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Leonardo da Vinci Leonardo da Vinci

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For the 17th century Italian composer, see Leonardo Vinci Untuk komposer Italia abad
ke-17, lihat Leonardo Vinci
Leonardo Leonardo

Self-portrait in red chalk , circa 1512 to 1515. [ nb 1 ] Potret diri di kapur merah, sekitar
tahun 1512-1515. [Nb 1]
Royal Library of Turin Royal Library of Turin

Birth name Leonardo di Ser Piero Leonardo di Ser

Nama lahir Piero
April 15, 1452 April 15, 1452
Born Dilahirkan Vinci , Florence , in present-day Italy
Vinci, Florence, di zaman sekarang Italia
May 2, 1519 (aged 67) 2 Mei 1519
(umur 67)
Amboise , Touraine (in present-day
Died Meninggal
Indre-et-Loire , France ) Amboise,
Touraine (di masa kini Indre-et-Loire,
Perancis)
Nationality
Italian Italia
Kebangsaan
Many and diverse fields of arts and
Field Lapangan sciences Banyak dan beragam bidang
seni dan ilmu
Movement High Renaissance High Renaissance

Gerakan
Mona Lisa , The Last Supper , The
Works Works Vitruvian Man Mona Lisa, The Last
Supper, The Vitruvian Man
Signature Signature

Leonardo di ser Piero da Vinci ( Leonardo di ser Piero da Vinci ( pronunciation ( help
info ) , April 15, 1452 May 2, 1519) was an Italian polymath , scientist , mathematician ,
engineer , inventor , anatomist , painter , sculptor , architect , botanist , musician and writer .
pelafalan (membantu info), April 15, 1452 - 2 Mei 1519) adalah seorang Italia polymath, ilmuwan,
matematikawan, insinyur, penemu, ahli anatomi, pelukis, pemahat, arsitek, ahli botani, musisi
dan penulis. Leonardo has often been described as the archetype of the Renaissance man, a man
whose unquenchable curiosity was equaled only by his powers of invention. [ 1 ] He is widely
considered to be one of the greatest painters of all time and perhaps the most diversely talented
person ever to have lived. [ 2 ] According to art historian Helen Gardner , the scope and depth of
his interests were without precedent and "his mind and personality seem to us superhuman, the
man himself mysterious and remote". [ 1 ] Leonardo telah sering digambarkan sebagai arketipe
manusia Renaisans, pria yang tak terpadamkan setara rasa ingin tahu itu hanya oleh kekuatan
sumber penemuan. [1] Ia secara luas dianggap sebagai salah satu yang terbesar pelukis dari semua
waktu dan mungkin yang paling berbakat diversely orang yang pernah hidup. [2] Menurut
sejarawan seni Helen Gardner, lingkup dan kedalaman kepentingannya yang tanpa preseden dan
"pikiran dan kepribadian tampaknya kita manusia super, manusia itu sendiri misterius dan
terpencil". [1]
Born the illegitimate son of a notary, Piero da Vinci, and a peasant woman, Caterina, at Vinci in
the region of Florence , Leonardo was educated in the studio of the renowned Florentine painter,
Verrocchio . Lahir anak tidak sah dari seorang notaris, Piero da Vinci, dan seorang wanita petani,
Caterina, di Vinci di wilayah Florence, Leonardo dididik di studio Florentine yang terkenal
pelukis, Verrocchio. Much of his earlier working life was spent in the service of Ludovico il
Moro in Milan . Sebagian besar kehidupan kerja sebelumnya dihabiskan dalam pelayanan
Ludovico il Moro di Milan. He later worked in Rome , Bologna and Venice and spent his last
years in France, at the home awarded him by Francis I . Dia kemudian bekerja di Roma, Bologna
dan Venezia dan menghabiskan tahun-tahun terakhirnya di Perancis, di rumah diberikan
kepadanya oleh Francis I.
Leonardo was and is renowned [ 2 ] primarily as a painter. Leonardo dan terkenal [2] terutama
sebagai pelukis. Two of his works, the Mona Lisa and The Last Supper , are the most famous,
most reproduced and most parodied portrait and religious painting of all time, respectively, their
fame approached only by Michelangelo 's Creation of Adam . [ 1 ] Leonardo's drawing of the
Vitruvian Man is also regarded as a cultural icon , [ 3 ] being reproduced on everything from the
Euro to text books to t-shirts. Dua dari karya-karyanya, yang Mona Lisa dan The Last Supper,
yang paling terkenal, paling direproduksi dan sebagian besar memparodikan lukisan potret dan
agama sepanjang masa, masing-masing, mereka mendekati ketenaran hanya oleh Michelangelo 's
Penciptaan Adam. [1] Leonardo menggambar dari Vitruvian Man juga dianggap sebagai ikon
budaya, [3] yang direproduksi dalam segala hal dari Euro ke buku-buku teks untuk t-shirt. Perhaps

fifteen of his paintings survive, the small number due to his constant, and frequently disastrous,
experimentation with new techniques, and his chronic procrastination. [ nb 2 ] Nevertheless, these
few works, together with his notebooks, which contain drawings, scientific diagrams, and his
thoughts on the nature of painting, comprise a contribution to later generations of artists only
rivalled by that of his contemporary, Michelangelo . Mungkin lima belas lukisannya bertahan,
jumlah kecil karena terus-menerus, dan sering merusak, bereksperimen dengan teknik-teknik
baru, dan penundaan kronis. [Nb 2] Namun demikian, beberapa karya tersebut, bersama dengan
notebook, yang berisi gambar-gambar, diagram ilmiah , dan pikirannya tentang hakikat lukisan,
terdiri dari kontribusi untuk kemudian generasi seniman hanya disaingi oleh yang dari
kontemporer, Michelangelo.
Leonardo is revered for his technological ingenuity. [ 2 ] He conceptualised a helicopter, a tank,
concentrated solar power , a calculator, the double hull and outlined a rudimentary theory of
plate tectonics . [ 4 ] Relatively few of his designs were constructed or were even feasible during
his lifetime, [ nb 3 ] but some of his smaller inventions, such as an automated bobbin winder and a
machine for testing the tensile strength of wire, entered the world of manufacturing unheralded.
[ nb 4 ]
As a scientist, he greatly advanced the state of knowledge in the fields of anatomy , civil
engineering , optics , and hydrodynamics . [ 5 ] Leonardo adalah teknologi dihormati karena
kecerdikan. [2] Dia dikonseptualisasikan helikopter, tank, terkonsentrasi tenaga surya, kalkulator,
di lambung ganda dan menjabarkan teori yang belum sempurna lempeng tektonik. [4] Hanya
sedikit dari desain yang dibangun atau yang bahkan layak selama masa hidupnya, [nb 3] tetapi
sebagian dari penemuan yang lebih kecil, seperti otomatis gelendong pukulan keras dan sebuah
mesin untuk menguji kekuatan tarik kawat, memasuki dunia manufaktur unheralded. [nb 4] Sebagai
seorang ilmuwan, ia negara sangat maju pengetahuan dalam bidang anatomi, teknik sipil, optik,
dan hidrodinamika. [5]

Contents Isi
[hide]

1 Life 1 Kehidupan
o 1.1 Childhood, 14521466 1,1 Childhood, 1452-1466
o

1.2 Verrocchio's workshop, 14661476 1,2 Verrocchio bengkel, 1466-1476

1.3 Professional life, 14761513 Profesional 1,3 kehidupan, 1476-1513

1.4 Old age, 1513-1519 1,4 Old usia, 1513-1519

2 Relationships and influences 2 Hubungan dan pengaruh

o

2.1 Florence Leonardo's artistic and social background 2,1 Florence - Leonardo
artistik dan latar belakang sosial

2.2 Personal life Kehidupan pribadi 2,2

2.3 Assistants and pupils 2,3 Asisten dan murid

3 Painting 3 Lukisan
o

3.1 Early works 3,1 Awal bekerja

3.2 Paintings of the 1480s 3,2 Lukisan dari 1480s

3.3 Paintings of the 1490s 3,3 Lukisan dari 1490-an

3.4 Paintings of the 1500s 3,4 Lukisan dari tahun 1500-an

3.5 Drawings 3,5 Drawings

4 Leonardo as observer, scientist and inventor 4 Leonardo sebagai pengamat, ilmuwan

dan penemu
o

4.1 Journals 4,1 Journals

4.2 Scientific studies Studi ilmiah 4,2

4.3 Anatomy 4,3 Anatomi

4.4 Engineering and inventions Rekayasa dan penemuan 4,4

5 Leonardo the legend 5 Leonardo legenda

6 See also 6 Lihat pula

o

6.1 About Leonardo 6,1 Tentang Leonardo

6.2 Related subjects Pelajaran 6,2 Terkait

7 Footnotes 7 Catatan kaki

8 References 8 Referensi

9 Bibliography 9 Bibliografi

10 External links 10 Pranala luar

Life Kehidupan
Childhood, 14521466 Childhood, 1452-1466

Leonardo's childhood home in Anchiano . Rumah masa kecil Leonardo di Anchiano.

Leonardo's earliest known drawing, the Arno Valley, (1473) - Uffizi Leonardo awal dikenal
gambar, Arno Valley, (1473) - Uffizi
Leonardo was born on April 15, 1452, "at the third hour of the night" [ nb 5 ] in the Tuscan hill town
of Vinci , in the lower valley of the Arno River in the territory of Florence . [ 7 ] He was the
illegitimate son of Messer Piero Fruosino di Antonio da Vinci, a Florentine notary , and Caterina,
a peasant [ 6 ] [ 8 ] who may have been a slave from the Middle East . [ nb 6 ] [ 9 ] Leonardo had no
surname in the modern sense, " da Vinci " simply meaning "of Vinci ": his full birth name was
"Leonardo di ser Piero da Vinci", meaning "Leonardo, (son) of (Mes)ser Piero from Vinci". [ 7 ]
Leonardo lahir pada 15 April 1452, "pada jam ketiga malam" [n. 5] di Tuscan bukit kota Vinci, di
lembah yang lebih rendah dari Sungai Arno di wilayah Florence. [7] Ia adalah haram putra Messer
di Fruosino Piero Antonio da Vinci, seorang Florentine notaris, dan Caterina, seorang petani [6] [8]
yang mungkin telah menjadi budak dari Timur Tengah. [nb 6] [9] Leonardo tak punya nama di
pengertian modern, "Da Vinci" hanya berarti "dari Vinci": nama lahir lengkapnya adalah
"Leonardo di ser Piero da Vinci", yang berarti "Leonardo, (anak) dari (Mes) ser Piero dari Vinci".
[7]

Little is known about Leonardo's early life. Sedikit yang diketahui tentang kehidupan awal
Leonardo. He spent his first five years in the hamlet of Anchiano , then lived in the household of
his father, grandparents and uncle, Francesco, in the small town of Vinci. Dia menghabiskan lima
tahun pertama di dusun dari Anchiano, kemudian tinggal di rumah ayahnya, kakek-nenek dan
paman, Francesco, di kota kecil Vinci. His father had married a sixteen-year-old girl named
Albiera, who loved Leonardo but died young. [ 10 ] In later life, Leonardo only recorded two
childhood incidents. Ayahnya menikah enam belas tahun gadis bernama Albiera, yang mencintai
Leonardo tetapi mati muda. [10] Di kemudian hari, Leonardo hanya didata dua insiden masa
kanak-kanak. One, which he regarded as an omen, was when a kite dropped from the sky and
hovered over his cradle, its tail feathers brushing his face. [ 10 ] The second occurred while
exploring in the mountains. Satu, yang dianggap sebagai pertanda, adalah ketika sebuah layanglayang turun dari langit dan melayang-layang di atas buaian, bulu ekornya menyapu wajahnya.
[10]
Yang kedua terjadi ketika menjelajahi di pegunungan. He discovered a cave and was both
terrified that some great monster might lurk there, and driven by curiosity to find out what was
inside. [ 10 ] Ia menemukan sebuah gua dan kedua takut bahwa sebagian besar mungkin rakasa
mengintai di sana, dan didorong oleh rasa ingin tahu untuk mengetahui apa yang ada di
dalamnya. [10]
Leonardo's early life has been the subject of historical conjecture. [ 11 ] Vasari , the 16th-century
biographer of Renaissance painters tells of how a local peasant requested that Ser Piero ask his
talented son to paint a picture on a round plaque. Leonardo kehidupan awal telah menjadi subjek

dugaan sejarah. [11] Vasari, abad 16-biografi pelukis Renaisans bercerita tentang bagaimana
seorang petani lokal Ser Piero meminta agar bertanya kepada anak berbakat untuk melukis
gambar pada plakat bundar. Leonardo responded with a painting of snakes spitting fire which
was so terrifying that Ser Piero sold it to a Florentine art dealer, who sold it to the Duke of Milan
. Leonardo menjawab dengan meludah lukisan ular api yang sangat menakutkan bahwa Ser Piero
menjualnya ke sebuah seni Florentine pedagang, yang menjualnya kepada Duke of Milan.
Meanwhile, having made a profit, Ser Piero bought a plaque decorated with a heart pierced by an
arrow, which he gave to the peasant. [ 12 ] Sementara itu, telah membuat keuntungan, Ser Piero
membeli sebuah plakat dihiasi dengan hati ditembus oleh anak panah, yang dia berikan kepada
petani. [12]

The Baptism of Christ (14721475) Uffizi , by Verrocchio and Leonardo Baptisan Kristus
(1472-1475) - Uffizi, oleh Verrocchio dan Leonardo

