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The relevance of research
Leonardo da Vinci (1452-1519), Italian painter, sculptor, scientist, engineer and architect of the Renaissance. Almost all areas of science are provided with precisely his observations.
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Purpose of the study
Show the life and work of L. Da Vinci Life of L. Da Vinci. L. Da Vinci as a sculptor. L. Da Vinci as an Architect, Engineer and Scientist Painting in the Life of Leonardo Research Methods: Collection and Analysis of Information
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Research progress
1. Life of L. Da Vinci 1452 On April 15, in the village of Vinci near Florence, Leonardo was born, the illegitimate son of notary Piero da Vinci (b. 1426) and the peasant woman Catherine, who was also born out of wedlock. Leonardo's father was a notary and came from a family that had settled in Vinci in the 13th century. Four generations of his ancestors were also notaries, and were among the wealthy townspeople who bear the title of "seigneur", which has already passed to Leonardo's father by inheritance.
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2. L. Da Vinci as a sculptor.
Lodovico Sforza - the usurper, the ruler of the richest city of Milan - ordered him a giant statue of a horseman, which he wanted to put on the central square in memory of his father, Francesco Sforza. 70 tons of bronze were prepared for the monument. Leonardo worked on the project for over 10 years, but only preparatory sketches have survived to us. The fact is that all the bronze that had been stored up was used for weapons, because in 1495 hostile French approached Milan. In 1498 they captured the city. A clay model for casting a horse, which was 8 meters high, was used by the French as a target for shooting training, and Leonardo, with his apprentice Gian and friend Luca Pacioli (inventor of double-entry bookkeeping), moved to Florence.
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3 L. Da Vinci as an architect, engineer and scientist.
Giant crossbows. Drawings from the Atlantic Codex In Paul Verhoeven's film Flesh and Blood (1985), the son of Baron Arnolfini designed and built about the same supertower for the assault on the castle. Drawing of a diving suit (right) and its reconstruction (left). A hybrid of a mower and a chariot. The Arundel Codex, 1487.
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MINISTRY OF EDUCATION OF THE RUSSIAN FEDERATION MUNICIPAL EDUCATIONAL INSTITUTION "KRASNOYARSKAYA SECONDARY EDUCATIONAL SCHOOL No. 1" Astrakhan Region Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasnoyarsk District, Krasny Yaroslavl Village, Mordovtsev Street 18 "a" History and social science teacher MISHAK S.V. Krasny Yar - 2008
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"Leonardo da Vinci was not only a great painter, but also a great mathematician, mechanic and engineer, to whom the most diverse branches of physics owe important discoveries" (F. Engels)
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1. Introduction. 2. Early period of creativity. 3. Mature period. 4. Late period. Content
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In the small town of Vinci, located between Empoli and Pistoia, on April 15, 1452, Leonardo di ser Piero d'Antonio was born on Saturday. The boy's early artistic talent prompted his father to send him to study with one of the most versatile and famous masters of Florence - the sculptor, jeweler and painter Andrea Verrocchio. It was here that the formation of Leonardo's creative individuality began. In 1472 he enrolled as a master at the Painters' Workshop. Leonardo was engaged in all spheres of artistic activity, always showing boundless curiosity and the ability to connect art with scientific knowledge, which was the result of close observation and tireless research of natural phenomena. 1. Introduction
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Ginevra De Benchi. 2. Early period of creativity. "Portrait of Ginevra de Benci" (circa 1478, Washington, National Gallery) is possibly the first painting by Leonardo to be painted independently. The board is cut off by about 20 cm from the bottom, so that the crossed arms of the young woman have disappeared (this is known from comparison with the surviving imitations of this painting). In this portrait, Leonardo does not seek to penetrate into the inner world of the model, however, as a demonstration of excellent possession of soft, almost monochromic black and white modeling, this picture is unmatched. From behind you can see the branches of juniper and the landscape, covered with a damp haze.
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Leonardo da Vinci painted Benois Madonna in Florence in the late seventies of the fifteenth century. Madonna is given the appearance of a somewhat sickly girl playing with an oversized baby sitting on her lap. A peculiar deathly green color, a realistic interpretation of the human body is emphasized, increased attention to the depiction of the play of light and shadow on individual parts of the body, the complex position of both figures. The light on the figures in the picture falls mainly from the left. He paints everything in greenish tones, casts greenish highlights on naked parts of the body, creates thick shadows in places that are darker, obscured by something from the light falling from the window. The compositional and ideological center of the painting is the intertwining of three hands: two plump little hands of a boy and a gentle, girlish hand of a mother holding a flower by the stem, to which the attentive and affectionate gaze of the Madonna and an inquisitive, serious look of a baby, torturing - the goose is awkward to grab a flower. Madonna Benoit.
