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Leonardo da Vinci (1452-1519), Florentine artist, one of the great masters of the High Renaissance, celebrated as a painter, sculptor, architect, engineer, and scientist. His profound love of knowledge and research was the keynote of both his artistic and scientific endeavours. His innovations in the field of painting influenced the course of Italian art for more than a century after his death, and his scientific studies—particularly in the fields of anatomy, optics, and hydraulics—anticipated many of the developments of modern science.
Leonardo was born on April 15, 1452, in the small town of Vinci, near Florence, in Tuscany. He was the son of a wealthy Florentine notary and a peasant woman. In the mid-1460s the family settled in Florence, where Leonardo was given the best education that Florence, a major intellectual and artistic centre of Italy, could offer. He rapidly advanced socially and intellectually. He was handsome, persuasive in conversation, and a fine musician and improviser. In about 1466 he was apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day. In Verrocchio’s workshop Leonardo was introduced to many activities, from the painting of altarpieces and panel pictures to the creation of large sculptural projects in marble and bronze. In 1472 he was admitted to the painters’ guild of Florence, and in 1476 he was still considered Verrocchio’s assistant. In Verrocchio’s Baptism of Christ (c. 1470, Uffizi, Florence), the kneeling angel in the left of the painting is by Leonardo.
In 1478 Leonardo became an independent master. His first commission, to paint an altarpiece for the chapel of the Palazzo Vecchio, the Florentine town hall, was never executed. His first large painting, The Adoration of the Magi (Uffizi), begun in 1481 and left unfinished, was ordered for the monastery of San Donato a Scopeto, Florence. Other works ascribed to his youth are the so-called Benois Madonna (c. 1478, Hermitage, St Petersburg), the portrait Ginevra de’ Benci (c. 1474, National Gallery, Washington, D.C.), and the unfinished St Jerome (c. 1481, Pinacoteca, Vatican).
In about 1482 Leonardo entered the service of Ludovico Sforza, Duke of Milan, having written the duke an astonishing letter in which he stated that he could build portable bridges; that he knew the techniques of constructing bombardments and of making cannons; that he could build ships as well as armoured vehicles, catapults, and other war machines; and that he could execute sculpture in marble, bronze, and clay. He served as principal engineer in the duke’s numerous military enterprises and was also active as an architect. In addition, he assisted the Italian mathematician Luca Pacioli in the celebrated work Divina Proportione (1509), a treatise on aesthetics centring on the concept of the Golden Section.
Evidence indicates that Leonardo had apprentices and pupils in Milan, for whom he probably wrote the various texts later compiled as Treatise on Painting (1651; trans. 1956). The most important of his own paintings during the early Milan period was The Virgin of the Rocks, two versions of which exist (1483-1485, Louvre, Paris; 1490s to 1506-1508, National Gallery, London); he worked on the compositions for a long time, as was his custom, seemingly unwilling to finish what he had begun. From 1495 to 1497 Leonardo laboured on his masterpiece, The Last Supper, a mural in the refectory of the monastery of Santa Maria delle Grazie, Milan. Unfortunately, his experimental use of oil on dry plaster (on what was the thin outer wall of a space designed for serving food) led to technical problems, and by 1500 the mural had begun to deteriorate. Since 1726 attempts have been made, unsuccessfully, to restore it; a concerted conservation and restoration programme, making use of the latest technology, was begun in 1977 (completed in 1999) and has reversed some of the damage. Although much of the original surface is gone, the majesty of the composition and the penetrating characterization of the figures give a fleeting vision of its vanished splendour.
During his long stay in Milan, Leonardo also produced other paintings and drawings (most of which are now lost), theatre designs, architectural drawings, and models for the dome of Milan Cathedral. His largest commission was for a colossal bronze equestrian statue of Francesco Sforza, father of Ludovico, for the courtyard of Castello Sforzesco. In December 1499, however, the Sforza family was driven from Milan by French forces. Leonardo had made the clay model but contingency dictated that the metal intended for the statue be used for cannon instead. The model was destroyed by French archers, who used it as a target. Leonardo returned to Florence in 1500.