Verrocchio's workshop, 14661476 Verrocchio bengkel, 1466-1476

In 1466, at the age of fourteen, Leonardo was apprenticed to one of the most successful artists of
his day, Andrea di Cione, known as Verrocchio . Verrocchio 's workshop was at the centre of the
intellectual currents of Florence, assuring the young Leonardo of an education in the humanities.
Pada tahun 1466, pada usia empat belas tahun, Leonardo adalah magang ke salah satu seniman
yang paling sukses pada zamannya, Andrea di Cione, yang dikenal sebagai Verrocchio.
Verrocchio 's Lokakarya ini di tengah-tengah arus intelektual Florence, meyakinkan Leonardo
muda dari pendidikan di humaniora. Other famous painters apprenticed or associated with the
workshop include Ghirlandaio , Perugino , Botticelli , and Lorenzo di Credi . [ 10 ] [ 13 ] Leonardo
would have been exposed to a vast range of technical skills and had the opportunity to learn
drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and
carpentry as well as the artistic skills of drawing, painting, sculpting and modelling. [ 14 ] [ 15 ] [ 16 ]
Pelukis terkenal lain yang berhubungan dengan magang atau lokakarya meliputi Ghirlandaio,
Perugino, Botticelli, dan Lorenzo di Credi. [10] [13] Leonardo akan telah terpapar pada berbagai
macam keterampilan teknis dan memiliki kesempatan untuk belajar penyusunan, kimia,

metalurgi , logam bekerja, plester casting, kulit bekerja, mekanik dan pertukangan serta
keterampilan seni menggambar, melukis, mematung dan pemodelan. [14] [15] [16]
Much of the painted production of Verrocchio's workshop was done by his employees. Sebagian
besar produksi dicat bengkel Verrocchio dilakukan oleh para karyawannya. According to Vasari,
Leonardo collaborated with Verrocchio on his Baptism of Christ , painting the young angel
holding Jesus 's robe in a manner that was so far superior to his master's that Verrocchio put
down his brush and never painted again. [ 12 ] This is probably an exaggeration. Menurut Vasari,
Leonardo bekerja sama dengan Verrocchio di Pembaptisan Kristus, lukisan malaikat muda
memegang Yesus 's jubah dengan cara yang begitu jauh lebih unggul daripada tuannya itu
Verrocchio meletakkan kuas dan tidak pernah melukis lagi. [12] Ini adalah mungkin berlebihan.
On close examination, the painting reveals much that has been painted or touched up over the
tempera using the new technique of oil paint , the landscape, the rocks that can be seen through
the brown mountain stream and much of the figure of Jesus bearing witness to the hand of
Leonardo. [ 8 ] Pada ujian tertutup, mengungkapkan banyak lukisan yang telah dicat atau
menyentuh up selama tempera menggunakan teknik baru cat minyak, pemandangan, batu-batu
yang dapat dilihat melalui sungai pegunungan berwarna cokelat dan banyak sosok Yesus menjadi
saksi tangan Leonardo. [8]
Leonardo himself may have been the model for two works by Verrocchio, including the bronze
statue of David in the Bargello , and the Archangel Michael in Tobias and the Angel . [ 8 ]
Leonardo sendiri mungkin telah menjadi model untuk dua karya oleh Verrocchio, termasuk
patung perunggu Daud di Bargello, dan malaikat Michael di Tobias dan Malaikat. [8]
By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of St Luke , the guild
of artists and doctors of medicine, [ nb 7 ] but even after his father set him up in his own workshop,
his attachment to Verrocchio was such that he continued to collaborate with him. [ 10 ] Leonardo's
earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on August 5,
1473. [ nb 8 ] [ 13 ] Pada 1472, pada usia dua puluh, Leonardo kualifikasi sebagai master dalam Guild
of St Lukas, serikat seniman dan dokter obat-obatan, [nb 7] tetapi bahkan setelah ayahnya
menjebaknya di bengkel sendiri, keterikatannya untuk Verrocchio adalah sedemikian rupa
sehingga ia terus bekerja sama dengan dia. [10] Leonardo dikenal tanggal awal bekerja adalah
menggambar dengan pena dan tinta dari Arno lembah, dibuat pada 5 Agustus 1473. [nb 8] [13]

Professional life, 14761513 Kehidupan profesional, 1476-1513

The Adoration of the Magi , (1481) Uffizi . The Pemujaan Orang Majus, (1481) - Uffizi.
Court records of 1476 show that Leonardo and three other young men were charged with sodomy
, [ nb 9 ] and acquitted. [ 17 ] From that date until 1478 there is no record of his work or even of his
whereabouts, [ 18 ] although it is assumed that Leonardo had his own workshop in Florence
between 1476 and 1481. [ 8 ] He was commissioned to paint an altarpiece in 1478 for the Chapel
of St Bernard and The Adoration of the Magi in 1481 for the Monks of San Donato a Scopeto.
Catatan pengadilan menunjukkan bahwa Leonardo 1476 dan tiga pemuda lain didakwa dengan
sodomi, [nb 9] dan dibebaskan. [17] Dari tanggal tersebut sampai 1478 tidak ada catatan dari
karyanya atau bahkan keberadaannya, [18] meskipun diasumsikan bahwa Leonardo memiliki
bengkel sendiri di Florence antara 1476 dan 1481. [8] Ia ditugaskan untuk melukis sebuah
Altarpiece di 1478 untuk Kapel St Bernard dan The Pemujaan Orang Majus di 1481 untuk rahib
San Donato sebuah Scopeto. This important commission was interrupted when Leonardo went to
Milan. Komisi penting ini terputus ketika Leonardo pergi ke Milan.
In 1482 Leonardo, who according to Vasari was a most talented musician, [ 19 ] created a silver
lyre in the shape of a horse's head. Lorenzo de' Medici sent Leonardo, bearing the lyre as a gift,
to Milan, to secure peace with Ludovico il Moro , Duke of Milan . [ 20 ] At this time Leonardo
wrote an often-quoted letter to Ludovico, describing the many marvellous and diverse things that
he could achieve in the field of engineering and informing the Lord that he could also paint. [ 13 ]
[ 21 ]
Pada tahun 1482 Leonardo, yang menurut Vasari adalah musisi yang paling berbakat, [19]
membuat perak kecapi berbentuk kepala kuda. Lorenzo de 'Medici dikirim Leonardo, membawa
kecapi sebagai hadiah, ke Milan, untuk mengamankan perdamaian dengan Ludovico il Moro,
Adipati Milan. [20] Pada saat ini Leonardo menulis yang sering dikutip surat kepada Ludovico,
menggambarkan banyak menakjubkan dan beragam hal-hal yang ia bisa mencapai di bidang
engineering dan memberitahu kepada Tuhan bahwa ia juga bisa melukis. [13] [21]
Leonardo continued work in Milan between 1482 and 1499. Leonardo terus bekerja di Milan
antara 1482 dan 1499. He was commissioned to paint the Virgin of the Rocks for the
Confraternity of the Immaculate Conception, and The Last Supper for the monastery of Santa
Maria delle Grazie . [ 10 ] While living in Milan between 1493 and 1495 Leonardo listed a woman
called Caterina among his dependents in his taxation documents. Dia ditugaskan untuk melukis

Virgin of the Rocks untuk Confraternity dari Immaculate Conception, dan The Last Supper untuk
biara Santa Maria delle Grazie. [10] Meskipun tinggal di Milan antara 1493 dan 1495 Leonardo
tercantum seorang wanita bernama Caterina di antara tanggungan dalam dokumen perpajakan.
When she died in 1495, the list of funeral expenditure suggests that she was his mother. [ 10 ] [ 22 ]
Ketika ia meninggal pada 1495, daftar pengeluaran pemakaman menunjukkan bahwa dia adalah
ibunya. [10] [22]
He worked on many different projects for Ludovico, including the preparation of floats and
pageants for special occasions, designs for a dome for Milan Cathedral and a model for a huge
equestrian monument to Francesco Sforza , Ludovico's predecessor. Dia bekerja di berbagai
proyek untuk Ludovico, termasuk persiapan mengapung dan kecantikan untuk acara-acara
khusus, desain untuk sebuah kubah untuk Katedral Milano dan model bagi besar berkuda
monumen untuk Francesco Sforza, Ludovico pendahulu. Seventy tons of bronze were set aside
for casting it. Tujuh puluh ton perunggu yang dikhususkan untuk pengecoran itu. The monument
remained unfinished for several years, which was not unusual for Leonardo. Monumen masih
belum selesai selama beberapa tahun, yang tidak biasa bagi Leonardo. In 1492 the clay model of
the horse was completed. Pada tahun 1492 model tanah liat kuda itu selesai. It surpassed in size
the only two large equestrian statues of the Renaissance, Donatello's statue of Gattemelata in
Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the "Gran
Cavallo". [ 13 ] [ 23 ] Ini melampaui ukuran hanya dua patung penunggang kuda besar Renaissance,
Donatello's patung Gattemelata di Padua dan Verrocchio's Bartolomeo Colleoni di Venesia, dan
dikenal sebagai "Gran Cavallo". [13] [23]

Study of horse from Leonardo's journals Royal Library, Windsor Castle Studi kuda dari jurnal
Leonardo - Royal Library, Windsor Castle
Leonardo began making detailed plans for its casting, [ 13 ] however, Michelangelo rudely implied
that Leonardo was unable to cast it. [ 10 ] In November 1494 Ludovico gave the bronze to be used
for cannons to defend the city from invasion by Charles VIII . [ 13 ] Leonardo mulai membuat
rencana rinci untuk casting, [13] Namun, kasar Michelangelo tersirat bahwa Leonardo tidak
mampu untuk dilemparkan itu. [10] Pada November 1494 Ludovico memberikan perunggu yang
akan digunakan untuk meriam untuk membela kota dari invasi oleh Charles VIII. [13]
At the start of the Second Italian War in 1499, the invading French troops used the life-size clay
model for the "Gran Cavallo" for target practice. Pada awal Kedua Perang Italia pada 1499, yang

menyerang pasukan Perancis menggunakan tanah liat seukuran model untuk "Gran Cavallo"
untuk praktek sasaran. With Ludovico Sforza overthrown, Leonardo, with his assistant Salai and
friend, the mathematician Luca Pacioli , fled Milan for Venice , where he was employed as a
military architect and engineer, devising methods to defend the city from naval attack. [ 8 ] [ 10 ]
Dengan digulingkan Ludovico Sforza, Leonardo, dengan asistennya Salai dan teman,
matematikawan Luca Pacioli, melarikan diri Milan untuk Venesia, di mana ia bekerja sebagai
arsitek dan insinyur militer, merancang metode-metode untuk mempertahankan kota dari
serangan angkatan laut. [8] [10 ]
On his return to Florence in 1500, he and his household were guests of the Servite monks at the
monastery of Santissima Annunziata and were provided with a workshop where, according to
Vasari, Leonardo created the cartoon of The Virgin and Child with St. Anne and St. John the
Baptist , a work that won such admiration that "men and women, young and old" flocked to see it
"as if they were attending a great festival". [ 12 ] [ nb 10 ] In 1502 Leonardo entered the service of
Cesare Borgia , the son of Pope Alexander VI , acting as a military architect and engineer and
travelling throughout Italy with his patron. [ 8 ] He returned to Florence where he rejoined the
Guild of St Luke on October 18, 1503, and spent two years designing and painting a great mural
of The Battle of Anghiari for the Signoria, [ 8 ] with Michelangelo designing its companion piece,
The Battle of Cascina . [ nb 11 ] In Florence in 1504, he was part of a committee formed to relocate,
against the artist's will, Michelangelo's statue of David . [ 26 ] Setelah kembali ke Florence pada
tahun 1500, ia dan rumah tangga tamu dari Servite rahib di biara Santissima Annunziata dan
dilengkapi dengan sebuah lokakarya di mana, menurut Vasari, Leonardo menciptakan kartun dan
Anak Perawan dengan St Anne dan St John the Baptist, suatu karya yang memenangkan
kekaguman seperti bahwa "laki-laki dan perempuan, muda dan tua" berbondong-bondong untuk
melihatnya "seolah-olah mereka sedang menghadiri sebuah festival besar". [12] [nb 10] Pada tahun
1502 Leonardo masuk layanan dari Cesare Borgia, putra Pope Alexander VI, yang bertindak
sebagai arsitek dan insinyur militer dan perjalanan di seluruh Italia dengan pelindungnya. [8] Ia
kembali ke Florence di mana ia bergabung dengan Guild of St Lukas pada 18 Oktober 1503, dan
menghabiskan dua tahun merancang dan melukis mural besar Pertempuran Anghiari untuk
Signorina, [8] dengan merancang Michelangelo pendamping sepotong, The Battle of Cascina. [nb 11]
Di Florence pada 1504, ia adalah bagian dari sebuah komite yang dibentuk untuk relokasi,
terhadap artis akan, patung Michelangelo Daud. [26]
In 1506 he returned to Milan. Pada tahun 1506 ia kembali ke Milan. Many of Leonardo's most
prominent pupils or followers in painting either knew or worked with him in Milan, [ 10 ]
including Bernardino Luini , Giovanni Antonio Boltraffio and Marco D'Oggione . [ nb 12 ]
However, he did not stay in Milan for long because his father had died in 1504, and in 1507 he
was back in Florence trying to sort out problems with his brothers over his father's estate.
Banyak karya Leonardo yang paling menonjol murid atau pengikut dalam lukisan baik tahu atau
bekerja dengannya di Milan, [10] termasuk Bernardino Luini, Giovanni Antonio Boltraffio dan
Marco D'Oggione. [Nb 12] Namun, ia tidak tinggal di Milan untuk waktu yang lama karena ayahnya
meninggal pada 1504, dan di tahun 1507 ia kembali ke Florence mencoba menyelesaikan
masalah dengan saudara-saudaranya atas tanah milik ayahnya. By 1508 he was back in Milan,
living in his own house in Porta Orientale in the parish of Santa Babila. [ 8 ] Pada 1508 ia sudah
kembali di Milan, tinggal di rumahnya sendiri di Porta Orientale di paroki Santa Babila. [8]