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The Adoration of the Magi is a large multi-figured composition for which the artist has been preparing for a long time and thoroughly. He completed dozens of preliminary sketches and drawings, trying to clarify in them not only the general compositional concept, but also the movements, postures and gestures of individual figures. He was especially interested in gestures with the help of which he tried to convey various psychological shades in the experiences of all those who came to bow to the baby. He wanted to overcome the certain stiffness and psychological stiffness inherent in most paintings of the 15th century on the same topic, he set himself the goal of expanding the framework of realism, showing the diverse and contradictory life of the assembled people. At the same time, it is characteristic that in the preparatory sketches, Leonardo gives almost all the figures naked. Thus, he made it easier for himself the opportunity to fully understand this or that motive of movement.
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Unfinished "St. Iero-nim ", very close in style to" Adoration of the Magi ", can also be dated to around 1480. This canvas repeats one of his favorite themes, the correspondence of emotions between man and beast. A detail that is rarely noticed: a strange architectural inclusion in the crack between the rocks in the upper right corner hints at the material world that St. Jerome renounced.
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3. Mature period. Madonna in the grotto. In Milan in 1483, Leonardo received an order to make a part of the altarpiece for the Chapel of the Immaculate Conception - "Madonna in the grotto" Kneeling Mary looks at the Christ Child and little John the Baptist, while an angel pointing to John looks at the viewer. The shapes are arranged in a triangle in the foreground. It seems that the figures are separated from the viewer by a light haze, the so-called sfumato (fuzziness and indistinctness of the contours, soft shadow), which now becomes a characteristic feature of Leonardo's painting. Behind them, in the semi-darkness of the cave, one can see stalactites and stalagmites and slowly flowing waters covered with fog. The landscape seems Fantastic, but one should remember Leonardo's assertion that painting is a science.
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Madonna Litta - completed a few years after Madonna Benoit. This time, the artist chose a more strict type of the Madonna's face, kept the picture in a different color scheme. But the main meaning, the ideological content of the work is the same as before: the same humanity, the same love for the genuine, living feelings of people permeates the entire work. The mother is breastfeeding the child, looking at him with a thoughtful tender gaze; the child, full of health and unconscious energy, moves in the mother's arms, twirls, touches his legs. He looks like his mother: the same swarthy, with the same golden hair. She admires him, immersed in her thoughts, concentrating on the child all the strength of her feelings. The Madonna's face is turned to the viewer in profile; we see only one eye, even its pupil is not outlined; lips cannot be called smiling, only a shadow in the corner of the mouth seems to hint at a ready smile, and at the same time the very tilt of the head, shadows sliding across the face, a guessed gaze create that impression of spirituality that Leonardo loved and knew how to evoke. Madonna Litta.
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In the mid-1480s, Leonardo painted the painting "Lady with a bugle". The ermine replaced cats in the old days and was quite widespread in everyday life. Here this animal is used as the Gallerani emblem. With remarkable art, Leonardo conveyed the delicate, feminine face of Cecilia, who is depicted looking to the side and, as it were, listening to the words of an invisible companion. Her hands are superbly written, especially the right one, in which she strokes an ermine and in which there is so much individuality that even one detail indicates the authorship of an outstanding master. It is necessary to see the Krakow portrait in the original in order to be convinced of how carefully the ermine's wool is painted, every hair of which is reproduced with almost calligraphic accuracy. Lady with an ermine.
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Leonardo's most celebrated work, the famous "Last Supper" at the Santa Maria della Grazie monastery in Milan, was executed between 1495-1497. "The Last Supper" attracted him not by its dogmatic content, but by the opportunity to unfold before the viewer a great human drama, to show various characters, to reveal the spiritual world of a person and to accurately and clearly describe his experiences. He perceived The Last Supper as a scene of betrayal and set himself the goal of introducing into this traditional image that dramatic beginning, thanks to which it would acquire a completely new emotional sound. Refining the poses and gestures in the drawings, he looked for such forms of expression that would involve all the figures in a single whirlpool of passions. He wanted to capture living people in the images of the apostles, each of whom responds in his own way to the event. The Last Supper is Leonardo's most mature and complete work. In the center, he places the figure of Christ, highlighting it with the opening of the door. He deliberately moves the apostles away from Christ in order to further emphasize his place in the composition. Leonardo divides his students into four symmetrical groups, full of life and movement. He makes the table small, and the refectory strict and simple. This gives him the opportunity to focus the viewer's attention on figures with enormous plastic power. The main task that Leonardo set himself in "The Last Supper" was the realistic transfer of the most complex mental reactions to the words of Christ: "One of you will betray me."
