By Larry J. Feinberg
Leonardo da Vinci is frequently provided because the "Transcendent Genius," faraway from or prior to his time. This ebook, despite the fact that, makes an attempt to appreciate him within the context of Renaissance Florence. Larry J. Feinberg explores Leonardo's origins and the start of his occupation as an artist. whereas celebrating his many inventive achievements, the e-book illuminates his debt to different artists' works and his struggles to achieve and hold patronage, in addition to his profession and private problems. Feinberg examines the variety of Leonardo's pursuits, together with aerodynamics, anatomy, astronomy, botany, geology, hydraulics, optics, and battle expertise, to explain how the artist's extensive highbrow interest trained his paintings. Situating the artist in the political, social, cultural, and inventive context of mid- and late-fifteenth-century Florence, Feinberg exhibits how this surroundings encouraged Leonardo's inventive output and laid the basis for the achievements of his mature works.
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Extra resources for The Young Leonardo: Art and Life in Fifteenth-Century Florence
1480–88), whose own face was not used for that idealized sculpture, one wonders if the older master hired the same rugged model. In addition to reworking (or replacing) the face of Verrocchio’s Darius, Leonardo has transformed the bird’s wing on the original helmet into that of a dragon – the dragon’s wing, like the lion’s head, deriving from similar features on the Rossellino/Verrocchio lavamano. He has also given the ornate acanthus and tendrils a quality of writhing, tenacious growth.
In addition to reworking (or replacing) the face of Verrocchio’s Darius, Leonardo has transformed the bird’s wing on the original helmet into that of a dragon – the dragon’s wing, like the lion’s head, deriving from similar features on the Rossellino/Verrocchio lavamano. He has also given the ornate acanthus and tendrils a quality of writhing, tenacious growth.
He quickly went on to have another son with Margherita, however, and seven more sons and two daughters with a fourth spouse, Lucrezia. Because of the Renaissance’s high mortality rate of women in childbirth, it was not unusual for a man to marry a few times and to change residences, as his family evolved and grew. Leonardo, by far the oldest of Ser Piero’s brood (by almost twenty-four years), would have lived, as was customary for workshop assistants, mainly at Verrocchio’s house and shop in the via dell’Agnolo, near the church of S.