Old age, 1513-1519 Usia tua, 1513-1519

Clos Luc in France, where Leonardo died in 1519 Clos Luce di Perancis, di mana Leonardo
meninggal pada tahun 1519
From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere in the
Vatican in Rome, where Raphael and Michelangelo were both active at the time. [ 8 ] In October
1515, Francis I of France recaptured Milan. [ 27 ] On December 19, Leonardo was present at the
meeting of Francis I and Pope Leo X, which took place in Bologna. [ 10 ] [ 28 ] [ 29 ] It was for Francis
that Leonardo was commissioned to make a mechanical lion which could walk forward, then
open its chest to reveal a cluster of lilies. [ 12 ] [ nb 13 ] In 1516, he entered Franois' service, being
given the use of the manor house Clos Luc [ nb 14 ] near the king's residence at the royal Chateau
Amboise . Dari September 1513-1516, Leonardo menghabiskan banyak waktunya tinggal di
Belvedere di Vatikan di Roma, di mana Raphael dan Michelangelo sama-sama aktif pada saat itu.
[8]
Pada bulan Oktober 1515, Francis I dari Perancis merebut kembali Milan. [27] pada 19
Desember Leonardo hadir pada pertemuan Francis I dan Pope Leo X, yang berlangsung di
Bologna. [10] [28] [29] Ini adalah bagi Francis bahwa Leonardo ditugaskan untuk membuat mekanis
singa yang bisa berjalan maju , kemudian membuka dada untuk menunjukkan sekelompok lili.
[12] [nb 13]
Pada tahun 1516, ia memasuki Franois 'layanan, diberikan penggunaan rumah milik
bangsawan Clos Luce [nb 14] di dekat kediaman raja di kerajaan Chateau Amboise. It was here that
he spent the last three years of his life, accompanied by his friend and apprentice, Count
Francesco Melzi , supported by a pension totalling 10,000 scudi. [ 8 ] Di sinilah ia menghabiskan
tiga tahun terakhir hidupnya, ditemani oleh teman dan magang, Count Francesco Melzi,
didukung oleh dana pensiun yang berjumlah 10.000 scudi. [8]
Leonardo died at Clos Luc , on May 2, 1519. Francis I had become a close friend. Leonardo
wafat di Clos Luce, pada tanggal 2 Mei 1519. Francis I telah menjadi teman dekat. Vasari
records that the King held Leonardo's head in his arms as he died, although this story, beloved by
the French and portrayed in romantic paintings by Ingres , Mnageot and other French artists, as
well as by Angelica Kauffmann , may be legend rather than fact. [ nb 15 ] [ 31 ] Vasari also tells us that
in his last days, Leonardo sent for a priest to make his confession and to receive the Holy
Sacrament . [ 12 ] In accordance to his will, sixty beggars followed his casket. Vasari catatan bahwa
Raja Leonardo memegang kepala di tangannya saat ia meninggal, meskipun cerita ini, dicintai
oleh Perancis dan romantis yang digambarkan dalam lukisan karya Ingres, Mnageot dan
seniman Perancis lainnya, serta oleh Angelica Kauffmann, mungkin legenda daripada fakta . [nb 15]
[31]
Vasari juga mengatakan kepada kita bahwa pada hari-hari terakhirnya, Leonardo dikirim bagi
pastor untuk membuat pengakuan dosa dan untuk menerima Sakramen Kudus. [12] Sesuai dengan
kehendak-Nya, enam puluh pengemis mengikuti peti mati. He was buried in the Chapel of Saint-

Hubert in the castle of Amboise . Ia dimakamkan di Kapel Saint-Hubert di puri Amboise. Melzi
was the principal heir and executor, receiving as well as money, Leonardo's paintings, tools,
library and personal effects. Melzi adalah ahli waris utama dan pelaksana, menerima serta uang,
lukisan Leonardo, peralatan, perpustakaan dan pribadi. Leonardo also remembered his other
long-time pupil and companion, Salai and his servant Battista di Vilussis, who each received half
of Leonardo's vineyards , his brothers who received land, and his serving woman who received a
black cloak of good stuff with a fur edge. [ 32 ] Leonardo juga teringat waktu panjang lainnyamurid dan pendamping, Salai dan hamba-Nya di Battista Vilussis, yang masing-masing
menerima setengah dari Leonardo kebun-kebun anggur, saudara-saudaranya yang menerima
tanah, dan para pelayan wanita yang menerima jubah hitam barang bagus dengan tepi bulu . [32]
Some twenty years after Leonardo's death, Francis was reported by the goldsmith and sculptor
Benevenuto Cellini as saying: "There had never been another man born in the world who knew
as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a
very great philosopher." [ 33 ] Beberapa puluh tahun setelah kematian Leonardo, Francis yang
dilaporkan oleh tukang emas dan pematung Benevenuto Cellini yang mengatakan: "Belum
pernah ada pria lain yang lahir di dunia yang tahu sebanyak Leonardo, tidak begitu banyak
tentang lukisan, patung dan arsitektur, karena itu dia adalah seorang filsuf yang sangat besar. "[33]

Relationships and influences Hubungan dan pengaruh

Ghiberti's Gates of Paradise , (1425-1452) were a source of communal pride. Ghiberti's Gates of
Paradise, (1425-1452) adalah sumber kebanggaan komunal. Many artists assisted in their
creation. Banyak seniman membantu dalam penciptaan mereka.

Florence Leonardo's artistic and social background Florence - Leonardo

artistik dan latar belakang sosial
Leonardo commenced his apprenticeship with Verrocchio in 1466, the year that Verrocchio's
master, the great sculptor Donatello , died. Leonardo memulai nya magang dengan Verrocchio di
1466, tahun yang Verrocchio master, pematung besar Donatello, meninggal. The painter Uccello
whose early experiments with perspective were to influence the development of landscape
painting, was a very old man. Pelukis Prima yang awal percobaan dengan perspektif adalah

untuk mempengaruhi perkembangan lukisan pemandangan, adalah sangat tua. The painters Piero
della Francesca and Fra Filippo Lippi , sculptor Luca della Robbia , and architect and writer
Alberti were in their sixties. Pelukis Piero della Francesca dan Fra Filippo Lippi, pematung Luca
della Robbia, dan arsitek dan penulis Alberti berada di enam puluhan. The successful artists of
the next generation were Leonardo's teacher Verrocchio, Antonio Pollaiuolo and the portrait
sculptor, Mino da Fiesole whose lifelike busts give the most reliable likenesses of Lorenzo
Medici's father Piero and uncle Giovanni. [ 34 ] [ 35 ] [ 36 ] Seniman yang sukses generasi berikutnya
adalah guru Leonardo Verrocchio, Antonio Pollaiuolo dan potret pematung, Mino da Fiesole
patung seperti kehidupan yang memberikan persamaan yang paling dapat diandalkan Lorenzo
ayah Medici Piero dan paman Giovanni. [34] [35] [36]
Leonardo's youth was spent in a Florence that was ornamented by the works of these artists and
by Donatello's contemporaries, Masaccio whose figurative frescoes were imbued with realism
and emotion and Ghiberti whose Gates of Paradise , gleaming with gold leaf , displayed the art
of combining complex figure compositions with detailed architectural backgrounds. Leonardo
pemuda itu dihabiskan di Florence yang dihiasi oleh karya-karya seniman ini dan oleh
Donatello's sezaman, Masaccio yang kiasan lukisan-lukisan dinding yang dijiwai dengan
realisme dan emosi dan Ghiberti yang Gates of Paradise, berkilauan dengan daun emas,
ditampilkan seni menggabungkan gambar kompleks komposisi dengan latar belakang arsitektur
rinci. Piero della Francesca had made a detailed study of perspective, and was the first painter to
make a scientific study of light. Piero della Francesca telah membuat studi rinci perspektif, dan
pelukis pertama untuk membuat kajian ilmiah cahaya. These studies and Alberti's Treatise were
to have a profound effect on younger artists and in particular on Leonardo's own observations
and artworks. [ 34 ] [ 35 ] [ 36 ] Studi-studi ini dan Alberti Risalah itu mempunyai efek yang besar pada
seniman muda dan khususnya pada pengamatan Leonardo sendiri dan karya seni. [34] [35] [36]
Massaccio's depiction of the naked and distraught Adam and Eve leaving the Garden of Eden
created a powerfully expressive image of the human form, cast into three dimensions by the use
of light and shade which was to be developed in the works of Leonardo in a way that was to be
influential in the course of painting. Massaccio's gambaran tentang telanjang dan kebingungan
Adam dan Hawa meninggalkan Taman Eden menciptakan sebuah gambar ekspresif kuat dari
bentuk manusia, dilemparkan ke dalam tiga dimensi dengan menggunakan cahaya dan bayangan
yang akan dikembangkan dalam karya-karya Leonardo dalam suatu cara yang harus berpengaruh
dalam kursus melukis. The Humanist influence of Donatello's David can be seen in Leonardo's
late paintings, particularly John the Baptist . [ 34 ] The Humanis pengaruh Donatello's David dapat
dilihat pada lukisan Leonardo akhir, terutama John the Baptist. [34]

Small devotional picture by Verrocchio, c. 1470 Kesalehan kecil gambar dengan Verrocchio, c.
1470
A prevalent tradition in Florence was the small altarpiece of the Virgin and Child. Sebuah tradisi
yang lazim di Florence adalah Altarpiece kecil Sang Perawan dan Anak. Many of these were
created in tempera or glazed terracotta by the workshops of Filippo Lippi, Verrocchio and the
prolific della Robbia family. [ 34 ] Leonardo's early Madonnas such as the The Madonna with a
carnation and The Benois Madonna followed this tradition while showing indiosyncratic
departures, particularly in the case of the Benois Madonna in which the Virgin is set at an
oblique angle to the picture space with the Christ Child at the opposite angle. Banyak dari ini
diciptakan dalam tempera atau dikilapkan terakota oleh bengkel Filippo Lippi, Verrocchio dan
produktif Robbia della keluarga. [34] Leonardo Madonna awal seperti The Madonna dengan
anyelir dan Benois Madonna yang mengikuti tradisi ini sementara menunjukkan indiosyncratic
keberangkatan , terutama dalam kasus di mana Benois Madonna Perawan ditetapkan pada sudut
miring ke ruang gambar dengan Kristus Anak di sudut yang berlawanan. This compositional
theme was to emerge in Leonardo's later paintings such as The Virgin and Child with St. Anne .
[ 10 ]
Tema komposisi ini muncul dalam lukisan-lukisan Leonardo kemudian seperti The Perawan
dan Anak dengan St Anne. [10]
Leonardo was a contemporary of Botticelli , Ghirlandaio and Perugino , who were all slightly
older than he was. Leonardo kontemporer dari Botticelli, Ghirlandaio dan Perugino, yang
semuanya sedikit lebih tua daripada dirinya. He would have met them at the workshop of
Verrocchio, with whom they had associations, and at the Academy of the Medici . [ 10 ] Botticelli
was a particular favourite of the Medici family and thus his success as a painter was assured. Ia
akan bertemu mereka di bengkel Verrocchio, dengan siapa mereka telah asosiasi, dan pada
Akademi dari Medici. [10] Botticelli adalah favorit tertentu dari keluarga Medici sehingga
keberhasilannya sebagai pelukis sudah terjamin. Ghirlandaio and Perugino were both prolific and
ran large workshops. Ghirlandaio dan Perugino sama-sama produktif dan berlari lokakarya besar.
They competently delivered commissions to well-satisfied patrons who appreciated Ghirlandaio's
ability to portray the wealthy citizens of Florence within large religious frescoes, and Perugino's
ability to deliver a multitude of saints and angels of unfailing sweetness and innocence. [ 34 ]
Mereka kompeten disampaikan komisi kepada pelanggan puas baik yang menghargai
kemampuan Ghirlandaio untuk menggambarkan warga negara kaya Florence dalam lukisanlukisan dinding agama besar, dan Perugino kemampuan untuk menyampaikan banyak malaikatmalaikat kudus dan tak habis-habisnya manis dan tidak bersalah. [34]

The Portinari Altarpiece , by Hugo van der Goes for a Florentine family The Portinari
Altarpiece, oleh Hugo van der Goes untuk keluarga Florentine
These three were among those commissioned to paint the walls of the Sistine Chapel , the work
commencing with Perugino's employment in 1479. Ketiga adalah di antara mereka yang
ditugaskan untuk melukis dinding-dinding Kapel Sistina, pekerjaan dimulai dengan pekerjaan
Perugino di 1479. Leonardo was not part of this prestigious commission. Leonardo bukan bagian
dari komisi bergengsi ini. His first significant commission, The Adoration of the Magi for the
Monks of Scopeto, was never completed. [ 10 ] Komisi yang signifikan pertamanya, The
Pemujaan Orang Majus bagi rahib dari Scopeto, tidak pernah selesai. [10]
In 1476, during the time of Leonardo's association with Verrocchio's workshop, Hugo van der
Goes arrived in Florence, bringing the Portinari Altarpiece and the new painterly techniques
from Northern Europe which were to profoundly effect Leonardo, Ghirlandaio, Perugino and
others. Pada tahun 1476, pada masa Leonardo asosiasi dengan Verrocchio bengkel, Hugo van der
Goes tiba di Florence, membawa Portinari Altarpiece dan teknik painterly baru dari Eropa Utara
yang untuk efek mendalam Leonardo, Ghirlandaio, Perugino dan lain-lain. In 1479, the Sicilian
painter Antonello da Messina , who worked exclusively in oils, travelled north on his way to
Venice , where the leading painter, Giovanni Bellini adopted the technique of oil painting ,
quickly making it the preferred method in Venice. Pada 1479, pelukis Sisilia Antonello da
Messina, yang bekerja secara eksklusif dalam minyak, bepergian ke utara di dalam perjalanan ke
Venesia, di mana pelukis terkemuka, Giovanni Bellini mengadopsi teknik lukisan cat minyak,
dengan cepat membuat metode yang disukai di Venesia. Leonardo was also later to visit Venice.
[ 36 ]
Leonardo juga kemudian untuk mengunjungi Venesia. [36]
Like the two contemporary architects, Bramante and Antonio da Sangallo the Elder , Leonardo
experimented with designs for centrally planned churches, a number of which appear in his
journals, as both plans and views, although none was ever realised. [ 34 ] [ 37 ] Seperti dua arsitek
kontemporer, Bramante dan Antonio da Sangallo yang Tua, Leonardo bereksperimen dengan
desain untuk perencanaan pusat gereja-gereja, sejumlah yang muncul dalam jurnal, baik sebagai
rencana dan pandangan, walaupun tidak pernah terwujud. [34] [37]

