman, New York, 1952.
Volume 1 of 2-volume set. Total of 1,566 extracts includes writings on painting, sculpture, architecture, anatomy, mining, inventions, and music. Dual Italian-English texts, with 186 plates plus over 500 additional drawings.
A new title in the successful Lives of the Artists series, which offers illuminating, and often intimate, accounts of iconic artists as viewed by their contemporaries. Coinciding with the five hundredth anniversary of the death of Leonardo (1452–1519), Lives of Leonardo da Vinci brings together important early biographies of the polymath by Giorgio Vasari, Paolo Giovio, and anonymous authors. This illustrated volume also features recollections by the humanist scholar Sabba di Castiglione; Matteo Bandello’s eyewitness account of the artist creating one of his most famous works, The Last Supper; and letters written by a variety of contemporary authors, including Leonardo himself.
A masterly account of the genius of Leonardo da Vinci and his vision of the world, generously illustrated throughout, presenting a fully integrated picture of Leonardo's art, science, and thought.
This volume is intended for all art-lovers and students of art anywhere in the world. Words are not required to describe the beauty of these drawings, their splendour speaks volumes instead. Herein you will find 49 pen and ink illustrations by the Master of all artists - Leonardo da Vinci (1452 – 1519), including a self portrait. A comprehensive introduction to this volume is provided by Charles Lewis Hind founder and editor of The Studio: An Illustrated Magazine of Fine and Applied Art and was later editor of The Academy. The illustrations in this volume are: Profile Of A Warrior Portrait Of Isabella d’Este Study Of An Old Man Study Of Draperies For Kneeling Figures Study Of A Bacchus Head Of A Man Battle Between Horsemen And Monsters Woman Seated On Ground And Child Kneeling Studies Of Heads Youth On Horseback Studies For The Equestrian Statue Of Francesco Sforza The Virgin, St. Anne And Infant Studies Of Children The Combat Study For A Madonna Studies For "The Holy Family" Studies For "The Last Supper" Courtyard Of A Cannon-Foundry Study Of The Head Of An Apostle Study For Background Of "The Adoration Of The Magi" Study Of Landscape Study Of A Tree Two Heads Caricatures St. John The Baptist The Head Of Christ Caricatures Head Of An Angel Study Of A Man's Head Studies Of Hands Dragon Fighting With A Lion Man Kneeling Portrait Study Studies Of Animals Portrait Of Leonardo, By Himself Six Heads Of Men And A Bust Of A Woman Study Of A Head The St. Anne Cartoon Studies Of Horses Heads Of A Woman And A Child Study Of Drapery For A Kneeling Figure Knight In Armour Study Of A Youthful Head Study For "Leda" Head Of An Old Man Study Of A Head Study Of The Head Of St. Philip For "The Last Supper" Study Of Drapery Girl's Head Studies Of A Satyr With A Lion ============= KEYWORDS: Leonardo, da Vinci, pen and ink, drawings, illustrations, study, studies, portrait, Portrait Of Isabella D’este, Old Man, Draperies, Kneeling Figures, Bacchus, Head, Battle, Horsemen, Monsters, Woman, Seated, Ground, Child Kneeling, Youth, Horseback, Equestrian Statue, Francesco Sforza, Virgin, St. Anne, Infant, Children, Combat, Madonna, Holy, Family, The Last Supper, Courtyard, Cannon-Foundry, Apostle, Background, Adoration, Magi, Landscape, Tree, Caricatures, St. John The Baptist, Christ, Angel, Hands, Dragon, Fighting, Lion, Portrait, Animals, Six Heads, Bust, Woman, Cartoon, Drapery, Figure, Knight, Armour, Leda, St. Philip, Girl, Satyr
Book Description: This captivating book provides the reader with a unique insight into the life and work of one of history's most intriguing figures. All of Leonardo Da Vinci's work is presented in this compact volume - from his paintings and frescos, to detailed reproductions of his remarkable encrypted notebooks. As well as featuring each individual artwork, sections of each are shown in isolation to reveal incredible details - for example, the different levels of perspective between the background sections of the "Mona Lisa", and the disembodied hand in "The Last Supper". 640 pages of colour artworks and photographs of Da Vinci's original notebooks, accompanied by fascinating biographical and historical details are here.
Vinci used a psychological approach to his art, establishing the idea of the artist as creative thinker rather than a skilled artisan. Some of this master's greatest works are reproduced here in miniature, including Vitruvian Man, Madonna with the Carnation, Bacchus, a detail from The Last Supper, Mona Lisa (La Gioconda), and 11 others.
An architect, sculptor, painter, inventor, and engineer centuries ahead of his time, Leonardo da Vinci was the archetypical "Renaissance Man." As famous for his paintings of the Mona Lisa and The Last Supper as he was for devising plans for the helicopter, and tank and solar power, he also advanced the study of anatomy, astronomy, and civil engineering. This multifaceted overview of the celebrated genius's work, presented in both color and black-and-white, includes a splendid selection of his portraits and figures, along with detailed anatomical and scientific drawings from his many notebooks. 206 illustrations.