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In 1504, Leonardo began work on his famous painting Mona Lisa. This painting is considered to be the crowning achievement of his work. He worked on it for four years. It is not without reason that Leonardo worked so long on "La Gioconda". You cannot imagine a composition that is simpler and clearer, more complete and harmonious. The folded hands serve as a pedestal for the image, and the exciting intentness of the gaze is sharpened by the general calmness of the whole figure. The fantastic lunar landscape is not accidental: smooth windings among high rocks echo with fingers in their measured musical chord, and with folds of clothing, and with a light cape on the shoulder of Mona Lisa. Everything lives and trembles in her figure, she is authentic, like life itself. And a smile barely plays on her face, which attracts the viewer to herself with a force that is really unstoppable. This smile is especially striking in contrast to the dispassionate, as if probing gaze directed at the viewer. In them we see wisdom, and cunning, and arrogance, the meaning of some kind of mystery, as if the experience of all the previous millennia of human existence. This is not a joyful smile that calls for happiness. This is that mysterious smile that shines through all of Leonardo's worldview, in the fear and desire that he experienced before entering a deep cave, beckoning him among the high rocks. And it seems to us that this smile spreads throughout the whole picture, envelops the entire body of this woman and her high forehead, her robe and lunar landscape, slightly penetrates the brownish fabric of the dress with golden tints and the smoky emerald haze of the sky and rocks. This woman, with a smile imperiously flirting on her motionless face, seems to know, remember, or anticipate something that is still inaccessible to us.
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Unexpected by decision, depicting a pampered man with a seductive smile, she amazes with the fact that Leonardo, as it were, abandons the well-known image of the Baptist. In this bend of the body, in this smile, the artist expressed the quintessence of that eternal mystery, which was largely a part of his own creativity - the riddle of creating oneself. “John the Baptist” addresses the viewer with a prophecy about the coming of Christ. The index finger pointing to the sky is another motif associated with the iconography of this saint who came into the world to preach repentance, which will “clear the way” for the coming appearance of the Messiah. 4. Late period. John the Baptist.
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Leonardo Da Vinci: a brilliant personality Completed by: Yulia Sabitova, a student of the 11th grade of the MKOU Secondary School in the village of Kobra Supervisor: Rychkova Ekaterina Anatolyevna
Leonardo Da Vinci (1452-1519) In the history of mankind, it is not easy to find another person as brilliant as the founder of the art of the High Renaissance, Leonardo Da Vinci. The all-encompassing nature of the activities of this great artist and scientist became clear only when scattered manuscripts from his legacy were examined. Colossal literature has been devoted to Leonardo, his life has been studied in detail. And, nevertheless, much in his work remains mysterious and continues to excite the minds of people.