Lorenzo de' Medici between Antonio Pucci and Francesco Sassetti, with Giulio de' Medici,
fresco by Ghirlandaio Lorenzo de 'Medici antara Antonio Pucci dan Francesco Sassetti, dengan
Giulio de' Medici, lukisan oleh Ghirlandaio
Leonardo's political contemporaries were Lorenzo Medici (il Magnifico), who was three years
older, and his popular younger brother Giuliano who was slain in the Pazzi Conspiracy in 1478.
Ludovico il Moro who ruled Milan between 14791499 and to whom Leonardo was sent as
ambassador from the Medici court, was also of Leonardo's age. [ 34 ] [ 35 ] Leonardo sezaman politik
itu Lorenzo Medici (il Magnifico), yang tiga tahun lebih tua, dan adik populer Giuliano yang
telah disembelih di Pazzi Conspiracy di 1478. Ludovico il Moro yang memerintah Milan antara
1479-1499 dan kepada siapa Leonardo dikirim sebagai duta besar dari Medici pengadilan, juga
dari usia Leonardo. [34] [35]
With Alberti, Leonardo visited the home of the Medici and through them came to know the older
Humanist philosophers of whom Marsiglio Ficino , proponent of Neo Platonism , Cristoforo
Landino , writer of commentaries on Classical writings, and John Argyropoulos , teacher of
Greek and translator of Aristotle were foremost. Dengan Alberti, Leonardo mengunjungi rumah
Medici dan melalui mereka datang untuk mengetahui lebih tua filsuf yang Humanis Marsiglio
Ficino, pendukung Neo Platonisme, Cristoforo Landino, penulis Klasik komentar tentang
tulisan-tulisan, dan John Argyropoulos, guru dan penerjemah Yunani Aristoteles yang terdepan.
Also associated with the Academy of the Medici was Leonardo's contemporary, the brilliant
young poet and philosopher Pico della Mirandola . [ 36 ] [ 38 ] Leonardo later wrote in the margin of
a journal "The Medici made me and the Medici destroyed me." Juga berhubungan dengan
Akademi Medici adalah Leonardo kontemporer, penyair muda yang brilian dan filsuf Pico della
Mirandola. [36] [38] Leonardo kemudian menulis di pinggir sebuah jurnal "The Medici membuat
saya dan Medici menghancurkan saya." While it was through the action of Lorenzo that
Leonardo was to receive his important Milanese commissions, it is not known exactly what
Leonardo meant by this cryptic comment. [ 10 ] Sementara itu melalui aksi Lorenzo bahwa
Leonardo adalah untuk menerima komisi Milanese penting, tidak tahu persis apa yang dimaksud
dengan ini Leonardo komentar samar. [10]
Although usually named together as the three giants of the High Renaissance , Leonardo,
Michelangelo and Raphael were not of the same generation. Meskipun biasanya disebut
bersama-sama sebagai tiga raksasa dari High Renaissance, Leonardo, Michelangelo dan Raphael
tidak dari generasi yang sama. Leonardo was twenty-three when Michelangelo was born and
thirty-one when Raphael was born. Leonardo berusia dua puluh tiga ketika Michelangelo
dilahirkan dan tiga puluh satu ketika lahir Raphael. Raphael only lived until the age of 37 and

died in 1520, the year after Leonardo, but Michelangelo went on creating for another 45 years. [ 35
] [ 36 ]
Raphael hanya hidup sampai usia 37 tahun dan meninggal pada tahun 1520, tahun setelah
Leonardo, tapi Michelangelo terus menciptakan selama 45 tahun. [35] [36]

Study for a portrait of Isabella d'Este (1500) Louvre . Belajar untuk potret Isabella d'Este (1500)
Louvre.

Personal life Kehidupan pribadi

Main article: Leonardo da Vinci's personal life Artikel utama: Leonardo da Vinci kehidupan
pribadi
Within Leonardo's lifetime, his extraordinary powers of invention, his "outstanding physical
beauty", "infinite grace", "great strength and generosity", "regal spirit and tremendous breadth of
mind" as described by Vasari [ 12 ] attracted the curiosity of others. Leonardo dalam seumur hidup,
kekuatan luar biasa penemuan, dengan "kecantikan fisik luar biasa", "anugerah tak terbatas",
"kekuatan besar dan kemurahan hati", "anggun semangat dan pikiran sangat luas" seperti yang
dijelaskan oleh Vasari [12] menarik rasa ingin tahu orang lain . Many authors have speculated on
various aspects of Leonardo's personality. Banyak penulis telah berspekulasi tentang berbagai
aspek kepribadian Leonardo. One such aspect is his respect for life evidenced by his
vegetarianism and his habit, described by Vasari, of purchasing caged birds and releasing them.
[ 12 ] [ 39 ]
Salah satu aspek adalah menghargai kehidupan dibuktikan oleh para vegetarian dan
kebiasaan, yang digambarkan oleh Vasari, dikurung membeli burung dan melepaskan mereka. [12]
[39]

Leonardo had many friends who are now renowned either in their fields or for their historical
significance. Leonardo punya banyak teman yang sekarang terkenal baik di bidang mereka atau
untuk mereka yang bersejarah. They included the mathematician Luca Pacioli , with whom he
collaborated on a book in the 1490s, as well as Franchinus Gaffurius and Isabella d'Este . [ citation
needed ]
Leonardo appears to have had no close relationships with women except for his friendship
with Isabella d'Este. Mereka termasuk matematikawan Luca Pacioli, dengan siapa ia bekerja
sama di sebuah buku di 1490-an, serta Franchinus Gaffurius dan Isabella d'Este. [Rujukan?]
Leonardo tampaknya tidak memiliki hubungan dekat dengan wanita kecuali persahabatan dengan
Isabella d "Este. He drew a portrait of her while on a journey which took him through Mantua ,
and which appears to have been used to create a painted portrait now lost. [ 10 ] Dia menarik potret

itu, sementara dalam suatu perjalanan yang membawanya melalui Mantua, dan yang tampaknya
telah digunakan untuk menciptakan sebuah lukisan potret yang kini hilang. [10]
Beyond friendship, Leonardo kept his private life secret. Beyond persahabatan, Leonardo
menyimpan rahasia kehidupan pribadinya. His sexuality has often been the subject of study,
analysis and speculation. Seksualitas Nya sering kali menjadi subjek studi, analisis dan
spekulasi. This trend began in the mid-16th century and was revived in the 19th and 20th
centuries, most notably by Sigmund Freud . [ 40 ] Kecenderungan ini dimulai pada pertengahan
abad ke-16 dan dihidupkan kembali di abad 19 dan 20, terutama oleh Sigmund Freud. [40]

Salai as John the Baptist (c. 1514) Louvre Salai sebagai John the Baptist (c. 1514) - Louvre

Assistants and pupils Asisten dan murid

Gian Giacomo Caprotti da Oreno, nicknamed Salai or Il Salaino ("The Little Unclean One" ie,
the devil), entered Leonardo's household in 1490. Gian Giacomo Caprotti da Oreno, julukan Il
Salai atau Salaino ( "The Little najis Satu" yaitu, setan), Leonardo memasuki rumah tangga di
1490. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar,
stubborn, and a glutton", after he had made off with money and valuables on at least five
occasions, and spent a fortune on clothes. [ 41 ] Nevertheless, Leonardo's notebooks during their
early years contain many drawings of the student, who remained in Leonardo's household for the
next thirty years. [ 8 ] Salai executed a number of paintings under the name of Andrea Salai, but
although Vasari claims that Leonardo "taught him a great deal about painting", [ 12 ] his work is
generally considered to be of less artistic merit than others among Leonardo's pupils, such as
Marco d'Oggione and Boltraffio . Setelah hanya setahun, Leonardo membuat daftar dari
misdemeanours, menyebutnya "seorang pencuri, pembohong, keras kepala, dan seorang
pelahap", setelah ia telah pergi dengan uang dan barang berharga pada setidaknya lima kali, dan
menghabiskan uang untuk pakaian . [41] Namun demikian, catatan-catatan Leonardo selama
tahun-tahun awal mereka mengandung banyak gambar dari mahasiswa, yang tetap tinggal di
rumah tangga Leonardo selama tiga puluh tahun. [8] Salai dieksekusi sejumlah lukisan di bawah
nama Andrea Salai, tetapi meskipun klaim Vasari bahwa Leonardo "mengajarinya banyak hal
tentang lukisan", [12] karyanya umumnya dianggap kurang bernilai seni daripada yang lain di
antara murid Leonardo, seperti Marco d'Oggione dan Boltraffio. In 1515, he painted a nude
version of the Mona Lisa , known as Monna Vanna . [ 42 ] Salai owned the Mona Lisa at the time
of his death in 1525, and in his will it was assessed at 505 lire, an exceptionally high valuation

for a small panel portrait. [ 43 ] Pada 1515, ia melukis sebuah versi telanjang Mona Lisa, yang
dikenal sebagai Monna Vanna. [42] Salai Mona Lisa yang dimiliki pada saat kematiannya pada
tahun 1525, dan dalam itu akan dinilai di 505 lira, penilaian yang sangat tinggi untuk panel kecil
potret. [43]
In 1506, Leonardo took on another pupil, Count Francesco Melzi , the son of a Lombard
aristocrat, who is considered to have been his favourite student. Pada tahun 1506, Leonardo
mengambil murid lain, Count Francesco Melzi, putra seorang Lombard bangsawan, yang
dianggap telah murid kesayangannya. He travelled to France with Leonardo, and remained with
him until the latter's death. [ 10 ] Upon Leonardo's death, Melzi inherited the artistic and scientific
works, manuscripts, and collections of Leonardo, and faithfully administered the estate. Dia
pergi ke Perancis dengan Leonardo, dan tetap dengan dia sampai kematian yang kedua. [10]
Setelah kematian Leonardo, Melzi mewarisi seni dan karya ilmiah, manuskrip, dan koleksi
Leonardo, dan setia dikelola perkebunan.

Painting Lukisan

Annunciation (14751480)Uffizi, is thought to be Leonardo's earliest complete work Kabar

Sukacita (1475-1480)-Uffizi, dianggap Leonardo awal karya lengkap
See also: List of paintings by Leonardo da Vinci Lihat juga: Daftar lukisan oleh Leonardo da
Vinci
Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the
better part of four hundred years his enormous fame rested on his achievements as a painter and
on a handful of works, either authenticated or attributed to him that have been regarded as among
the supreme masterpieces ever created. [ 44 ] Meskipun baru-baru ini kekaguman kesadaran dan
Leonardo sebagai seorang ilmuwan dan penemu, untuk bagian yang lebih baik dari empat ratus
tahun lebih bertumpu pada ketenaran besar prestasinya sebagai pelukis dan pada beberapa karya,
baik yang otentik atau dikaitkan dengannya yang telah dianggap sebagai di antara karya tertinggi
yang pernah dibuat. [44]
These paintings are famous for a variety of qualities which have been much imitated by students
and discussed at great length by connoisseurs and critics. Lukisan-lukisan ini terkenal untuk
berbagai kualitas yang telah banyak ditiru oleh para mahasiswa dan dibahas panjang lebar oleh
para pecinta dan kritikus. Among the qualities that make Leonardo's work unique are the
innovative techniques that he used in laying on the paint, his detailed knowledge of anatomy,

light, botany and geology, his interest in physiognomy and the way in which humans register
emotion in expression and gesture, his innovative use of the human form in figurative
composition and his use of the subtle gradation of tone. Di antara sifat-sifat yang membuat karya
Leonardo unik inovatif adalah teknik yang digunakan dalam dia terbaring di atas cat, dengan
pengetahuan yang terperinci dari anatomi, cahaya, botani dan geologi, minatnya pada fisiognomi
dan cara mendaftar di mana manusia dalam ekspresi emosi dan sikap, yang inovatif penggunaan
bentuk manusia dalam kiasan komposisi dan penggunaan gradasi nada yang halus. All these
qualities come together in his most famous painted works, the Mona Lisa , the Last Supper and
the Virgin of the Rocks . [ 45 ] Semua kualitas ini datang bersama-sama dalam karya lukisan paling
terkenal, Mona Lisa, Perjamuan Terakhir dan Virgin of the Rocks. [45]

Unfinished painting of St. Lukisan belum selesai St Jerome in the Wilderness , (c. 1480), Vatican
Jerome pada Wilderness, (c. 1480), Vatikan

