The first volume, which contains all of Leonardo's writings on aspects of painting, includes discussions of such basic scientific areas as the structure of the eye and vision, perspective, the science of light and shade, the perspective of disappearance, theory of color, perspective of color, proportions and movements of the human figure, botany for painters, and the elements of landscape painting. A section on the practice of painting includes moral precepts for painters and writings on composition, materials, and the philosophy of art. The second volume contains writings on sculpture, architecture (plans for towns, streets, and canals, churches, palaces, castles, and villas, theoretical writings on arches, domes, fissures, etc.), zoology, physiology (including his amazingly accurate theories of blood circulation), medicine, astronomy, geography (including has famous writings and drawings on the movement of water), topography (observations in Italy, France, and other areas), naval warfare, swimming, theory of flying machines, mining, music, and other topics.
A selection of philosophical maxims, morals, polemics, fables, jests, studies in the lives and habits of animals, tales, and prophecies display Leonardo's abilities as a writer and scholar. The second volume also contains some letters, personal records, inventories, and accounts, and concludes with Leonardo's will. The drawings include sketches and studies for some of Leonardo's greatest works of art — The Last Supper, the lost Battle of Anghiari, The Virgin of the Rocks, and the destroyed Sforza monument.
This collection, excellently reproduced in black-and-white, is representative of Leonardo's various achievements in many drawing media. Among the selections are drawings of plants, landscapes, animals, battles, weapons, and the human face and figure, as well as studies for later paintings or sculpture: a full compositional study for The Adoration of the Magi, a study for the angel's head in The Virgin of the Rocks, studies of horses for the Sforza monument, studies for The Last Supper, studies for The Battle of Anghiari, and an early cartoon for The Madonna with St. Anne.
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.
* the complete paintings of Leonardo da Vinci
* includes previously lost works, with annotations
* concise introductions to the paintings and other works, giving valuable contextual information
* learn the secrets of the MONA LISA, the history of THE LAST SUPPER or the meaning behind THE VITRUVIAN MAN
* beautiful 'detail' images, allowing you to explore Leonardo's masterpieces as though in the gallery
* includes Leonardo’s drawings and his complete notebooks, with plates
* special criticism section, with essays by critics such as Sigmund Freud
* features two biographies on Leonardo's life, including Vasari's famous biography
* hundreds of images in stunning colour - highly recommended for Kindle Fire, iPhone, iPad or PC users, or as a valuable reference tool on traditional Kindles
* UPDATED with improved images and recently attributed works
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TOBIAS AND THE ANGEL
MADONNA OF THE POMEGRANATE
THE MADONNA OF THE CARNATION
THE BAPTISM OF CHRIST
THE BENOIS MADONNA
PORTRAIT OF GINEVRA DE’ BENCI
ST. JEROME IN THE WILDERNESS
THE ADORATION OF THE MAGI
THE VIRGIN OF THE ROCKS (LOUVRE)
THE VIRGIN OF THE ROCKS (NATIONAL GALLERY)
THE HEAD OF A WOMAN
LADY WITH AN ERMINE
PORTRAIT OF A MUSICIAN
LA BELLE FERRONNIÈRE
THE LAST SUPPER
THE MADONNA OF THE YARNWINDER
THE VIRGIN AND CHILD WITH ST. ANNE
LEDA AND THE SWAN
ST. JOHN THE BAPTIST
BACCHUS (ST. JOHN THE BAPTIST)
THE BATTLE OF ANGHIARI
PORTRAIT OF A LADY IN PROFILE
MADONNA AND CHILD WITH ST. JOSEPH
THE VITRUVIAN MAN
THE VIRGIN AND CHILD WITH ST. ANNE AND ST. JOHN THE BAPTIST
STUDY OF HORSES
THE NOTEBOOKS OF LEONARDO DA VINCI
THOUGHTS ON ART AND LIFE
LEONARDO DA VINCI by Sigmund Freud
Extract from ‘THE RENAISSANCE’ by Walter Pater
Extract from ‘ESSAYS ON ART’ by A. Clutton-Brock
LIFE OF LEONARDO DA VINCI by Giorgio Vasari
LEONARDO DA VINCI by MAURICE W. BROCKWELL
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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".
In organizing the materials, the editor focuses on problems of interpretation; the result is the direct opposite of a simple anthology, offering instead a reconstruction of the underlying meaning of Leonardo's words. For each section, noted French art scholar André Chastel has provided an informative introduction and notes, and substantial bibliographic and reference materials for the book as a whole. More than 125 painstakingly reproduced illustrations are found throughout the text, further enhancing this rich and accessible resource, sure to be welcomed by scholars, lay readers, and any admirer of the incomparable Leonardo.
Dalle parole di Leonardo emerge l’immenso amore per la natura di un autore che riesce a colorare di poesia anche i miti e i racconti popolari più ingenui, come solo i grandi geni riescono a fare.
Bestie mitologiche, mostri e specie immaginarie, animali esotici ma anche quelli tipici della quotidianità della campagna italiana: Leonardo trasfigura ogni parola riconducendola a una dimensione magica ed eterea, riuscendo allo stesso tempo a trasmettere un profondo senso di realtà, di concretezza.
Pagine dalla bellezza senza tempo da leggere e rileggere, per scoprire ogni volta una sfumatura o un riflesso che credevamo dimenticato.
Il filo conduttore del Trattato, così diverso dalla tradizione didascalica del Libro dell'arte di Cennino Cennini, è l'esercizio della "filosofia del vedere", cioè il saper cogliere la rivelazione della Natura tramite l'osservazione penetrante. Ogni aspetto viene infatti ricondotto alla comprensione sistematica di quei fenomeni fisici, matematici e geometrici che ne determinano la percezione visiva. Per Leonardo è proprio l'applicazione della logica, delle discipline matematiche e geometriche, dell'anatomia e dell'ottica che nobilita la pittura, tale da poterla equiparare alle altre arti liberali (cioè speculative), quali la filosofia, la poesia, la teologia, ecc.