Leonardo Da Vinci was born in the village of A nchiano near Vinci, near Florence. He was the illegitimate son of a wealthy notary and a simple peasant woman. House where Leonardo was born
Noticing the boy's extraordinary abilities in painting, his father sent him to the studio of Andrea Verrocchio. In the teacher's painting "The Baptism of Christ" the figure of a spiritualized blond angel belongs to the brush of the young Leonardo Andrea Verrocchio and Leonardo Da Vinci "The Baptism of Christ" by Andrea Verrocchio
Among his early works is the painting "Madonna with a Flower" (1472). In contrast to the masters of the 15th century. Leonardo refuses narration, the use of details that distract the viewer's attention, saturated with images of the background. The painting is perceived as a simple, artless scene of the joyful motherhood of young Mary "Madonna with a flower"
Around 1482 Leonardo entered the service of the Duke of Milan, Lodovico Moro. The master recommended himself first of all as a military engineer, architect, specialist in the field of hydraulic engineering works, and only then as a painter and sculptor. However, the first Milanese period of Leonardo's work (1482-1499) turned out to be the most fruitful. The master became the most famous artist in Italy, was engaged in architecture and sculpture, turned to frescoes and altar paintings
Not all grandiose plans, including architectural projects, Leonardo failed to implement. The equestrian statue of Francesco Sforza, father of Ludovico Moro, took more than ten years to complete, but it was never cast in bronze. A life-size clay model of the monument, installed in one of the courtyards of the ducal castle, was destroyed by the French troops who captured Milan. Francesco Sforza Ludovico Moro
In 1977 Charles Dent began renovating the sculpture. In September 1999, she was installed at the San Siro racetrack in Milan. Equestrian statue (San Siro, Milan) Leonardo's horse, sculpture sketch
Paintings by Leonardo of the Milanese period have survived to our time. The first altarpiece of the High Renaissance was "Madonna in the grotto" (1483-1494). The painter departed from the traditions of the 15th century, in whose religious paintings solemn restraint prevailed. There are few figures in the altarpiece by Leonardo: the feminine Mary, the Christ Child blessing little John the Baptist, and a kneeling angel, as if looking out of the picture. The images are perfectly beautiful, naturally connected with their environment. This semblance of a grotto among dark basalt rocks with a gap in the depths - a landscape typical of Leonardo as a whole, fantastically mysterious. The figures and faces are shrouded in an airy haze that gives them a special softness. The Italians called this technique Leonardo sfumato.
"Madonna and Child" In Milan, apparently, the master created the painting "Madonna and Child" ("Madonna Litta"). Here, in contrast to "Madonna with a Flower", he strove for greater generalization, ideality of the image. It is not a certain moment that is depicted, but a certain long-term state of peace, joy, in which a young beautiful woman is immersed. A cold clear light illuminates her thin, soft face with a half-downcast gaze and a light, barely perceptible smile. The picture was painted in tempera, which gives sonority to the tones of Mary's blue cloak and red dress. The Infant's fluffy dark golden curly hair is surprisingly written, his attentive gaze directed at the viewer is not childishly serious
When Milan was taken by French troops in 1499, Leonardo left the city. The time for his wanderings began. For some time he worked in Florence. There, Leonardo's work seemed to be illuminated by a bright flash: he painted a portrait of Mona Lisa, the wife of the wealthy Florentine Francesco di Giocondo (circa 1503). The portrait is known as "La Gioconda", it has become one of the most famous works of world painting. Mona Lisa (La Gioconda)
Self-portrait In the last years of his life, Leonardo Da Vinci did little work as an artist. Having received an invitation from the French king Francis I, he left in 1517 for France and became a court painter. Soon Leonardo died. In his self-portrait (1510-1515), the gray-bearded patriarch with a deep sorrowful look looked much older than his age.
Clos-Luce, place of death of Leonardo
The scale and uniqueness of Leonardo's talent can be judged by his drawings, which occupy one of the places of honor in the history of art. Not only manuscripts devoted to the exact sciences, but also works on art theory are inextricably linked with drawings by Leonardo Da Vinci, sketches, sketches, diagrams. Much space is given to the problems of chiaroscuro, volumetric modeling, linear and aerial perspective. Leonardo Da Vinci owns numerous discoveries, projects and experimental research in mathematics, mechanics and other natural sciences.
Leonardo Da Vinci's works on human anatomy Vitruvian man Description and sketches of the human embryo
Leonardo's Inventions Parachute Vehicle
Military vehicle drawing aircraft
Searchlight War drum
Flying Machine Drawing Crossbow
Monument to Leonardo in Amboise The art of Leonardo Da Vinci, his scientific and theoretical research, the uniqueness of his personality went through the entire history of world culture and science, had a huge impact on it.
Thank you for the attention!
