Thursday, March 28, 2019

Leonardo da Vinci :: History Biography

da Vinci da VinciPainter, sculptor, inventor. Born April 15, 1452 near the village of Vinci, Italy. He was the illegitimate son of Ser Piero da Vinci, a prominent notary of Florence, who had no other children until over overmuch later. Ser Piero raised his son himself, a common manage at the time, organization for da Vincis mother to marry a villager. When da Vinci was 15, his male parent apprenticed him to Andrea del Verrocchio, the lead-in artist of Florence and a characteristic talent of the proto(prenominal) Renaissance. A sculptor, painter, and goldsmith, Verrocchio was a remarkable craftsman, and his great skill and passionate come to for quality of execution, as wellhead as his interest in expressing the racy mobility of the human figure, were weighty elements in Leonardos artistic formation. Indeed, much in Leonardos feeler to art was evolutionary from tradition rather than revolutionary against it, although the opposite is practically true of his results. afterwa rds completing his apprenticeship, Leonardo stayed on as an ally in Verrocchios shop, and his earliest known word-painting is a product of his collaborationism with the master. In Verrocchios Baptism of the Nazarene (ca. 1475), Leonardo executed one of the two angels, a fact already recorded in the 16th century, as well as the removed landscape, and he added the final touches to the figure of Christ, determining the cereal of the flesh. Collaboration on a major project by a master and his supporter was standard procedure in the Italian Renaissance. What is picky is that Leonardos work is not, as was usual, a slightly less skilled adjustment of Verrocchios manner of painting but an original approach altering it. It all possesses all the profound qualities of Leonardos mature style and implies a criticism of the proto(prenominal) Renaissance. By changing hard metallic surface effects to cottony yielding ones, qualification edges less cutting, and increasing the slight modulations of light and shade, Leonardo evoked a new flexibility within the figures. This soft union, as Giorgio Vasari called it, is also devote in the special lighting and is emphatically genuine in the gyrate turn of the angels head and body and the vast sagacity of the landscape.Apparently Leonardo had painted one extant work, the Annunciation in Florence, before this. It is much nearer to Verrocchio in the stability of the two figures shown in profile, the clean clearcutness of the decorative details, and the large simple shapes of the trees, but it already differs in the creamier fashion model of the faces.Leonardo da Vinci History BiographyLeonardo da VinciPainter, sculptor, inventor. Born April 15, 1452 near the village of Vinci, Italy. He was the illegitimate son of Ser Piero da Vinci, a prominent notary of Florence, who had no other children until much later. Ser Piero raised his son himself, a common practice at the time, arranging for Leonardos mother to marry a villager. When Leonardo was 15, his father apprenticed him to Andrea del Verrocchio, the leading artist of Florence and a characteristic talent of the early Renaissance. A sculptor, painter, and goldsmith, Verrocchio was a remarkable craftsman, and his great skill and passionate concern for quality of execution, as well as his interest in expressing the vital mobility of the human figure, were important elements in Leonardos artistic formation. Indeed, much in Leonardos approach to art was evolutionary from tradition rather than revolutionary against it, although the opposite is often true of his results.After completing his apprenticeship, Leonardo stayed on as an assistant in Verrocchios shop, and his earliest known painting is a product of his collaboration with the master. In Verrocchios Baptism of Christ (ca. 1475), Leonardo executed one of the two angels, a fact already recorded in the 16th century, as well as the distant landscape, and he added the final touches to the figu re of Christ, determining the texture of the flesh. Collaboration on a major project by a master and his assistant was standard procedure in the Italian Renaissance. What is special is that Leonardos work is not, as was usual, a slightly less skilled version of Verrocchios manner of painting but an original approach altering it. It completely possesses all the fundamental qualities of Leonardos mature style and implies a criticism of the early Renaissance. By changing hard metallic surface effects to soft yielding ones, making edges less cutting, and increasing the slight modulations of light and shade, Leonardo evoked a new flexibility within the figures. This soft union, as Giorgio Vasari called it, is also present in the special lighting and is emphatically developed in the spiral turn of the angels head and body and the vast depth of the landscape.Apparently Leonardo had painted one extant work, the Annunciation in Florence, before this. It is much nearer to Verrocchio in the st ability of the two figures shown in profile, the clean precision of the decorative details, and the large simple shapes of the trees, but it already differs in the creamier modeling of the faces.

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