In 1502 Leonardo entered the service of Cesare Borgia, Duke of Romagna and son and chief general of Pope Alexander VI. In his capacity as the duke’s chief architect and engineer, Leonardo supervised work on the fortresses of the papal territories in central Italy. In 1503 he was a member of a commission of artists who were to decide on the proper location for Michelangelo‘s statue of David (1501-1504, Accademia, Florence), and he also served as an engineer in the war against Pisa. Towards the end of the year Leonardo began to design a decoration for the great hall of the Palazzo Vecchio. The subject was the Battle of Anghiari, a Florentine victory in the war with Pisa. He made many drawings for it and completed a full-size cartoon, in 1505, but he never finished the wall painting. The cartoon itself was destroyed in the 17th century, and the composition survives only in copies, of which the most famous (c. 1615, Louvre) is the one by Peter Paul Rubens.
During this second Florentine period, Leonardo painted several portraits, but the only one that survives is the famous Mona Lisa (1503-1506, Louvre), one of the most celebrated portraits ever painted. It is also known as La Gioconda, after the presumed name of the woman’s husband. Leonardo seems to have had a special affection for the picture, for he took it with him on all his subsequent travels.
In 1506 Leonardo went again to Milan, at the summons of its French governor, Charles d’Amboise. The following year he was named court painter to Louis XII of France, who was then residing in Milan. For the next six years Leonardo divided his time between Milan and Florence, where he often visited his half-brothers and half-sisters and looked after his inheritance. In Milan he continued his engineering projects and worked on an equestrian figure for a monument to Gian Giacomo Trivulzio, commander of the French forces in the city; although the project was not completed, drawings and studies have been preserved. From 1514 to 1516 Leonardo lived in Rome under the patronage of Pope Leo X: he was housed in the Palazzo Belvedere in the Vatican and seems to have been occupied principally with scientific experimentation. In 1516 he travelled to France to enter the service of Francis I. He spent his last years at the Château de Cloux, near Amboise, where he died on May 2, 1519.
Leonardo da Vinci (1452-1519), Florentine artist, one of the great masters of the High Renaissance, celebrated as a painter, sculptor, architect, engineer, and scientist. His profound love of knowledge and research was the keynote of both his artistic and scientific endeavours. His innovations in the field of painting influenced the course of Italian art for more than a century after his death, and his scientific studies—particularly in the fields of anatomy, optics, and hydraulics—anticipated many of the developments of modern science.
Leonardo was born on April 15, 1452, in the small town of Vinci, near Florence, in Tuscany. He was the son of a wealthy Florentine notary and a peasant woman. In the mid-1460s the family settled in Florence, where Leonardo was given the best education that Florence, a major intellectual and artistic centre of Italy, could offer. He rapidly advanced socially and intellectually. He was handsome, persuasive in conversation, and a fine musician and improviser. In about 1466 he was apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day. In Verrocchio’s workshop Leonardo was introduced to many activities, from the painting of altarpieces and panel pictures to the creation of large sculptural projects in marble and bronze. In 1472 he was admitted to the painters’ guild of Florence, and in 1476 he was still considered Verrocchio’s assistant. In Verrocchio’s Baptism of Christ (c. 1470, Uffizi, Florence), the kneeling angel in the left of the painting is by Leonardo.
In 1478 Leonardo became an independent master. His first commission, to paint an altarpiece for the chapel of the Palazzo Vecchio, the Florentine town hall, was never executed. His first large painting, The Adoration of the Magi (Uffizi), begun in 1481 and left unfinished, was ordered for the monastery of San Donato a Scopeto, Florence. Other works ascribed to his youth are the so-called Benois Madonna (c. 1478, Hermitage, St Petersburg), the portrait Ginevra de’ Benci (c. 1474, National Gallery, Washington, D.C.), and the unfinished St Jerome (c. 1481, Pinacoteca, Vatican).
In about 1482 Leonardo entered the service of Ludovico Sforza, Duke of Milan, having written the duke an astonishing letter in which he stated that he could build portable bridges; that he knew the techniques of constructing bombardments and of making cannons; that he could build ships as well as armoured vehicles, catapults, and other war machines; and that he could execute sculpture in marble, bronze, and clay. He served as principal engineer in the duke’s numerous military enterprises and was also active as an architect. In addition, he assisted the Italian mathematician Luca Pacioli in the celebrated work Divina Proportione (1509), a treatise on aesthetics centring on the concept of the Golden Section.