Leonardo da Vinci
“Pity is the master whose work is ahead of his judgment; that master is advancing towards the perfection of art whose works are surpassed by judgment. "
short biography
Leonardo da Vinci (1452-1519), Italian painter, sculptor, architect, scientist and engineer. The founder of the artistic culture of the High Renaissance, Leonardo da Vinci developed as a master, studying with Andrea del Verrocchio in Florence. The methods of work in Verrocchio's workshop, where artistic practice was combined with technical experiments, as well as friendship with the astronomer P. Toscanelli, contributed to the emergence of the scientific interests of the young da Vinci. In his early works (the head of an angel in Verrocchio's Baptism, after 1470, Annunciation, circa 1474, both in the Uffizi; the so-called Benois Madonna, circa 1478, State Hermitage, St. Petersburg) the artist, developing the traditions of the Early Art Renaissance, emphasized the smooth volume of forms with soft chiaroscuro, sometimes enlivened faces with a barely perceptible smile, achieving with its help the transmission of subtle states of mind. Recording the results of countless observations in sketches, sketches and field studies performed in various techniques (Italian and silver pencils, sanguine, pen, etc.), Leonardo da Vinci achieved, sometimes resorting to an almost caricatured grotesque, sharpness in the transfer of facial expressions, and physical the peculiarities and movement of the human body of young men and women were brought into perfect correspondence with the spiritual atmosphere of the composition.
- Leonardo da Vinci appeared before us as a great painter, sculptor, architect, scientist and engineer. In her presentation, she paid great attention to his engineering developments and works of art. Undoubtedly, this is a great artist and brilliant scientist, whose merits are difficult to compare with anyone else's. His manuscripts and projects are priceless.
Sources of
- uk.wikipedia.org/wiki/ Leonardo _ Yes _ Vінчі
- leo vinci .ru / biography /
- relaxic.net › Art, design and creativity
- fishki.net/11842-kartiny- leonardo -da- vinchi -36-foto.html
- https://vk.com/album-127681_12149692
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Presentation on the topic: Paintings by Leonardo da Vinci
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Italian painter, sculptor, architect, scientist and engineer. The founder of the artistic culture of the High Renaissance. Leonardo da Vinci was born in 1452 in the village of Anchiano near the city of Vinci, near Florence. He was the illegitimate son of a well-to-do Florentine notary Piero da Vinci, his mother was a simple peasant woman. Leonardo showed his artistic abilities very early, and when in 1469 he and his family moved to Florence, his father sent him to study with Andrea Verrocchio. Along with painting, sculpture and jewelry, architecture and construction were studied here. According to a long-standing custom, the students helped the master in fulfilling his orders, and this, in particular, greatly complicates the determination of the authorship or the measure of Leonardo's participation in the works of this period. Leonardo da Vinci (1452-1519)
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Leonardo da Vinci, developing the traditions of the art of the Early Renaissance, emphasized the smooth volume of forms with soft light and shade, sometimes enlivened faces with a barely perceptible smile, trying to convey subtle states of mind with its help. The artist achieved, sometimes resorting to an almost caricatured grotesque, sharpness in the transfer of facial expressions, and the physical features and movement of the human body of young men and women brought them into perfect correspondence with the spiritual atmosphere of the composition. In 1481 or 1482, Leonardo da Vinci entered the service of the ruler of Milan, Ludovico Moro, acting as a military engineer, hydraulic engineer, organizer of court celebrations. Engaged in architecture, Leonardo da Vinci developed various versions of the "ideal" city and projects of the central domed church, which had a great influence on the architecture of his contemporary Italy.
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After the fall of Milan, Leonardo da Vinci's life was spent in incessant travel: Florence-Venice-Milan-Rome-France. Leonardo da Vinci gave the first place to painting, understanding it as a universal language capable of embodying all the diverse manifestations of the rational principle in nature. His appearance would have been perceived one-sidedly without taking into account the fact that his artistic activity turned out to be inextricably linked with scientific activity. In fact, Leonardo da Vinci is the only example of a great artist for whom art was not the main work of life.
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Madonna of the Rocks 1483-1494. Louvre Museum, Paris. High Renaissance. Leonardo da Vinci started painting "Madonna of the Rocks" in 1483, having received an order for an altar painting from one of the religious brotherhoods. Discrepancies with customers due to payment led to the fact that Leonardo da Vinci kept the painting with him, finally completing it between 1490 and 1494.
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Madonna in the grotto 1495-1508. National Gallery, London. Renaissance. Not having received from Leonardo da Vinci the promised painting "Madonna in the grotto", the customers filed a lawsuit against him, which dragged on for about twenty years. Only between 1505 and 1508, a student of Leonardo Ambrogio de Predis, under the direct supervision of the master himself, completed (with some changes in details) the repetition of the painting "Madonna in the grotto", which was handed over to the customers.
