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Leonardo da Vinci
Self, Art and Nature
François Quiviger
Reaktion Books, 2019
This incisive and illuminating biography follows the three themes that shaped the life of Leonardo da Vinci and, through him, forever changed Western art and imagination: nature, art, and self-fashioning.

Nature and art helped form Leonardo. He spent his first twelve years in the Tuscan countryside before entering the most reputed artistic workshop of Florence. There he blossomed as one of the most promising painters of his time and promptly applied his skills to explore and question the world through science and invention. Leonardo was also self-fashioned: he received only a basic education and grew up around peasants and artisans. But from the 1480s onwards, he transformed himself into a court artist and became a familiar of kings and rulers.

Following the chronology of Leonardo’s extraordinary life, this book examines Leonardo as artist, courtier, and thinker, and explores how these aspects found expression in his paintings, as well as in his work in sculpture, architecture, theater design, urban planning, engineering, anatomy, geology, and cartography. François Quiviger concludes with observations on Leonardo’s relevance today as a model of the multidisciplinary artist who combines imagination, art, and science—the original, and ultimate, Renaissance Man.
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Leonardo da Vinci
The Royal Palace at Romorantin
Carlo Pedretti
Harvard University Press, 1972
Leonardo da Vinci spent the last three years of his life as a guest of the king of France in Amboise, and the last masterpiece he produced was the project for a royal residence at Romorantin. It was to be a vast complex of buildings and gardens crossed by the Saudre River, and was to incorporate the old chateau of the ancestors of Francis I. "The eve of St. Anthony's Day I returned from Romorantin to Amboise, and the king had left Romorantin two days before," wrote Leonardo in January 1517. In 1518 a canal project at Romorantin was financed. But in the year of Leonardo's death, 1519, the project for the palace was abandoned and the king decided to build the castle of Chambord instead. The loss of the Romorantin Palace is comparable in magnitude to that of Leonardo's wall paintin of the Battle of Anghiari--perhaps even more tragic, for little influence could come from an abandoned work of architecture, the conception of which was soon forgotten. The remains of the portion that was built stood ten feet high until the time of the French Revolution. Mr. Pedretti has traced the records of their existence, brought together all possible references to the project in Leonardo's manuscripts, and identified the site of the proposed construction. The style and sources of the project are shown through a wealth of illustrations which bring to life the image of Leonardo's last dream.
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