Early works Karya awal

Leonardo's early works begin with the Baptism of Christ painted in conjunction with Verrocchio.
Leonardo karya awal mulai dengan Baptisan Kristus dicat bersama dengan Verrocchio. Two
other paintings appear to date from his time at the workshop, both of which are Annunciations .
Dua muncul lukisan-to-date dari waktu di bengkel, keduanya Annunciations. One is small,
59 centimetres (23 in) long and 14 centimetres (5.5 in) high. Salah satunya adalah kecil, 59
sentimeter (23 in) lama dan 14 cm (5.5 in) tinggi. It is a "predella" to go at the base of a larger
composition, in this case a painting by Lorenzo di Credi from which it has become separated. Ini
adalah sebuah "predella" untuk pergi di dasar komposisi yang lebih besar, dalam hal ini lukisan
oleh Lorenzo di Credi dari mana ia telah menjadi terpisah. The other is a much larger work,
217 centimetres (85 in) long. [ 8 ] In both these Annunciations, Leonardo has used a formal
arrangement, such as in Fra Angelico's two well known pictures of the same subject, of the
Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in
profile, with rich flowing garment, raised wings and bearing a lily. Yang lainnya adalah
pekerjaan yang jauh lebih besar, 217 cm (85 in) lama. [8] Pada kedua ini Annunciations, Leonardo
telah menggunakan pengaturan formal, seperti di Fra Angelico dua gambar terkenal dari subjek
yang sama, dari Perawan Maria duduk atau berlutut di sebelah kanan gambar, mendekati dari kiri
oleh seorang malaikat di profil, dengan pakaian mengalir kaya, mengangkat sayap dan membawa
bunga lili. Although previously attributed to Ghirlandaio, the larger work is now almost

universally attributed to Leonardo. [ 46 ] Meskipun sebelumnya disebabkan Ghirlandaio, pekerjaan

yang lebih besar sekarang hampir secara universal dikaitkan dengan Leonardo. [46]
In the smaller picture Mary averts her eyes and folds her hands in a gesture that symbolised
submission to God's will. Dalam gambar yang lebih kecil Maria averts mata dan lipatan
tangannya di gerakan yang melambangkan ketundukan kepada kehendak Tuhan. In the larger
picture, however, Mary is not in the least submissive. Dalam gambaran yang lebih besar, Namun,
Maria tidak sedikit pun patuh. The beautiful girl, interrupted in her reading by this unexpected
messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of
greeting or surprise. [ 34 ] This calm young woman appears to accept her role as the Mother of God
not with resignation but with confidence. Gadis cantik, menyela di baca oleh utusan yang tidak
terduga ini, menempatkan satu jari di bible untuk menandai tempat dan mengangkat tangan
dalam gerakan formal menyambut atau kejutan. [34] tenang wanita muda ini muncul untuk
menerima perannya sebagai Bunda Allah tidak dengan pasrah tetapi dengan keyakinan. In this
painting the young Leonardo presents the Humanist face of the Virgin Mary, recognising
humanity's role in God's incarnation. [ nb 16 ] Dalam lukisan ini Leonardo muda menyajikan
Humanis wajah Perawan Maria, mengakui peran manusia dalam inkarnasi Allah. [Nb 16]

Paintings of the 1480s Lukisan 1480s

Virgin of the Rocks , Louvre , possibly 15051508, demonstrates Leonardo's interest in nature.
Virgin of the Rocks, Louvre, mungkin 1505-1508, menunjukkan minat Leonardo di alam.
In the 1480s Leonardo received two very important commissions, and commenced another work
which was also of ground-breaking importance in terms of composition. Dalam Leonardo 1480s
menerima dua komisi sangat penting, dan memulai pekerjaan lain yang juga tanah-melanggar hal
penting dalam komposisi. Unfortunately two of the three were never finished and the third took
so long that it was subject to lengthy negotiations over completion and payment. Sayangnya dua
dari tiga tidak pernah selesai dan yang ketiga begitu lama itu tunduk pada negosiasi panjang atas
penyelesaian dan pembayaran. One of these paintings is that of St. Salah satu lukisan ini adalah

bahwa dari St Jerome in the Wilderness . Jerome pada Wilderness. Bortolon associates this
picture with a difficult period of Leonardo's life, and the signs of melancholy in his diary: "I
thought I was learning to live; I was only learning to die." [ 10 ] Bortolon rekan foto ini dengan
periode yang sulit Leonardo kehidupan, dan tanda-tanda melankolis dalam buku hariannya:
"Saya pikir saya sudah belajar untuk hidup; aku hanya belajar untuk mati." [10]
Although the painting is barely begun the composition can be seen and it is very unusual. [ nb 17 ]
Jerome , as a penitent , occupies the middle of the picture, set on a slight diagonal and viewed
somewhat from above. Meskipun hampir tidak dimulai lukisan komposisi dapat dilihat dan
sangat luar biasa. [Nb 17] Jerome, sebagai seorang peniten, menempati tengah-tengah gambar, set
pada sedikit diagonal dan dilihat agak dari atas. His kneeling form takes on a trapezoid shape,
with one arm stretched to the outer edge of the painting and his gaze looking in the opposite
direction. Nya mengambil bentuk berlutut pada bentuk trapesium, dengan satu lengan
memanjang ke tepi luar lukisan dan tatapannya memandang ke arah yang berlawanan. J.
Wasserman points out the link between this painting and Leonardo's anatomical studies. [ 27 ]
Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral
across the base of the picture space. J. Wasserman menunjukkan hubungan antara lukisan ini dan
studi anatomi Leonardo. [27] Di latar depan nya sprawls simbol, singa besar yang membuat tubuh
dan ekor spiral ganda di dasar ruang gambar. The other remarkable feature is the sketchy
landscape of craggy rocks against which the figure is silhouetted. Fitur luar biasa lainnya adalah
pemandangan samar batu terjal yang terhadapnya gambar adalah siluet.
The daring display of figure composition, the landscape elements and personal drama also appear
in the great unfinished masterpiece, the Adoration of the Magi , a commission from the Monks of
San Donato a Scopeto. Tampilan yang berani komposisi gambar, pemandangan drama elemen
dan pribadi juga muncul dalam karya yang belum selesai besar, yang Pemujaan Orang Majus,
komisi dari Biarawan San Donato sebuah Scopeto. It is a very complex composition about 250
square centimetres . Ini adalah komposisi yang sangat kompleks sekitar 250 sentimeter persegi.
Leonardo did numerous drawings and preparatory studies, including a detailed one in linear
perspective of the ruined classical architecture which makes part of the backdrop to the scene.
Leonardo memang banyak gambar dan studi persiapan, termasuk satu yang rinci dalam
perspektif linier hancur arsitektur klasik yang menjadi bagian dari latar belakang pemandangan.
But in 1482 Leonardo went off to Milan at the behest of Lorenzo de' Medici in order to win
favour with Ludovico il Moro and the painting was abandoned. [ 8 ] [ 46 ] Tetapi dalam 1482
Leonardo pergi ke Milan atas perintah Lorenzo de 'Medici untuk memenangkan dikasihi oleh
Ludovico il Moro dan lukisan itu ditinggalkan. [8] [46]
The third important work of this period is the Virgin of the Rocks which was commissioned in
Milan for the Confraternity of the Immaculate Conception. Pekerjaan penting ketiga dari periode
ini adalah Virgin of the Rocks yang ditugaskan di Milan untuk Confraternity dari Immaculate
Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a
large complex altarpiece, already constructed. [ 27 ] Leonardo chose to paint an apocryphal
moment of the infancy of Christ when the Infant John the Baptist , in protection of an angel, met
the Holy Family on the road to Egypt. Lukisan itu, harus dilakukan dengan bantuan de Predis
saudara-saudara, adalah untuk mengisi Altarpiece kompleks besar, sudah dibangun. [27] Leonardo
memilih untuk melukis sebuah momen apokrif kanak-kanak Kristus ketika Bayi John the Baptist,

dalam perlindungan malaikat, bertemu dengan Keluarga Kudus di jalan ke Mesir. In this scene,
as painted by Leonardo, John recognizes and worships Jesus as the Christ. Dalam adegan ini,
seperti yang dilukis oleh Leonardo, John mengakui dan menyembah Yesus sebagai Kristus. The
painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant
Christ in a wild landscape of tumbling rock and whirling water. [ 48 ] While the painting is quite
large, about 200 120 centimetres , it is not nearly as complex as the painting ordered by the
monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather
than architectural details. Lukisan menunjukkan keindahan yang menakutkan sebagai sosok yang
anggun berlutut dalam adorasi di sekitar bayi Kristus dalam pemandangan liar berjatuhan batu
dan air berputar. [48] Sementara lukisan cukup besar, sekitar 200 120 sentimeter, tidak hampir
sama kompleks sebagai lukisan diperintahkan oleh para biarawan St Donato, hanya memiliki
empat angka daripada sekitar lima puluh dan lanskap berbatu daripada detail arsitektur. The
painting was eventually finished; in fact, two versions of the painting were finished, one which
remained at the chapel of the Confraternity and the other which Leonardo carried away to
France. Lukisan itu akhirnya selesai, bahkan, dua versi dari lukisan itu selesai, satu yang tetap di
kapel dari Confraternity dan yang lainnya Leonardo terbawa ke Perancis. But the Brothers did
not get their painting, or the de Predis their payment, until the next century. [ 8 ] [ 13 ] Tapi tidak
Brothers mendapatkan lukisan mereka, atau de Predis pembayaran mereka, sampai abad
berikutnya. [8] [13]

The Last Supper (1498) Convent of Sta. Perjamuan Terakhir (1498) - Biara Sta. Maria delle
Grazie , Milan , Italy Maria delle Grazie, Milan, Italia

Paintings of the 1490s Lukisan dari 1490-an

Leonardo's most famous painting of the 1490s is The Last Supper , also painted in Milan.
Leonardo lukisan paling terkenal dari 1490-an adalah The Last Supper, juga melukis di Milan.
The painting represents the last meal shared by Jesus with his disciples before his capture and
death. Mewakili lukisan perjamuan terakhir bersama oleh Yesus bersama murid-muridnya
sebelum ditangkap dan kematian. It shows specifically the moment when Jesus has said "one of
you will betray me". Ini menunjukkan secara khusus saat ketika Yesus telah berkata "salah satu
dari kalian akan mengkhianati saya". Leonardo tells the story of the consternation that this

statement caused to the twelve followers of Jesus. [ 13 ] Leonardo menceritakan kisah tentang
kekhawatiran bahwa pernyataan ini yang terjadi pada dua belas pengikut Yesus. [13]
The novelist Matteo Bandello observed Leonardo at work and wrote that some days he would
paint from dawn till dusk without stopping to eat, and then not paint for three or four days at a
time. [ 27 ] This, according to Vasari, was beyond the comprehension of the prior, who hounded
him until Leonardo asked Ludovico to intervene. Novelis Matteo Bandello diamati Leonardo di
tempat kerja dan menulis bahwa beberapa hari ia akan melukis dari fajar sampai senja tanpa
berhenti untuk makan, dan kemudian tidak melukis selama tiga atau empat hari pada satu waktu.
[27]
Hal ini, menurut Vasari, berada di luar pemahaman sebelumnya, yang dikejar-kejar dia sampai
Leonardo meminta Ludovico untuk campur tangan. Vasari describes how Leonardo, troubled
over his ability to adequately depict the faces of Christ and the traitor Judas, told the Duke that
he might be obliged to use the prior as his model. [ 12 ] Vasari menggambarkan bagaimana
Leonardo, gelisah di atas kemampuannya untuk secara memadai menggambarkan wajah Kristus
dan Yudas pengkhianat, mengatakan kepada Duke bahwa ia mungkin diwajibkan menggunakan
sebelumnya sebagai model. [12]
When finished, the painting was acclaimed as a masterpiece of design and characterisation, [ 12 ]
but it deteriorated rapidly, so that within a hundred years it was described by one viewer as
"completely ruined". [ 8 ] Leonardo, instead of using the reliable technique of fresco, had used
tempera over a ground that was mainly gesso, resulting in a surface which was subject to mold
and to flaking. [ 8 ] Despite this, the painting has remained one of the most reproduced works of
art, countless copies being made in every medium from carpets to cameos. Setelah selesai,
lukisan itu diakui sebagai mahakarya desain dan karakterisasi, [12] tetapi itu memburuk dengan
cepat, sehingga dalam waktu seratus tahun itu digambarkan oleh salah satu penampil sebagai
"benar-benar hancur". [8] Leonardo, daripada menggunakan teknik yang dapat diandalkan fresco,
telah menggunakan tempera di atas tanah yang terutama Gesso, mengakibatkan permukaan yang
tunduk pada cetakan dan mengelupas. [8] Meskipun demikian, lukisan itu tetap salah satu yang
paling direproduksi karya seni, tak terhitung banyaknya salinan yang dibuat dalam setiap media
dari karpet ke akting cemerlang.

Paintings of the 1500s Lukisan tahun 1500-an

Mona Lisa or La Gioconda (15031505/1507) Louvre , Paris, France Mona Lisa atau La
Gioconda (1503-1505/1507) - Louvre, Paris, Prancis
Among the works created by Leonardo in the 1500s is the small portrait known as the Mona Lisa
or "la Gioconda", the laughing one. Di antara karya-karya yang diciptakan oleh Leonardo pada
1500-an adalah potret kecil yang dikenal sebagai Mona Lisa atau "la Gioconda", yang tertawa
satu. The painting is famous, in particular, for the elusive smile on the woman's face, its
mysterious quality brought about perhaps by the fact that the artist has subtly shadowed the
corners of the mouth and eyes so that the exact nature of the smile cannot be determined.
Lukisan terkenal, khususnya, bagi yang sukar dipahami senyum di wajah perempuan itu, kualitas
yang misterius mungkin disebabkan oleh kenyataan bahwa artis telah halus gelap sudut-sudut
mulut dan mata sehingga sifat dari senyum tidak dapat ditentukan . The shadowy quality for
which the work is renowned came to be called " sfumato " or Leonardo's smoke. Kualitas
bayangan pekerjaan yang terkenal kemudian disebut "sfumato" atau Leonardo asap. Vasari, who
is generally thought to have known the painting only by repute, said that "the smile was so
pleasing that it seemed divine rather than human; and those who saw it were amazed to find that
it was as alive as the original". [ 12 ] [ nb 18 ] Vasari, yang umumnya dianggap telah mengenal lukisan
hanya dengan reputasi, mengatakan bahwa "senyum itu begitu menyenangkan hingga rasanya
ilahi daripada manusia, dan orang-orang yang melihatnya terheran-heran untuk menemukan
bahwa hal itu sebagai hidup seperti aslinya". [12] [nb 18]
Other characteristics found in this work are the unadorned dress, in which the eyes and hands
have no competition from other details, the dramatic landscape background in which the world
seems to be in a state of flux, the subdued colouring and the extremely smooth nature of the
painterly technique, employing oils , but laid on much like tempera and blended on the surface so
that the brushstrokes are indistinguishable. [ nb 19 ] Vasari expressed the opinion that the manner of
painting would make even "the most confident master ... despair and lose heart." [ 12 ] The perfect
state of preservation and the fact that there is no sign of repair or overpainting is extremely rare
in a panel painting of this date. [ 8 ] Karakteristik lain yang ditemukan dalam karya ini adalah gaun
tanpa hiasan, di mana mata dan tangan tidak memiliki pesaing dari rincian lain, latar belakang
pemandangan yang dramatis di dunia yang tampaknya berada dalam keadaan fluks, pewarnaan