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Madonna Benois 1478 Hermitage, St. Petersburg. High Renaissance. Around 1480, the artist Leonardo da Vinci painted the Hermitage Madonna with a Flower (the so-called Benois Madonna), a work that already carries a new holistic concept and represents the first important milestone in Leonardo's career. The artist has not yet reached full maturity of skill - this is reflected in the not quite successful - too large and somewhat conditional-looking - figure of a baby. And yet, the painting "Madonna Benoit" stands out sharply among the quattrocentist compositions close to her on the topic, in which the image of the Madonna seems static, frozen.
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Mona Lisa or La Gioconda 1503-1505. Louvre Museum, Paris. Renaissance. Around 1503, Leonardo began work on a portrait of Mona Lisa, wife of the wealthy Florentine Francesco Giocondo. The feeling of strength emanating from the picture is an organic combination of inner composure and a sense of personal freedom, the spiritual harmony of a person, based on his consciousness of his own significance. And her smile by no means expresses superiority or disdain; it is perceived as the result of calm self-confidence and total self-control.
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Lady with an ermine 1485-1490. National Museum, Krakow. Renaissance. The painting "Lady with an Ermine" was painted by the artist around 1490. In this picture, the artist introduced a new technique to the volumetric modeling of the figure. The Florentine masters, for whom linear-volumetric elements played a leading role in their pictorial language, have long been famous for the clear, sometimes even sharp plasticity of their images. Leonardo da Vinci, on the other hand, did not like strong direct lighting, which gave too harsh shadows and highlights. Light contributes to soft nuanced modeling of the face and figure, but also gives the image a halo of a kind of romantic poetry.
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Portrait of a musician 1490s. Pinacoteca Ambrosiana, Milan. Renaissance. The painting "Portrait of a Musician" was begun by the artist Leonardo da Vinci at the turn of the 90s of the 15th century. The authorship of Leonardo da Vinci is disputed; it is assumed that the great painter began work, but later his student Ambrogio de Predis worked on the portrait, however, the painting "Portrait of a Musician" remained unfinished.
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Portrait of Beatrice d'Este 1490s. Pinacoteca Ambrosiana, Milan. Renaissance. The painting began by the great painter in the 90th year of the 15th century and subsequently completed by his student Giovanni Ambrogio de Predis. Beatrice d'Este is one of the most beautiful and enlightened princesses Italian Renaissance, daughter of Ercole I d'Este and younger sister of Isabella d'Este and Alfonso I d'Este. The girl was well educated, her entourage was made up of famous figures of the Renaissance art, such as the painter Leonardo da Vinci and the sculptor Donato Bramante. She was engaged at the age of fifteen to Lodovico Sforza. The life of Beatrice d'Este ended very early, on January 3, 1497 at the age of 22, the cause of death was unsuccessful childbirth.
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Madonna Litta 1490-1491. Hermitage, St. Petersburg. Renaissance. The painting "Madonna Litta" was painted by the artist Leonardo da Vinci in the early 90s of the 15th century. The feeling of the joy of motherhood in the painting "Madonna Litta" deepened due to the content of the very image of Mary - in it the type of Leonardo's female beauty found its mature expression. Half-closed eyes and a barely perceptible smile give special spirituality to the delicate beautiful face of the Madonna - it seems that she is smiling at her dreams. The painting "Madonna Litta" was painted by the artist not in oil, but in tempera.
