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THE RENAISSANCE (3) CHAPTER 8: AN ARTIST OF THE RENAISSANCE: Leonardo da Vinci

CHAPTER 8 AN ARTIST OF THE RENAISSANCE: Leonardo da Vinci (1452 - 1519)

Jacques rouveyrol

I. TRAINING

illegitimate child of a notary and a peasant Florence, Leonardo made no studies to tell him he is a 'literate'. His artistic training is empirical. He learned in the workshop of Verrocchio.

II. PERSPECTIVE SHADOW

1.La movement's concern.

It movement forms and shapes in motion of interest. Especially the swirling shape. Why?

2.La design space.

is that space is not abstract to him the receptacle of bodies, but a "middle", fluid, plastic, from which emerge (and where re) shapes. Hence the invention of sfumato which erases the sharp boundary line between form and fond.C is within this range where the shift from information to the form that is essentially paint. It is this that is invisible to see.

3.The paradoxes of the drawing.

Leonardo invented the technology design.

- The drawing of a machine or an organism must be precise to the extreme because it must have a demonstrative effectiveness.
- It should show what is not yet visible (to the naked eye).

- The anatomical drawing, for example, offers synthetic views of what we can see parts of it.

- The preparatory drawing for the painting has the same function but takes it in reverse. Instead of defining the shape of the line, he leaves undefined a movement of the hand, and the chaos of lines, will arise form.
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A Once invented, the form must give way to show its origin: it belongs in the "middle" of which she was born.

4. The role of the shadow.

Shade, in Leonardo, will play a key role as it will enable him to abandon the perspective with which furthermore, he was stopped taking libertés.Le "middle" (atmospheric brightness , light: light and shadow, reflections) and affects the colors and shapes.

From Virgin The Rocks Louvre (1483) to that of London (1503) the shadow grew, bringing the front figures, more unifying figures and background.

III. WORK.

1. The Florentine period (1470 - 1481/82)

From Madonna Dreyfus the Benois Madonna is the twisting of the body that hard figures on the merits and ensures their unit.

Adoration of the Magi not only neglects the perspective but the rule Albertian who wants the historia is a place of order. Here the tumult of human history that unfolds in the upper opposes another uproar in the lower part, whose meaning is very different. Epiphany is a time of "crisis", in effect, but this crisis is the transition from disorder to a world that is the sin (tumult) by order of a world redeemed by the arrival of God in the first.

The Last Supper is another moment of "crisis" manifested by the "tumult" of the figures released from the constraints of perspective in which they are located. This crisis is the moment of passage from faith to religion. This passage occurs: 1) the establishment of a sign (of recognition): the Eucharist and 2) by forming a group of faithful adherents to this sign (the Church), his group itself based on the exclusion of those who do not: Judas here.

The painting depicts the moment of the Eucharist and the appointment of a "traitor . Judas is shown immediately to the right of Jesus with St. Peter and St. John, the three pillars of the Catholic religion.

2.The portraits.

Leonardo fixation on the twisting figure out which is the bottom, take it to the viewer to make it into work.

The Mona Lisa, in front of the parapet, is in the same space as one who regarde.Son smile that seems to be a bridge between the two levels of the horizon that frames her face all will be in the works suivantes.Le "smile of the mother" According Freud.Il are probably still much mystery in life and personality of Leonardo Vinci.On however retain what makes him

1.A Renaissance artist: the talent and versatility focus: drawing, painting, architecture, machinery, anatomy, philosophy, etc..

2. What he brought in the history of painting in particular: the renunciation of perspective and the development of a technique based on shadow and light on the ambiguous relationship of figure and ground.

3.This finally it contributes to inaugurate its interest in the movement of special twist: the serpentine figure of the Mannerist period that follows.