yang tenang dan sifat sangat halus teknik yang painterly, menggunakan minyak, tetapi diletakkan
di banyak seperti suhu dan dicampur di permukaan sehingga brushstrokes yang tidak bisa
dibedakan. [nb 19] Vasari mengemukakan pendapat bahwa cara lukisan akan membuat bahkan
"tuan yang paling percaya diri ... putus asa dan kehilangan semangat. "[12] keadaan yang sempurna
pelestarian dan fakta bahwa tidak ada tanda-tanda perbaikan atau overpainting sangat jarang
dalam sebuah panel lukisan tanggal ini. [8]
In the Virgin and Child with St. Anne (see below [StAnne] ) the composition again picks up the
theme of figures in a landscape which Wasserman describes as "breathtakingly beautiful" [ 27 ] and
harks back to the St Jerome picture with the figure set at an oblique angle. Dalam Perawan dan
Anak dengan St Anne (lihat di bawah [StAnne]) komposisi lagi mengangkat tema figur dalam
lanskap yang Wasserman menggambarkan sebagai "biasa indah" [27] dan harks kembali ke St
Hieronimus gambar dengan sosok ditetapkan pada sudut miring. What makes this painting
unusual is that there are two obliquely set figures superimposed. Apa yang membuat lukisan ini
tidak biasa adalah bahwa ada dua tokoh ditetapkan miring tindih. Mary is seated on the knee of
her mother, St Anne. Maria duduk di lutut ibunya, St Anne. She leans forward to restrain the
Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice. [ 13 ] This
painting, which was copied many times, was to influence Michelangelo , Raphael , and Andrea
del Sarto , [ 8 ] and through them Pontormo and Correggio . Dia membungkuk ke depan untuk
menahan Kristus Anak seperti dia bermain kasar dengan seekor domba, tanda akan datang
sendiri pengorbanan. [13] ini lukisan, yang disalin berkali-kali, adalah untuk mempengaruhi
Michelangelo, Raphael, dan Andrea del Sarto, [8 ] dan melalui mereka Pontormo dan Correggio.
The trends in composition were adopted in particular by the Venetian painters Tintoretto and
Veronese . Tren dalam komposisi diadopsi khususnya oleh pelukis Venesia Tintoretto dan
Veronese.

The Virgin and Child with St. Anne and St. John the Baptist (c. 14991500) National Gallery,
London Sang Perawan dan Anak dengan St Anne dan St John the Baptist (c. 1499-1500) National Gallery, London

Drawings Gambar

Leonardo was not a prolific painter, but he was a most prolific draftsman, keeping journals full
of small sketches and detailed drawings recording all manner of things that took his attention.
Leonardo bukan pelukis produktif, tapi ia adalah penggambar yang paling produktif, jurnal
menjaga penuh sketsa kecil dan merekam gambar-gambar terperinci segala macam hal yang
menarik perhatiannya. As well as the journals there exist many studies for paintings, some of
which can be identified as preparatory to particular works such as The Adoration of the Magi ,
The Virgin of the Rocks and The Last Supper . [ 50 ] His earliest dated drawing is a Landscape of
the Arno Valley , 1473, which shows the river, the mountains, Montelupo Castle and the
farmlands beyond it in great detail. [ 10 ] [ 50 ] Serta jurnal di sana ada banyak studi untuk lukisan,
yang beberapa di antaranya dapat diidentifikasi sebagai persiapan untuk pekerjaan tertentu
seperti The Pemujaan Orang Majus, The Virgin of the Rocks, dan The Last Supper. [50] Yang
paling awal adalah gambar tanggal Pemandangan dari Arno Valley, 1473, yang menunjukkan
sungai, pegunungan, Montelupo Puri dan tanah pertanian di luar itu dengan sangat rinci. [10] [50]
Among his famous drawings are the Vitruvian Man , a study of the proportions of the human
body, the Head of an Angel , for The Virgin of the Rocks in the Louvre, a botanical study of Star
of Bethlehem and a large drawing (160100 cm) in black chalk on coloured paper of the The
Virgin and Child with St. Anne and St. John the Baptist in the National Gallery, London. [ 50 ] This
drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa . Di
antara yang terkenal adalah gambar Vitruvian Man, studi tentang proporsi tubuh manusia,
Kepala Malaikat, untuk The Virgin of the Rocks di Louvre, sebuah studi botani Bintang Betlehem
dan gambar yang besar (160 100 cm) dalam warna hitam pada kertas warna kapur dari
Perawan dan Anak dengan St Anne dan St John the Baptist di National Gallery, London. [50]
Gambar ini menggunakan halus sfumato teknik shading, dengan cara yang Mona lisa. It is
thought that Leonardo never made a painting from it, the closest similarity being to The Virgin
and Child with St. Anne in the Louvre. [ 8 ] Diperkirakan bahwa Leonardo tidak pernah membuat
lukisan dari itu, kesamaan yang paling dekat kepada Sang Perawan dan Anak dengan St Anne di
Louvre. [8]
Other drawings of interest include numerous studies generally referred to as "caricatures"
because, although exaggerated, they appear to be based upon observation of live models. Gambar
lain yang menarik termasuk berbagai penelitian umumnya disebut sebagai "karikatur" karena,
meskipun berlebihan, mereka tampak berdasarkan pengamatan model hidup. Vasari relates that if
Leonardo saw a person with an interesting face he would follow them around all day observing
them. [ 12 ] There are numerous studies of beautiful young men, often associated with Salai, with
the rare and much admired facial feature, the so-called "Grecian profile". [ nb 20 ] These faces are
often contrasted with that of a warrior. [ 50 ] Salai is often depicted in fancy-dress costume. Vasari
menceritakan bahwa jika Leonardo melihat seseorang dengan wajah yang menarik ia akan
mengikuti mereka sepanjang hari mengamati mereka. [12] Ada banyak studi tentang laki-laki
muda yang cantik, sering dikaitkan dengan Salai, dengan langka dan sangat dikagumi fitur
wajah, yang begitu disebut "Yunani profil". [nb 20] wajah ini sering dibandingkan dengan seorang
prajurit. [50] Salai seringkali digambarkan dalam kostum kostum. Leonardo is known to have
designed sets for pageants with which these may be associated. Leonardo diketahui telah
dirancang set untuk kecantikan dengan yang ini mungkin berhubungan. Other, often meticulous,
drawings show studies of drapery. Lain-lain, sering teliti, studi menunjukkan gambar tirai. A
marked development in Leonardo's ability to draw drapery occurred in his early works. Sebuah

perkembangan ditandai Leonardo kemampuan untuk menarik gorden terjadi pada karya-karya
awalnya. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in
Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the
murder of Giuliano, brother of Lorenzo de'Medici, in the Pazzi Conspiracy . [ 50 ] With
dispassionate integrity Leonardo has registered in neat mirror writing the colours of the robes
that Baroncelli was wearing when he died. Sering-direproduksi lain gambar adalah sketsa
mengerikan yang dilakukan oleh Leonardo di Florence pada 1479 menunjukkan tubuh Bernardo
Baroncelli, digantung sehubungan dengan pembunuhan Giuliano, saudara dari Lorenzo
de'Medici, di Pazzi Conspiracy. [50] Dengan integritas memihak Leonardo telah terdaftar di rapi
menulis cermin warna jubah yang mengenakan Baroncelli ketika ia meninggal.

Leonardo as observer, scientist and inventor Leonardo

sebagai pengamat, ilmuwan dan penemu

The Vitruvian Man (c. 1485) Accademia, Venice The Vitruvian Man (c. 1485) Accademia,
Venice
Main article: Science and inventions of Leonardo da Vinci Artikel utama: Ilmu Pengetahuan dan
penemuan Leonardo da Vinci

Journals Jurnal
Renaissance humanism saw no mutually exclusive polarities between the sciences and the arts,
and Leonardo's studies in science and engineering are as impressive and innovative as his artistic
work, recorded in notebooks comprising some 13,000 pages of notes and drawings, which fuse
art and natural philosophy (the forerunner of modern science). Humanisme Renaissance tidak
melihat polaritas yang saling eksklusif antara ilmu pengetahuan dan seni, dan Leonardo studi di
bidang ilmu pengetahuan dan teknik adalah sebagai mengesankan dan inovatif sebagai karya
seni, dicatat dalam buku catatan terdiri dari sekitar 13.000 halaman catatan dan gambar, yang
sekering seni dan filsafat alam ( pelopor ilmu pengetahuan modern). These notes were made and
maintained daily throughout Leonardo's life and travels, as he made continual observations of the

world around him. [ 13 ] Catatan ini dibuat dan dipelihara harian Leonardo seluruh kehidupan dan
perjalanan, ketika ia terus-menerus melakukan pengamatan terhadap dunia di sekelilingnya. [13]
The journals are mostly written in mirror-image cursive. Jurnal kebanyakan ditulis dalam
bayangan cermin kursif. The reason may have been more a practical expediency than for reasons
of secrecy as is often suggested. Alasan mungkin lebih praktis daripada untuk alasan-alasan
kemanfaatan kerahasiaan seperti sering disarankan. Since Leonardo wrote with his left hand, it is
probable that it was easier for him to write from right to left. [ nb 21 ] Sejak Leonardo menulis
dengan tangan kiri, adalah mungkin bahwa lebih mudah baginya untuk menulis dari kanan ke
kiri. [Nb 21]

A page from Leonardo's journal showing his study of a foetus in the womb (c. 1510) Royal
Library, Windsor Castle Sebuah halaman dari jurnal Leonardo studi memperlihatkan sebuah
janin di dalam rahim (c. 1510) Royal Perpustakaan, Windsor Castle
His notes and drawings display an enormous range of interests and preoccupations, some as
mundane as lists of groceries and people who owed him money and some as intriguing as
designs for wings and shoes for walking on water. Catatan dan gambar-gambar menampilkan
berbagai kepentingan besar dan kesibukannya, beberapa seperti biasa seperti daftar belanjaan dan
orang-orang yang berhutang uang dan beberapa yang menarik seperti desain untuk sayap dan
sepatu untuk berjalan di atas air. There are compositions for paintings, studies of details and
drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock
formations, whirl pools, war machines, helicopters and architecture. [ 13 ] Ada komposisi untuk
lukisan, penelitian detail dan gorden, kajian wajah dan emosi, binatang, bayi, pembedahan, studi
tanaman, formasi batuan, putar kolam renang, mesin perang, helikopter dan arsitektur. [13]
These notebooksoriginally loose papers of different types and sizes, distributed by friends after
his deathhave found their way into major collections such as the Royal Library at Windsor
Castle , the Louvre , the Biblioteca Nacional de Espaa , the Victoria and Albert Museum , the
Biblioteca Ambrosiana in Milan which holds the twelve-volume Codex Atlanticus , and British
Library in London which has put a selection from its notebook BL Arundel MS 263 online. [ 51 ]

The Codex Leicester is the only major scientific work of Leonardo's in private hands. Ini
awalnya notebook-kertas lepas dari berbagai jenis dan ukuran, didistribusikan oleh teman-teman
setelah kematiannya-telah menemukan cara mereka ke dalam koleksi utama seperti Royal
Library di Windsor Castle, Louvre, di Biblioteca Nacional de Espaa, di Victoria dan Albert
Museum, yang Biblioteca Ambrosiana di Milan yang memegang dua belas jilid Codex
Atlanticus, dan British Library di London yang telah melakukan seleksi dari Arundel MS
notebook BL 263 online. [51] The Codex Leicester adalah satu-satunya karya ilmiah utama
Leonardo di tangan swasta . It is owned by Bill Gates , and is displayed once a year in different
cities around the world. Hal ini dimiliki oleh Bill Gates, dan ditampilkan sekali setahun di
berbagai kota di seluruh dunia.
Leonardo's journals appear to have been intended for publication because many of the sheets
have a form and order that would facilitate this. Leonardo's jurnal tampaknya telah dimaksudkan
untuk publikasi karena banyak dari seprai memiliki bentuk dan ketertiban yang akan
memfasilitasi hal ini. In many cases a single topic, for example, the heart or the human foetus, is
covered in detail in both words and pictures, on a single sheet. [ 52 ] [ nb 22 ] Why they were not
published within Leonardo's lifetime is unknown. [ 13 ] Dalam banyak kasus, satu topik, misalnya,
jantung atau janin manusia, akan dijelaskan secara rinci dalam kata-kata dan gambar, pada satu
lembar. [52] [nb 22] Mengapa mereka tidak diterbitkan dalam seumur hidup Leonardo tidak
diketahui. [13]