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The Last Supper 1495-1498. Monastery of Santa Maria delle Grazie, Milan. Revival. Fresco by Leonardo da Vinci "The Last Supper" (central fragment). In 1495, Leonardo began to create his central work - the fresco "The Last Supper" in the refectory of the Monastery of Santa Maria delle Grazie in Milan. After almost three years of hard work, the painting was opened to the public, glorifying the name of Leonardo as the greatest artist of his time. But the fate of this work turned out to be truly tragic. Leonardo's usual experimental work on paints and soil was not successful - the paint layer was not strong enough, and already in the 16th century the destruction of the fresco began, which over time intensified and was completed with rough and inept restorations. In 1954, the fresco was cleared of later layers, and the remnants of the original painting were identified and consolidated, thanks to which you can get a general idea of the composition and color solution of Leonardo da Vinci's masterpiece. In order to judge more definitely about its features, one has to resort to old copies and engravings, as well as sketches of Leonardo himself and his preparatory drawings. The size of the fresco is 460 x 880 cm, mixed technique. The fresco "The Last Supper" by the artist Leonardo da Vinci is a huge composition that occupies the entire transverse wall of the large hall of the monastery refectory. In the painting of the Quattrocento, certain traditions have already developed in solving this topic - suffice it to name the works of Andrea del Castagno and Ghirlandaio, who, despite all their undoubted realistic aspirations, still retain some signs of dogmatic constraint - in particular, they separate Judas from the apostles, placing him alone by the other side of the table. Like his predecessors, Leonardo da Vinci depicted Christ and the apostles at a table set for a meal. The action takes place in a spacious room presented in a frontal perspective, the walls of which are covered with carpets. Christ is placed in the center; his figure is drawn against the background of a doorway in the depths of the composition, through which a view of a landscape with gentle mountainous slopes opens. Leonardo da Vinci chose for the image the moment that came after Christ uttered the fatal words: "One of you will betray me." These words, so unexpected for his students, strike everyone in the very heart. Foreshadowing the imminent death of their teacher, they simultaneously strike a blow at their sense of trust and mutual solidarity, for there was a traitor in their ranks. So instead of a religious sacrament, Leonardo da Vinci embodied the drama of human feelings in his fresco. The wise choice of the decisive moment of this drama allowed the artist to show each of the characters in the most vivid expression of their individual character. The dreamy young John, placed on the right hand of Christ, seemed to be helplessly drooped from the blow he had received; on the contrary, the determined Peter, sitting next to him, grabs the knife with his hand to punish a possible traitor. Located to the left of Christ, James the Elder, with an eloquent gesture of bewilderment, spread his arms to the sides, and young Philip, who had risen from his seat next to him - an image of high spiritual beauty - bows before Christ in an impulse of self-sacrifice. And as a contrast to them - the base appearance of Judas. Unlike his predecessors, Leonardo placed him together with the apostles, only highlighting his face with a shadow falling on him. But in this fresco, not only the faces are expressive - the characters of the participants in the event are just as vividly manifested in their movements, in gestures. Only the movements of the hands express all shades of feelings, ranging from the hand of Christ lying powerlessly on the table upside down - this gesture conveys a sense of stoic obedience to the fate awaiting him - to the frightened hands of the Apostle Andrew.
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A copy of the Last Supper fresco. End of the 16th century. Leonardo da Vinci Museum, Tongerlo. Renaissance. Copy of the fresco by Leonardo da Vinci "The Last Supper" (central fragment). Several artists took part in the creation of the restoration copy of the fresco. The size of the painting is 418 x 794 cm, oil on canvas. The special depth, emotional ambiguity of the content of the fresco is associated with the internal dynamics of its dramatic construction. This image does not represent a frozen fixation of any one moment, torn out of the general flow of time. On the contrary, it seems that the action unfolds before our eyes, for this tragedy simultaneously contains both the culmination (that is, the moment of the highest dramatic impulse), expressed in the images of the apostles, and its resolution, which represents the image of Christ, filled with a calm consciousness of the inevitability of his awaiting fate ... But, having communicated the full measure of expressiveness to each of the characters, Leonardo da Vinci retained in his huge multi-figured fresco "The Last Supper" a sense of amazing integrity and unity. This unity is achieved primarily by the unconditional supremacy of the central image - Christ. In him is the cause of the conflict that unfolds before us, all the feelings of his students are addressed to him. Pictorially, his leading role is emphasized by the fact that Christ is placed in the very center of the composition, against the background of a light doorway, and moreover, as if alone - his figure is separated from the apostles by spatial intervals, while they themselves are united in three in different groups on both sides from Christ. It also represents the center of the spatial construction of the fresco: if you mentally continue the lines of the walls and carpets hanging on them, going into perspective, they will converge directly above the annual Christ. This centralization is expressed, finally, coloristically. The combination of blue and red prevailing in the color scheme of the fresco in its most intense sound is given in the blue cloak and red tunic of Christ; in a weakened form, it varies in different shades in the robes of the apostles. It is necessary to point out the new methods of linking the Last Supper fresco with the architectural and spatial complex in which it is placed. In the 15th century, the master frescoist, using the wall provided to him, rarely sought to actively influence his work on the entire architectural and artistic ensemble. Leonardo, placing the fresco on the front wall of the elongated hall, took into account the most advantageous possibilities for its perception in the perspective construction of his composition, in its scale, in the arrangement of the table and figures. Without resorting to illusionistic methods of transition of real space into the depicted, Leonardo da Vinci achieved through the powerful centralization of the figurative and compositional construction of such an Effect, when the huge room of the refectory turned out to be subordinate to the fresco itself, increasing the monumentality of its images and the power of its influence. 15th century mural painting did not know such a confident dominance over large spaces, and Leonardo da Vinci in this regard paved the way for fresco ensembles of such great masters of the Italian High Renaissance as Michelangelo and Raphael.
