Leonardo da Vinci :: History Biography

da Vinci da VinciPainter, sculptor, inventor. Born April 15, 1452 attainmentful the village of Vinci, Italy. He was the illegitimate son of Ser Piero da Vinci, a salient(ip) notary of Florence, who had no other children until overmuch later. Ser Piero brocaded his son himself, a common practice at the time, arranging for da Vincis beget to marry a villager. When Leonardo was 15, his father apprenticed him to Andrea del Verrocchio, the leading artist of Florence and a diagnostic talent of the early Renaissance. A sculptor, painter, and goldsmith, Verrocchio was a curious craftsman, and his great skill and passionate concern for quality of execution, as good as his spare-time activity in expressing the vital mobility of the human public figure, were important elements in Leonardos artistic formation. Indeed, much in Leonardos approach path to art was evolutionary from impost rather than revolutionist against it, although the opposite is often true of his results.After finis h his apprenticeship, Leonardo stayed on as an assistant in Verrocchios shop, and his earliest cognize painting is a product of his collaboration with the master. In Verrocchios Baptism of Christ (ca. 1475), Leonardo executed mavin of the two angels, a fact already enter in the sixteenth century, as well as the distant landscape, and he added the final touches to the figure of Christ, determining the texture of the flesh. Collaboration on a major envision by a master and his assistant was standard procedure in the Italian Renaissance. What is special is that Leonardos work is not, as was usual, a frailly little skilled version of Verrocchios manner of painting unless(prenominal) an original approach altering it. It completely possesses all the fundamental qualities of Leonardos get on style and implies a criticism of the early Renaissance. By changing bad metallic fall out effects to soft yielding ones, making edges less cutting, and increasing the slight modulations of l ight and shade, Leonardo evoked a mod flexibility indoors the figures. This soft union, as Giorgio Vasari called it, is also present in the special light source and is emphatically developed in the spiral knead of the angels head and bole and the vast depth of the landscape.Apparently Leonardo had assorted one extant work, the Annunciation in Florence, before this. It is much hot to Verrocchio in the constancy of the two figures shown in profile, the clean precision of the decorative details, and the large transparent shapes of the trees, but it already differs in the creamier modeling of the faces.Leonardo da Vinci History BiographyLeonardo da VinciPainter, sculptor, inventor. Born April 15, 1452 near the village of Vinci, Italy. He was the illegitimate son of Ser Piero da Vinci, a prominent notary of Florence, who had no other children until much later. Ser Piero raised his son himself, a common practice at the time, arranging for Leonardos mother to marry a villager. When Leonardo was 15, his father apprenticed him to Andrea del Verrocchio, the leading artist of Florence and a characteristic talent of the early Renaissance. A sculptor, painter, and goldsmith, Verrocchio was a remarkable craftsman, and his great skill and passionate concern for quality of execution, as well as his interest in expressing the vital mobility of the human figure, were important elements in Leonardos artistic formation. Indeed, much in Leonardos approach to art was evolutionary from tradition rather than revolutionary against it, although the opposite is often true of his results.After completing his apprenticeship, Leonardo stayed on as an assistant in Verrocchios shop, and his earliest known painting is a product of his collaboration with the master. In Verrocchios Baptism of Christ (ca. 1475), Leonardo executed one of the two angels, a fact already recorded in the 16th century, as well as the distant landscape, and he added the final touches to the figure of Chris t, determining the texture of the flesh. Collaboration on a major project by a master and his assistant was standard procedure in the Italian Renaissance. What is special is that Leonardos work is not, as was usual, a slightly less skilled version of Verrocchios manner of painting but an original approach altering it. It completely possesses all the fundamental qualities of Leonardos mature style and implies a criticism of the early Renaissance. By changing hard metallic surface effects to soft yielding ones, making edges less cutting, and increasing the slight modulations of light and shade, Leonardo evoked a new flexibility within the figures. This soft union, as Giorgio Vasari called it, is also present in the special lighting and is emphatically developed in the spiral turn of the angels head and body and the vast depth of the landscape.Apparently Leonardo had painted one extant work, the Annunciation in Florence, before this. It is much nearer to Verrocchio in the stability of the two figures shown in profile, the clean precision of the decorative details, and the large simple shapes of the trees, but it already differs in the creamier modeling of the faces.