Scientific studies Penelitian ilmiah

Rhombicuboctahedron as published in Pacioli's De Divina Proportione Rhombicuboctahedron

yang diterbitkan dalam Pacioli's De Divina Proportione
Leonardo's approach to science was an observational one: he tried to understand a phenomenon
by describing and depicting it in utmost detail, and did not emphasize experiments or theoretical
explanation. Leonardo pendekatan ilmu pengetahuan adalah pengamatan satu: dia mencoba
memahami suatu fenomena dengan menggambarkan dan menggambarkan dalam sangat detail,
dan tidak menekankan eksperimen atau teoritis penjelasan. Since he lacked formal education in
Latin and mathematics , contemporary scholars mostly ignored Leonardo the scientist, although
he did teach himself Latin. Karena ia tidak memiliki pendidikan formal dalam bahasa Latin dan
matematika, kebanyakan sarjana kontemporer diabaikan Leonardo ilmuwan, meskipun ia
mengajar dirinya sendiri bahasa Latin. In the 1490s he studied mathematics under Luca Pacioli
and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for
Pacioli's book De Divina Proportione , published in 1509. [ 13 ] Pada 1490-an, ia belajar

matematika di bawah Luca Pacioli dan menyiapkan serangkaian gambar makanan padat secara
teratur dalam bentuk kerangka yang akan terukir sebagai piring untuk buku Pacioli De Divina
Proportione, diterbitkan pada 1509. [13]
It appears that from the content of his journals he was planning a series of treatises to be
published on a variety of subjects. Tampaknya dari isi jurnal nya ia merencanakan serangkaian
risalah yang akan diterbitkan pada berbagai mata pelajaran. A coherent treatise on anatomy was
said to have been observed during a visit by Cardinal Louis D'Aragon 's secretary in 1517. [ 53 ]
Aspects of his work on the studies of anatomy, light and the landscape were assembled for
publication by his pupil Francesco Melzi and eventually published as Treatise on Painting by
Leonardo da Vinci in France and Italy in 1651, and Germany in 1724, with engravings based
upon drawings by the Classical painter Nicholas Poussin . [ 8 ] According to Arasse, the treatise,
which in France went into sixty two editions in fifty years, caused Leonardo to be seen as "the
precursor of French academic thought on art". [ 13 ] Sebuah risalah koheren anatomi dikatakan
telah diamati selama kunjungan oleh Kardinal Louis D'Aragon 's sekretaris pada tahun 1517. [53]
Aspek-aspek dari karyanya tentang studi anatomi, cahaya dan pemandangan berkumpul untuk
diterbitkan oleh muridnya francesco Melzi dan akhirnya diterbitkan sebagai Treatise on Lukisan
oleh Leonardo da Vinci di Prancis dan Italia pada 1651, dan Jerman pada tahun 1724, dengan
ukiran berdasarkan gambar oleh pelukis Klasik Nicholas Poussin. [8] Menurut Arasse, risalah,
yang di Perancis masuk ke sixty dua edisi dalam lima puluh tahun, disebabkan Leonardo harus
dilihat sebagai "pendahulu dari pemikiran akademis di perancis seni". [13]
A recent and exhaustive analysis of Leonardo as Scientist by Frtijof Capra [ 54 ] argues that
Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other
scientists who followed him. Baru-baru ini dan analisis lengkap Leonardo sebagai Scientific oleh
Frtijof Capra [54] berpendapat bahwa Leonardo adalah berbeda secara mendasar ilmuwan dari
Galileo, Newton dan ilmuwan lain yang mengikutinya. Leonardo's experimentation followed
clear scientific method approaches, and his theorising and hypothesising integrated the arts and
particularly painting, these, and Leonardo's unique integrated, holistic views of science make
him a forerunner of modern systems theory and complexity schools of thought. Leonardo's
eksperimen mengikuti pendekatan metode ilmiah yang jelas, dan theorising dan hypothesising
terpadu dan khususnya seni lukis, ini, dan unik Leonardo terpadu, holistik dilihat dari ilmu
pengetahuan membuatnya menjadi pelopor teori sistem modern dan kompleksitas mazhab
pemikiran.

Anatomical study of the arm, (c. 1510) Studi anatomis lengan, (c. 1510)

Anatomy Anatomi
Leonardo's formal training in the anatomy of the human body began with his apprenticeship to
Andrea del Verrocchio , his teacher insisting that all his pupils learn anatomy. Leonardo pelatihan
formal dalam anatomi dari tubuh manusia dimulai dengan magang untuk Andrea del Verrocchio,
gurunya bersikeras bahwa semua murid-muridnya belajar anatomi. As an artist, he quickly
became master of topographic anatomy , drawing many studies of muscles , tendons and other
visible anatomical features. Sebagai seorang seniman, ia dengan cepat menjadi tuan topografi
anatomi, menggambar banyak penelitian mengenai otot, tendon dan terlihat ciri-ciri anatomi
lainnya.
As a successful artist, he was given permission to dissect human corpses at the Hospital of Santa
Maria Nuova in Florence and later at hospitals in Milan and Rome . Sebagai seniman yang
sukses, ia diberi izin untuk membedah mayat manusia di Rumah Sakit Santa Maria Nuova di
Florence dan kemudian di rumah sakit di Milan dan Roma. From 1510 to 1511 he collaborated in
his studies with the doctor Marcantonio della Torre and together they prepared a theoretical work
on anatomy for which Leonardo made more than 200 drawings. Dari 1510-1511 ia bekerja sama
dalam penelitiannya dengan dokter Marcantonio della Torre dan bersama-sama mereka
menyiapkan karya teoretis dalam anatomi yang Leonardo dibuat lebih dari 200 gambar. It was
published only in 1680 (161 years after his death) under the heading Treatise on painting . [ 13 ]
[ 50 ]
Itu diterbitkan hanya dalam 1680 (161 tahun setelah kematiannya) di bawah judul Treatise
on lukisan. [13] [50]
Leonardo drew many studies of the human skeleton and its parts, as well as muscles and sinews,
the heart and vascular system , the sex organs , and other internal organs. Leonardo menarik
banyak studi tentang kerangka manusia dan bagian-bagiannya, serta otot dan otot, jantung dan
sistem pembuluh darah, maka organ seks, dan organ-organ internal lainnya. He made one of the
first scientific drawings of a fetus in utero . [ 50 ] As an artist, Leonardo closely observed and
recorded the effects of age and of human emotion on the physiology, studying in particular the

effects of rage. Dia membuat salah satu gambar ilmiah pertama dari sebuah janin dalam
kandungan. [50] Sebagai seorang seniman, Leonardo dekat mengamati dan mencatat efek usia dan
emosi manusia pada fisiologi, mempelajari efek khususnya kemarahan. He also drew many
figures who had significant facial deformities or signs of illness. [ 13 ] [ 50 ] Ia juga menarik banyak
tokoh-tokoh yang punya kelainan bentuk wajah yang signifikan atau tanda-tanda penyakit. [13] [50]
He also studied and drew the anatomy of many other animals as well, dissecting cows, birds,
monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of
humans. Dia juga belajar dan menggambar anatomi banyak hewan lain juga, membedah sapi,
burung, monyet, beruang, dan katak, dan membandingkan dalam gambar struktur anatomi
mereka dengan manusia. He also made a number of studies of horses. Dia juga membuat
sejumlah studi tentang kuda.

Engineering and inventions Rekayasa dan penemuan

A design for a flying machine, (c. 1488) Institut de France, Paris Sebuah desain untuk mesin
terbang, (c. 1488) Institut de France, Paris
During his lifetime Leonardo was valued as an engineer. Selama masa hidupnya Leonardo adalah
dihargai sebagai seorang insinyur. In a letter to Ludovico il Moro he claimed to be able to create
all sorts of machines both for the protection of a city and for siege. Dalam sebuah surat kepada
Ludovico il Moro ia mengaku dapat membuat segala jenis mesin baik untuk melindungi sebuah
kota dan untuk pengepungan. When he fled to Venice in 1499 he found employment as an
engineer and devised a system of moveable barricades to protect the city from attack. Ketika ia
melarikan diri ke Venesia pada 1499 ia mendapat pekerjaan sebagai seorang insinyur dan
menyusun sistem dapat dipindah-pindahkan barikade untuk melindungi kota dari serangan. He
also had a scheme for diverting the flow of the Arno River in order to flood Pisa. Dia juga punya
rencana untuk mengalihkan aliran Sungai Arno untuk banjir Pisa. His journals include a vast
number of inventions, both practical and impractical. Jurnal-Nya meliputi sejumlah besar
penemuan, baik praktis dan tidak praktis. They include musical instruments , hydraulic pumps,
reversible crank mechanisms, finned mortar shells, and a steam cannon . [ 10 ] [ 13 ] Mereka
termasuk alat-alat musik, pompa hidrolik, reversibel mekanisme engkol, mortir bersirip, dan
sebuah meriam uap. [10] [13]
In 1502, Leonardo produced a drawing of a single span 720-foot (240 m) bridge as part of a civil
engineering project for Ottoman Sultan Beyazid II of Istanbul . Tahun 1502, Leonardo
menghasilkan sebuah gambar dari satu rentang 720-kaki (240 m) jembatan sebagai bagian dari

teknik sipil proyek untuk Utsmaniyah Sultan Beyazid II dari Istanbul. The bridge was intended to
span an inlet at the mouth of the Bosporus known as the Golden Horn . Jembatan ini
dimaksudkan untuk p suatu teluk kecil di muara Bosporus yang dikenal sebagai Golden Horn.
Beyazid did not pursue the project, because he believed that such a construction was impossible.
Beyazid tidak mengejar proyek, karena ia percaya bahwa konstruksi seperti itu tidak mungkin.
Leonardo's vision was resurrected in 2001 when a smaller bridge based on his design was
constructed in Norway. [ 55 ] On May 17, 2006, the Turkish government decided to construct
Leonardo's bridge to span the Golden Horn . [ 56 ] Visi Leonardo dibangkitkan pada tahun 2001
ketika sebuah jembatan kecil yang didasarkan pada desain dibangun di Norwegia. [55] Pada
tanggal 17 Mei 2006, pemerintah Turki memutuskan untuk membangun jembatan Leonardo
untuk menjangkau Golden Horn. [56]
For much of his life, Leonardo was fascinated by the phenomenon of flight , producing many
studies of the flight of birds, including his c. 1505 Codex on the Flight of Birds , as well as plans
for several flying machines, including a helicopter and a light hang glider . [ 13 ] Most were
impractical, like his aerial screw helicopter design that could not provide lift. Untuk sebagian
besar hidupnya, Leonardo terpesona dengan fenomena penerbangan, menghasilkan banyak studi
tentang burung terbang, termasuk 1.505 c. Codex pada Flight of Birds, serta rencana untuk
beberapa mesin terbang, termasuk sebuah helikopter dan sebuah cahaya hang glider. [13] Sebagian
besar tidak praktis, seperti helikopter sekrup udara nya desain yang tidak bisa memberikan
angkat. However, the hang glider has been successfully constructed and demonstrated. [ 57 ]
Namun, hang glider telah berhasil dibangun dan ditunjukkan. [57]

Leonardo the legend Leonardo legenda

Main article: Cultural depictions of Leonardo da Vinci

Francis I of France receiving the last breath of Leonardo da Vinci, by Ingres , 1818. Francis I dari
Perancis menerima napas terakhir Leonardo da Vinci, oleh Ingres, 1818.
Within Leonardo's own lifetime his fame was such that the King of France carried him away like
a trophy, and was claimed to have supported him in his old age and held him in his arms as he
died. [ 58 ] Vasari , in his Lives of the Artists written about thirty years after Leonardo's death,
described him as having talents that "transcended nature". Dalam hidup sendiri Leonardo
ketenarannya adalah sedemikian rupa sehingga Raja Perancis membawanya seperti piala, dan
mengklaim telah mendukungnya di usia tua dan menahannya dalam pelukannya ketika ia
meninggal. [58] Vasari, dalam Lives of the Artists ditulis sekitar tiga puluh tahun setelah kematian
Leonardo, menggambarkan dia sebagai memiliki bakat yang "melampaui alam".

The interest in Leonardo has never slackened. Minat Leonardo tidak pernah berkurang. The
crowds still queue to see his most famous artworks, T-shirts bear his most famous drawing and
writers, like Vasari, continue to marvel at his genius and speculate about his private life and,
particularly, about what one so intelligent actually believed in. [ 13 ] Orang banyak masih antrian
untuk melihat karya-karya seni yang paling terkenal, T-shirt menanggung gambar paling terkenal
dan penulis, seperti Vasari, terus mengagumi kegeniusan dan berspekulasi tentang kehidupan
pribadi dan, khususnya, tentang apa yang begitu cerdas benar-benar percaya masuk [13]
Giorgio Vasari , in the enlarged edition of Lives of the Artists , 1568, [ 12 ] introduced his chapter
on Leonardo da Vinci with the following words: Giorgio Vasari, dalam edisi diperbesar Lives of
the Artists, 1568, [12] memperkenalkan bab mengenai Leonardo da Vinci dengan kata-kata
berikut:
In the normal course of events many men and women are born with remarkable talents; but
occasionally, in a way that transcends nature, a single person is marvellously endowed by
Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all
his actions seem inspired and indeed everything he does clearly comes from God rather than
from human skill. Dalam peristiwa normal banyak pria dan wanita terlahir dengan bakat luar
biasa, tetapi kadang-kadang, dengan cara yang melampaui alam, satu orang yang mengagumkan
diberkahi oleh Langit dengan keindahan, keanggunan dan bakat dalam kelimpahan seperti bahwa
ia meninggalkan laki-laki lain jauh di belakang , semua tindakan tampaknya terinspirasi dan
memang segala sesuatu yang tidak jelas berasal dari Allah dan bukan dari keahlian manusia.
Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical
beauty, who displayed infinite grace in everything that he did and who cultivated his genius so
brilliantly that all problems he studied he solved with ease. Semua orang mengakui bahwa ini
benar Leonardo da Vinci, seniman kecantikan fisik yang luar biasa, yang ditampilkan rahmat tak
terhingga dalam segala yang dia lakukan dan yang dibudidayakan kegeniusannya begitu
cemerlang bahwa semua masalah ia belajar ia diselesaikan dengan mudah.
Giorgio Vasari - Giorgio Vasari

Statue of Leonardo da Vinci at the Uffizi , Florence Patung Leonardo da Vinci di Uffizi, Florence