Slide Description:
Madonna with a spinning wheel 1510s. Duke of Backley's Private Collection, Drumlanrig Castle, Scotland. High Renaissance. The painting depicts the Madonna seated against the backdrop of a mountain range. She has baby Jesus on her lap. According to one of the apocryphal Gospels, the Virgin Mary in the house of Joseph worked on the manufacture of purple yarn for the temple curtain. Leonardo da Vinci used this subject in his painting. Baby Jesus holds a spinning wheel in the shape of a cross, which symbolizes his acceptance of his destiny. Madonna, according to the plot of the picture, still cannot accept this with her heart, and therefore her hand is raised in a protective gesture.
Slide No. 20
Slide Description:
John the Baptist 1513-1516. Louvre Museum, Paris. High Renaissance. In the painting, the artist depicts a long-haired, effeminate youth who holds a cross in one hand and points to the sky with the other, by its very idea, by the nature of the image, it contradicts the spirit of the previous art of Leonardo da Vinci. The features of this painting are difficult to consider only as a result of the artist's own creative decline - qualities that are internally akin to the crisis phenomena that were revealed in Italian Renaissance art in all their strength after one and a half to two decades are already emerging in it.
Slide No. 23
Slide Description:
Annunciation 1472-1475. Uffizi Gallery, Florence. High Renaissance. The painting "Annunciation" was painted by the artist Leonardo da Vinci at the age of just over 20. The size of the painting is 98 x 217 cm, wood, tempera. The painting "The Annunciation" is a fairly large-scale 15th century composition elongated horizontally, the length of which is over two and a half meters, depicts the Virgin Mary sitting at a reading stand at the entrance to the building, the monumentality of which is illustrated by the large rusticated corners and architraves of the portal ... Before her is a kneeling angel on a flower-strewn lawn. The background of the painting forms a beautiful landscape with slender cypresses. A somewhat obtrusive detailing in the spirit of a quattrocento, with which the folds of clothes, flowers, ornamental decorations of the music stand are painted, cannot overshadow the noble beauty of the appearance and the calmness of the movements of Mary and the angel. In combination with the softened color system of the painting, these qualities, inaccessible to the more angular and harsh Andrea Verrocchio, testify to the hand of a younger artist who is on the verge of a different vision of the world. This is evidenced by the more clearly expressed, than was customary in the 15th century, clear orderliness of the compositional construction, which creates the impression of a calm spaciousness - here you can guess the presentiment of those methods of artistic organization that will become characteristic of the masters of the High Renaissance.
Slide No. 24
Slide Description:
Portrait of Ginevra de Benci Around 1476. National Gallery of Art, Washington. High Renaissance. In this bust portrait of a young woman, whose face is marked by an expression of brooding concentration, you can find a similar combination of traditional features with a foreshadowing of the new. The painterly manner of the artist Leonardo da Vinci is still distinguished here by a somewhat fractional detailing, but the image of the model of the lady Ginevra de Benci is already surrounded by a kind of poetic atmosphere, which is facilitated by the landscape background, unusual in its interpretation.
Slide No. 25
Slide Description:
As a scientist and engineer, he enriched almost all areas of science at that time. Leonardo da Vinci paid special attention to mechanics, seeing in it the main key to the secrets of the universe; his ingenious constructive guesses far outstripped his contemporary era (projects of rolling mills, cars, submarines, aircraft). Studying the structure of the eye, Leonardo da Vinci expressed correct guesses about the nature of binocular vision. He was also engaged in botany and biology. And as a contrast to this creative activity full of the highest tension - the life fate of Leonardo, his endless wanderings associated with the inability to find favorable conditions for work in what was then Italy. Therefore, when the French king Francis I offered him the position of court painter, Leonardo da Vinci accepted the invitation. In France, during this period, especially actively involved in the culture of the Italian Renaissance, the artist was surrounded at court with universal veneration, which, however, was rather external. His strength was running out, and two years later, on May 2, 1519, he died at the castle of Clu in France. A tireless experimental scientist and artist of genius, Leonardo da Vinci has become a universally recognized symbol of the Renaissance.
