The Everything Da Vinci Book: Explore the life and times of the Ultimate Renaissance Man

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Whatever you've heard about Leonardo Da Vinci, the truth is even more fascinating! From his provocative relationship with the church and secret societies such as the Freemasons to the secrets behind his art and inventions, Da Vinci was a man ahead of his time who willingly paid the price to live life his way. This multitalented man, arguably the greatest genius of all time, was not only a magnificent artist, scientist, and inventor, but also a politically-minded radical who defied convention at every turn in his rich, amazing life. With The Everything Da Vinci Book, you'll immerse yourself in the extraordinary mind, heart, and soul of this quintessential Renaissance man, and be inspired to live your own life to the fullest!
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About the author

Shana Priwer has an undergraduate degree from Columbia University in architecture with minors in math and art history. She earned her master’s degree in architecture from Harvard University and currently works with a software company in San Francisco. As a technical writer, she has collaborated with Cynthia Phillips on a variety of projects. She is the coauthor of 101 Things You Didn’t Know About Einstein.

Cynthia Phillips, PhD, is a scientist at the SETI Institute and works at the Center for the Study of Life in the Universe. She received her BA in astronomy, astrophysics, and physics at Harvard University and her PhD in planetary science with a minor in geosciences from the University of Arizona. She has written for a number of technical publications in her field, including Science, Nature, Journal of Geophysical Research, and Icarus. She has also written articles on a more general level for newsletters at the University of Arizona and at the SETI Institute, and she’s prepared many official NASA press releases. She has taught astronomy to students from junior high to college and has given public lectures to general audiences. She is the coauthor of 101 Things You Didn’t Know About Einstein.
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Additional Information

Publisher
Simon and Schuster
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Published on
Mar 13, 2006
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Pages
304
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ISBN
9781440538247
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Features
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Language
English
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Genres
Art / History / Renaissance
Technology & Engineering / Inventions
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Content Protection
This content is DRM protected.
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Eligible for Family Library

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The Renaissance era was launched in Italy and gradually spread to the Netherlands, Germany, Spain, France, and other parts of Europe and the New World, with figures like Robert Campin, Jan van Eyck, Rogier van der Weyden, Albrecht DYrer, and Albrecht Altdorfer. It was the era that produced some of the icons of civilization, including Leonardo da Vinci's Mona Lisa and Last Supper and Michelangelo's Sistine Ceiling, Piet^, and David. Marked as one of the greatest moments in history, the outburst of creativity of the era resulted in the most influential artistic revolution ever to have taken place. The period produced a substantial number of notable masters, among them Caravaggio, Donato Bramante, Donatello, El Greco, Filippo Brunelleschi, Masaccio, Sandro Botticelli, Raphael, Titian, and Tintoretto. The result was an outstanding number of exceptional works of art and architecture that pushed human potential to new heights. The A to Z of Renaissance Art covers the years 1250 to 1648, the period most disciplines place as the Renaissance Era. A complete portrait of this remarkable period is depicted in this book through a chronology, an introductory essay, a bibliography, and over 500 hundred cross-referenced dictionary entries on major Renaissance painters, sculptors, architects, and patrons, as well as relevant historical figures and events, the foremost artistic centers, schools and periods, major themes and subjects, noteworthy commissions, technical processes, theoretical material, literary and philosophic sources for art, and art historical terminology.
Botticelli is a painter not of facts, but of ideas, and his pictures are not so much a representation of certain objects as a pattern of forms. Nor is his colouring rich and lifelike; it is subordinated to form, and often rather a tinting than actual colour. In fact, he was interested in the abstract possibilities of his art rather than in the concrete. For example, his compositions, as has just been said, are a pattern of forms; his figures do not actually occupy well-defined places in a well-defined area of space; they do not attract us by their suggestion of bulk, but as shapes of form, suggesting rather a flat pattern of decoration. Accordingly, the lines which enclose the figures are chosen with the primary intention of being decorative. It has been said that Botticelli, “though one of the worst anatomists, was one of the greatest draughtsmen of the Renaissance.” As an example of false anatomy we may notice the impossible way in which the Madonna’s head is attached to the neck, and other instances of faulty articulation and incorrect form of limbs may be found in Botticelli’s pictures. Yet he is recognised as one of the greatest draughtsmen: he gave to ‘line’ not only intrinsic beauty, but also significance. In mathematical language, he resolved the movement of the figure into its factors, its simplest forms of expression, and then combined these various forms into a pattern which, by its rhythmical and harmonious lines, produces an effect upon our imagination, corresponding to the sentiments of grave and tender poetry that filled the artist himself. This power of making every line count in both significance and beauty distinguishes the great master- draughtsmen from the vast majority of artists who used line mainly as a necessary means of representing concrete objects.
Today most of us enjoy the work of famed Renaissance artist Michelangelo by perusing art books or strolling along the galleries of a museum—and the luckier of us have had a chance to see his extraordinary frescoes on the ceiling of the Sistine Chapel. But as Bernadine Barnes shows in this book, even a visit to a well-preserved historical sight doesn’t quite afford the experience the artist intended us to have. Bringing together the latest historical research, she offers us an accurate account of how Michelangelo’s art would have been seen in its own time.

As Barnes shows, Michelangelo’s works were made to be viewed in churches, homes, and political settings, by people who brought their own specific needs and expectations to them. Rarely were his paintings and sculptures viewed in quiet isolation—as we might today in the stark halls of a museum. Instead, they were an integral part of ritual and ceremonies, and viewers would have experienced them under specific lighting conditions and from particular vantages; they would have moved through spaces in particular ways and been compelled to relate various works with others nearby. Reconstructing some of the settings in which Michelangelo’s works appeared, Barnes reassembles these experiences for the modern viewer. Moving throughout his career, she considers how his audience changed, and how this led him to produce works for different purposes, sometimes for conventional religious settings, but sometimes for more open-minded patrons. She also shows how the development of print and art criticism changed the nature of the viewing public, further altering the dynamics between artist and audience.

Historically attuned, this book encourages today’s viewers to take a fresh look at this iconic artist, seeing his work as they were truly meant to be seen.
In the spirit of Steve Jobs and Moneyball, Elon Musk is both an illuminating and authorized look at the extraordinary life of one of Silicon Valley’s most exciting, unpredictable, and ambitious entrepreneurs—a real-life Tony Stark—and a fascinating exploration of the renewal of American invention and its new “makers.”

Elon Musk spotlights the technology and vision of Elon Musk, the renowned entrepreneur and innovator behind SpaceX, Tesla, and SolarCity, who sold one of his Internet companies, PayPal, for $1.5 billion. Ashlee Vance captures the full spectacle and arc of the genius’s life and work, from his tumultuous upbringing in South Africa and flight to the United States to his dramatic technical innovations and entrepreneurial pursuits.

Vance uses Musk’s story to explore one of the pressing questions of our age: can the nation of inventors and creators who led the modern world for a century still compete in an age of fierce global competition? He argues that Musk—one of the most unusual and striking figures in American business history—is a contemporary, visionary amalgam of legendary inventors and industrialists including Thomas Edison, Henry Ford, Howard Hughes, and Steve Jobs. More than any other entrepreneur today, Musk has dedicated his energies and his own vast fortune to inventing a future that is as rich and far-reaching as the visionaries of the golden age of science-fiction fantasy.

Thorough and insightful, Elon Musk brings to life a technology industry that is rapidly and dramatically changing by examining the life of one of its most powerful and influential titans.

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