Evidence indicates that Leonardo had apprentices and pupils in Milan, for whom he probably wrote the various texts later compiled as Treatise on Painting (1651; trans. 1956). The most important of his own paintings during the early Milan period was The Virgin of the Rocks, two versions of which exist (1483-1485, Louvre, Paris; 1490s to 1506-1508, National Gallery, London); he worked on the compositions for a long time, as was his custom, seemingly unwilling to finish what he had begun. From 1495 to 1497 Leonardo laboured on his masterpiece, The Last Supper, a mural in the refectory of the monastery of Santa Maria delle Grazie, Milan. Unfortunately, his experimental use of oil on dry plaster (on what was the thin outer wall of a space designed for serving food) led to technical problems, and by 1500 the mural had begun to deteriorate. Since 1726 attempts have been made, unsuccessfully, to restore it; a concerted conservation and restoration programme, making use of the latest technology, was begun in 1977 (completed in 1999) and has reversed some of the damage. Although much of the original surface is gone, the majesty of the composition and the penetrating characterization of the figures give a fleeting vision of its vanished splendour.
During his long stay in Milan, Leonardo also produced other paintings and drawings (most of which are now lost), theatre designs, architectural drawings, and models for the dome of Milan Cathedral. His largest commission was for a colossal bronze equestrian statue of Francesco Sforza, father of Ludovico, for the courtyard of Castello Sforzesco. In December 1499, however, the Sforza family was driven from Milan by French forces. Leonardo had made the clay model but contingency dictated that the metal intended for the statue be used for cannon instead. The model was destroyed by French archers, who used it as a target. Leonardo returned to Florence in 1500.
In 1502 Leonardo entered the service of Cesare Borgia, Duke of Romagna and son and chief general of Pope Alexander VI. In his capacity as the duke’s chief architect and engineer, Leonardo supervised work on the fortresses of the papal territories in central Italy. In 1503 he was a member of a commission of artists who were to decide on the proper location for Michelangelo‘s statue of David (1501-1504, Accademia, Florence), and he also served as an engineer in the war against Pisa. Towards the end of the year Leonardo began to design a decoration for the great hall of the Palazzo Vecchio. The subject was the Battle of Anghiari, a Florentine victory in the war with Pisa. He made many drawings for it and completed a full-size cartoon, in 1505, but he never finished the wall painting. The cartoon itself was destroyed in the 17th century, and the composition survives only in copies, of which the most famous (c. 1615, Louvre) is the one by Peter Paul Rubens.
During this second Florentine period, Leonardo painted several portraits, but the only one that survives is the famous Mona Lisa (1503-1506, Louvre), one of the most celebrated portraits ever painted. It is also known as La Gioconda, after the presumed name of the woman’s husband. Leonardo seems to have had a special affection for the picture, for he took it with him on all his subsequent travels.
In 1506 Leonardo went again to Milan, at the summons of its French governor, Charles d’Amboise. The following year he was named court painter to Louis XII of France, who was then residing in Milan. For the next six years Leonardo divided his time between Milan and Florence, where he often visited his half-brothers and half-sisters and looked after his inheritance. In Milan he continued his engineering projects and worked on an equestrian figure for a monument to Gian Giacomo Trivulzio, commander of the French forces in the city; although the project was not completed, drawings and studies have been preserved. From 1514 to 1516 Leonardo lived in Rome under the patronage of Pope Leo X: he was housed in the Palazzo Belvedere in the Vatican and seems to have been occupied principally with scientific experimentation. In 1516 he travelled to France to enter the service of Francis I. He spent his last years at the Château de Cloux, near Amboise, where he died on May 2, 1519.
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第1个回答 2006-05-28
Leonardo da Vinci
(1452-1519)
Discover Leonardo da Vinci, a man well beyond his time. The following pages contain pictures, drawings and facts about the life of Leonardo you can find only at this place. Leonardo da Vinci was a renaissance painter, architect, engineer, mathematician and philosopher, a genius the world has never seen again so far.
Start your virtual journey in Anchiano (Italy) where Leonardo da Vinci was born in April 1452.
(1452-1519)
Discover Leonardo da Vinci, a man well beyond his time. The following pages contain pictures, drawings and facts about the life of Leonardo you can find only at this place. Leonardo da Vinci was a renaissance painter, architect, engineer, mathematician and philosopher, a genius the world has never seen again so far.
Start your virtual journey in Anchiano (Italy) where Leonardo da Vinci was born in April 1452.
第2个回答 2006-05-28
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