A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.
More than fifteen hundred extracts containing the Renaissance genius' maxims, prophecies, fables, letters, and brilliant observations in architecture, painting, physiology, geography, and other fields
At the turn of the 20th century a brilliant Russian writer, Dmitri Merejkowski, wrote this novel, "The Romance of Leonardo Da Vinci," a profound meditation on art and religion. Merejkowski portrays Leonardo as a man of many facets, some of which may be grouped as pagan, some of which are Christian. As a result, Leonardo was filled with conflict and doubts. Striving for the unattainable, he almost never completes a work. Always dissatisfied with what he has done, the artist suffers a characteristically modern "anxiety.
An all-new, jewel-like, reader-friendly format gives new life to this relaunch of an international best-seller. Leonardo da Vinci—artist, inventor, and prototypical Renaissance man—is a perennial source of fascination because of his astonishing intellect and boundless curiosity about the natural and man-made world. During his life he created numerous works of art and kept voluminous notebooks that detailed his artistic and intellectual pursuits. The collection of writings and art in this magnificent book are drawn from his notebooks. The book organizes his wide range of interests into subjects such as human figures, light and shade, perspective and visual perception, anatomy, botany and landscape, geography, the physical sciences and astronomy, architecture, sculpture, and inventions. Nearly every piece of writing throughout the book is keyed to the piece of artwork it describes. The writing and art is selected by art historian H. Anna Suh, who provides fascinating commentary and insight into the material, making Leonardo's Notebooks an exquisite single-volume compendium celebrating his enduring genius.
The book begins with Prophecies, followed by the Fables on animals, on lifeless objects, on plants, and the Studies on the Life and Habits of Animals, in which Leonardo presents a curious sequence of animals and their description. It ends with the Jests and Tales and the Final Prophecies. Among these delightful and amusing writings, we find satires, fables, aphorisms, anecdotes, prophetic sayings, and enigmatic statements, ingeniously created or reproduced by the unique mind of Leonardo da Vinci.
It is a miracle that any one man should have observed, read, and written down so much in a single lifetime."--Kenneth Clark, art historian and Leonardo da Vinci biographer A perfectionist in his artwork, Leonardo da Vinci studied nature and anatomy to produce amazingly realistic paintings. Using scientific methods in his investigations of the human body--the first ever by an artist--he was able to create remarkably accurate depictions of the "ideal" figure. This exceptional collection of 59 precise, detailed drawings reprints Leonardo's sketches, still considered the finest ever made, of the skeleton; vertebral column; skull; upper and lower extremities; cardiovascular, respiratory, and nervous systems; human embryos; and other subjects. The volume will be a welcome addition to the libraries of artists, illustrators, and scientists. Dover (2004) original publication.
The Notebooks of Leonardo Da Vinci Vol-2' is an enlightening collection of writings by the renowned polymath Leonardo da Vinci. The second volume of Leonardo da Vinci's notebooks contains a wide range of writings on a variety of topics, including sculpture, architecture, zoology, physiology, medicine, astronomy, geography, naval warfare, swimming, flying machines, mining, music, and more. Leonardo's writings are often accompanied by detailed drawings and diagrams, which provide a fascinating glimpse into his mind and his work. The volume begins with a section on sculpture, in which Leonardo discusses the principles of design and proportion. He also provides detailed instructions on how to create sculptures, including how to model clay, cast bronze, and carve marble. The next section of the volume is devoted to architecture. Leonardo discusses the design of buildings, including churches, palaces, and fortifications. He also provides insights into the principles of engineering and construction.
The Notebooks of Leonardo Da Vinci Vol-1' is an enlightening collection of writings by the renowned polymath Leonardo da Vinci. In this volume, readers are granted a glimpse into the mind of one of history's greatest geniuses as they explore da Vinci's personal notebooks. The book presents a compilation of da Vinci's observations, ideas, sketches, and reflections on a wide range of subjects. From anatomy and engineering to art and philosophy, da Vinci's writings cover an astounding breadth of knowledge and curiosity. Readers are treated to da Vinci's meticulous studies of the human body, his inventive engineering designs, and his musings on the nature of light, perspective, and aesthetics. The volume provides a fascinating window into da Vinci's creative process and the depth of his intellectual pursuits. It is a treasure trove of insights and inspiration for art enthusiasts, scholars, and anyone intrigued by the boundless curiosity and brilliance of Leonardo da Vinci.
First published in 1632, then later in its modern form in 1817, A Treatise on Painting was a (somewhat disorganized) culmination of da Vinci's teachings and philosophy about the science of art. Written by Francesco Melzi, one of his pupils around 1540, many assumed it had been written by da Vinci himself for centuries. Art historians around the world laud the treatise as one of the most significant and influential works on his art theory, circulating in manuscript form in nearly every language. Work on the treatise began in Milan and continued for the last 25 years of his life.
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