The continued admiration that Leonardo commanded from painters, critics and historians is
reflected in many other written tributes. Baldassare Castiglione , author of Il Cortegiano ("The
Courtier"), wrote in 1528: "... Another of the greatest painters in this world looks down on this
art in which he is unequalled ..." [ 59 ] while the biographer known as "Anonimo Gaddiano" wrote,
c. 1540: "His genius was so rare and universal that it can be said that nature worked a miracle on
his behalf ...". [ 60 ] Kekaguman yang terus-menerus bahwa Leonardo perintah dari pelukis,
kritikus dan sejarawan ini tercermin dalam banyak upeti tertulis lainnya. Baldassare Castiglione,
penulis Il Cortegiano ( "The Punggawa Istana"), menulis pada tahun 1528: "... lain pelukis
terbesar di dunia ini melihat ke bawah pada seni ini di mana ia tiada bandingnya ... "[59] sementara
biografi yang dikenal sebagai" Annimo Gaddiano "menulis, sekitar tahun 1540:"
Kegeniusannya sangat langka dan universal yang dapat dikatakan bahwa alam bekerja sebuah
keajaiban atas namanya ...". [60]
The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to
write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a
splendour that distanced former excellence: made up of all the elements that constitute the
essence of genius ..." [ 61 ] This is echoed by AE Rio who wrote in 1861: "He towered above all
other artists through the strength and the nobility of his talents." [ 62 ] Abad ke-19 membawa
kekaguman tertentu untuk Leonardo jenius, menyebabkan Henry Fuseli untuk menulis pada
tahun 1801: "Seperti itulah fajar seni modern, ketika Leonardo da Vinci pecah sebagainya
dengan mantan kemegahan yang menjauhkan keunggulan: terdiri dari semua elemen yang
membentuk esensi jenius ... "[61] Hal ini bergema oleh AE Rio yang menulis pada tahun 1861:" Ia
menjulang tinggi di atas semua seniman lain melalui kekuatan dan kemuliaan bakatnya. "[62]
By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings.
Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so
universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so
far ahead of his own century and the following centuries." [ 63 ] Pada abad ke-19, ruang lingkup
notebook Leonardo dikenal, serta lukisannya. Hippolyte Taine menulis pada 1866: "tidak boleh
ada di dunia contoh jenius lain yang sangat universal, sehingga tidak mampu pemenuhan, begitu
penuh kerinduan untuk yang tak terbatas, jadi tentu saja halus, begitu jauh di depan sendiri abad
dan abad-abad berikutnya. "[63]
The famous art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it
may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal
beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles,
he, with his feeling for line and for light and shade, forever transmuted it into lifecommunicating values." [ 64 ] Sejarawan seni terkenal Bernard Berenson menulis pada tahun 1896:
"Leonardo adalah seorang artis di antaranya dapat dikatakan dengan sempurna harfiah: Tidak ada
yang menyentuh dia tapi berubah menjadi hal kecantikan abadi. Entah itu bagian salib tengkorak,
yang struktur rumput, atau studi otot, ia, dengan perasaan untuk garis dan untuk cahaya dan
bayangan, selamanya ditransmutasikan ke nilai-nilai kehidupan berkomunikasi. "[64]
The interest in Leonardo's genius has continued unabated; experts study and translate his
writings, analyse his paintings using scientific techniques, argue over attributions and search for
works which have been recorded but never found. [ 65 ] Liana Bortolon, writing in 1967, said:

"Because of the multiplicity of interests that spurred him to pursue every field of knowledge ...
Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and
with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced
with a genius, as he was in the 16th century. Five centuries have passed, yet we still view
Leonardo with awe." [ 10 ]

See also Lihat juga

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Footnotes Footnotes
1. ^ This drawing in red chalk is widely (though not universally) accepted as an original
self-portrait . The main reason for hesitation in accepting it as a portrait of Leonardo is
that the subject is apparently of a greater age than Leonardo ever achieved. But it is

possible that he drew this picture of himself deliberately aged, specifically for Raphael's
portrait of him in The School of Athens .
2. ^ There are 15 significant artworks which are ascribed, either in whole or in large part, to
Leonardo by most art historians. This number is made up principally of paintings on
panel but includes a mural, a large drawing on paper and two works which are in the
early stages of preparation. There are a number of other works that have also been
variously attributed to Leonardo.
3. ^ Modern scientific approaches to metallurgy and engineering were only in their infancy
during the Renaissance.
4. ^ A number of Leonardo's most practical inventions are displayed as working models at
the Museum of Vinci.
5. ^ The third hour of the night was 10:30 pm, three hours after the saying of the Ave
Maria . [ 6 ]
6. ^ According to Alessandro Vezzosi, Head of the Leonardo Museum in Vinci, there is
evidence that Piero owned a Middle Eastern slave called Caterina who gave birth to a boy
called Leonardo. That Leonardo had Middle Eastern blood is supported by the
reconstruction of a fingerprint as reported by Marta Falconi, Associated Press Writer, "
Experts Reconstruct Leonardo Fingerprint " December 12, 2001
7. ^ That Leonardo joined the guild before this time is deduced from the record of payment
made to the Compagnia di San Luca in the company's register, Libro Rosso A, 14721520, Accademia di Belle Arti. [ 8 ]
8. ^ This work is now in the collection of the Uffizi , Drawing No. 8P.
9. ^ Homosexual acts were illegal in Florence at the time.
10. ^ In 2005, the studio was rediscovered during the restoration of part of a building
occupied for 100 years by the Department of Military Geography. [ 24 ]
11. ^ Both works are lost. While the entire composition of Michelangelo's painting is known
from a copy by Aristotole da Sangallo, 1542. [ 25 ] Leonardo's painting is only known from
preparatory sketches and several copies of the centre section, of which the best known,
and probably least accurate is by Peter Paul Rubens . [ 8 ]
12. ^ D'Oggione is known in part for his contemporary copies of the Last Supper .
13. ^ It is unknown for what occasion the mechanical lion was made but it is believed to
have greeted the King at his entry into Lyon and perhaps was used for the peace talks
between the French king and Pope Leo X in Bologna . A conjectural recreated of the lion
has been made and is on display in the Museum of Bologna . [ 30 ]
14. ^ Clos Luc, also called Cloux, is now a public museum.
15. ^ On the day of Leonardo's death, a royal edict was issued by the King at Saint-Germainen-Laye , a two-day journey from Clos Luc . This has been taken as evidence that King

Franois cannot have been present at Leonardo's deathbed. However, White in Leonardo:
The First Scientist points out that the edict was not signed by the king himself.
16. ^ Michael Baxandall lists 5 "laudable conditions" or reactions of Mary to the presence
and announcement of the angel. These are: Disquiet, Reflection, Inquiry, Submission and
Merit. In this painting Mary's attitude does not comply with any of the accepted
traditions. [ 47 ]
17. ^ The painting, which in the 18th century belonged to Angelica Kauffmann , was later
cut up. The two main sections were found in a junk shop and cobbler's shop and were
reunited. [ 27 ] It is probable that outer parts of the composition are missing.
18. ^ Whether or not Vasari had seen the Mona Lisa is the subject of debate. The opinion that
he had not seen the painting is based mainly on the fact that he describes the Mona Lisa
as having eyebrows. Daniel Arasse in Leonardo da Vinci discusses the possibility that
Leonardo may have painted the figure with eyebrows which were subsequently removed.
(They were not fashionable in the mid 16th century.) [ 13 ] The analysis of high resolution
scans made by Pascal Cotte has revealed that the Mona Lisa had eyebrows and eyelashes
which have been subsequently removed. [ 49 ]
19. ^ Jack Wasserman writes of "the inimitable treatment of the surfaces" of this painting. [ 27 ]
20. ^ The "Grecian profile" has a continuous straight line from forehead to nose-tip, the
bridge of the nose being exceptionally high. It is a feature of many Classical Greek
statues.
21. ^ Left-handed writers using a split nib or quill pen experience difficulty pushing the pen
from left to right across the page.
22. ^ This method of organisation minimises of loss of data in the case of pages being mixed
up or destroyed.

References Referensi
1. ^ a b c Gardner, Helen (1970), Art through the Ages , Harcourt, Brace and World
2. ^ a b c Vasari, Boltraffio, Castiglione, "Anonimo" Gaddiano, Berensen, Taine, Fuseli, Rio,
Bortolon, etc. See specific quotations under heading "Leonardo, the legend".
3. ^ Vitruvian Man is referred to as "iconic" at the following websites and many others:
Vitruvian Man , Fine Art Classics , Key Images in the History of Science ; Curiosity and
difference ; The Guardian: The Real da Vinci Code
4. ^ Replica of Leonardo's Adding Machine
5. ^ See expanded in article Science and inventions of Leonardo da Vinci
6. ^ a b Vezzosi, Alessandro, Leonardo da Vinci: Renaissance Man

7. ^ a b His birth is recorded in the diary of his paternal grandfather Ser Antonio, as cited by
della Chiesa
8. ^ a b c d e f g h i j k l m n o p q r s t u v della Chiesa, Angela Ottino (1967), The Complete Paintings of
Leonardo da Vinci , Penguin, ISBN 0-1400-8649-8
9. ^ Experts Reconstruct Leonardo Fingerprint , The Associated Press ,
http://www.washingtonpost.com/wpdyn/content/article/2006/12/01/AR2006120100961_pf.html , retrieved 2007-12-14
10. ^ a b c d e f g h i j k l m n o p q r s t u Bortolon, Liana (1967), The Life and Times of Leonardo ,
London: Paul Hamlyn
11. ^ Brigstoke, Hugh (2001). The Oxford Companion the Western Art . USA: Oxford
University Press . ISBN 0198662033 .
12. ^ a b c d e f g h i j k l m n Giorgio Vasari, Lives of the Artists , 1568; this edition Penguin Classics,
trans. George Bull 1965, ISBN 0-14-044-164-6
13. ^ a b c d e f g h i j k l m n o p q r s t Arasse, Daniel (1997), Leonardo da Vinci , Konecky & Konecky,
ISBN 1 56852 1987
14. ^ Martindale, Andrew, The Rise of the Artist , Thames and Hudson, ISBN 0-5000-56006
-4
15. ^ Theophilus On Divers Arts , translators:JGHawthorne and CS Smith, University of
Chicago Press, 1963; reprinted New York: Dover Publications 1979. This is a Medieval
practical handbook of skills for the artisan, and includes a brief instruction for mixing oil
paint.
16. ^ Cennino d'A. Cennini Il Libro dell' Arte , ed. DV Thompson Jr. (1933) New Haven:
Yale University Press. A practical handbook of painting written in the early 15th century.
17. ^ Abbott, Elizabeth (2001), A History of Celibacy , Da Capo Press, p. 340, ISBN
0306810417
18. ^ Priwer, Shana; Phillips, Cynthia (2006), The Everything Da Vinci Book: Explore the
Life and Times of the Ultimate Renaissance Man , Adams Media, pp. 245, ISBN
1598691015
19. ^ Leonardo da Vinci's Music , http://library.thinkquest.org/13681/data/link3.htm
20. ^ Rossi, Paolo (2001). The Birth of Modern Science . Blackwell Publishing. Blackwell
Publishing. pp. 33. ISBN 0631227113 .
21. ^ " Leonardo's Letter to Ludovico Sforza ". Leonardo-history . http://www.leonardohistory.com/life.htm?Section=S5 . Retrieved 2007-09-28 . Diperoleh 2007/09/28.
22. ^ Codex II, 95 r, Victoria and Albert Museum, as cited by della Chiesa

23. ^ Verrocchio's statue of Bartolomeo Colleoni was not cast until 1488, after his death, and
after Leonardo had already begun work on the statue for Ludovico.
24. ^ Owen, Richard ( 2005 - 01-12 ). " Found: the studio where Leonardo met Mona Lisa ".
The Times . http://www.timesonline.co.uk/tol/news/world/article411195.ece . Retrieved
2008-02-22=2008-02-22 .
25. ^ Goldscheider, Ludwig (1953), Michelangelo , Phaidon
26. ^ Gaetano Milanesi, Epistolario Buonarroti , Florence (1875), as cited by della Chiesa.
27. ^ a b c d e f g Wasserman, Jack (1975), Leonardo da Vinci , Abrams, ISBN 0-8109-0262-1
28. ^ Georges Goyau, Franois I] , Transcribed by Gerald Rossi. The Catholic Encyclopedia,
Volume VI. Published 1909. New York: Robert Appleton Company. Retrieved on 2007 10-04
29. ^ Miranda, Salvador (1998-2007), The Cardinals of the Holy Roman Church: Antoine du
Prat , http://www.fiu.edu/~mirandas/bios1527-ii.htm , retrieved 2007-10-04
30. ^ " Ancient automata- Leone " (in Italian) .
http://www.ancientandautomata.com/ita/lavori/leone.htm . Retrieved 2008-02-22 .
Diperoleh 2008/02/22.
31. ^ For such images, see Cultural depictions of Leonardo da Vinci .
32. ^ " Leonardo's will ". Leonardo-history . http://www.leonardo-history.com/life.htm?
Section=S6 . Retrieved 2007-09-28 . Diperoleh 2007/09/28.
33. ^ Mario Lucertini, Ana Millan Gasca, Fernando Nicolo (2004). " Technological Concepts
and Mathematical Models in the Evolution of Modern Engineering Systems ". Birkhauser
. http://books.google.com/books?
id=YISIUycS4HgC&pg=PA13&lpg=PA13&dq=leonardo+cellini+francois+philosopher .
Retrieved 2007-10-03 . Diperoleh 2007/10/03.
34. ^ a b c d e f g h Hartt, Frederich (1970), A History of Italian Renaissance Art , Thames and
Hudson, ISBN 0500231362
35. ^ a b c d Brucker, Gene A. (1969), Renaissance Florence , Wiley and Sons, ISBN 0-47111370-0
36. ^ a b c d e Rachum, Ilan (1979), The Renaissance, an Illustrated Encyclopedia , Octopus,
ISBN 0-7064-0857-8 ^ A b c d e Rachum, Ilan (1979), The Renaissance, sebuah Illustrated
Encyclopedia, Octopus, ISBN 0-7064-0857-8
37. ^ Popham, AE (1975), The Drawings of Leonardo da Vinci , Jonathan Cape, ISBN 0-22460462-7
38. ^ Williamson, Hugh Ross (1974), Lorenzo the Magnificent , Michael Joseph, ISBN
07181 12040

39. ^ Eugene Muntz, Leonardo da Vinci Artist, Thinker, and Man of Science (1898), quoted
at Leonardo da Vinci's Ethical Vegetarianism
40. ^ Sigmund Freud, Eine Kindheitserinnerung des Leonardo da Vinci , (1910), as cited by
Daniel Arasse in his prologue Leonardo and Freud , Leonardo da Vinci .
41. ^ Leonardo, Codex C. 15v, Institut of France. Trans. Trans. Richter Richter
42. ^ Gross, Tom. " Mona Lisa Goes Topless ". Paintingsdirect.com .
http://web.archive.org/web/20070403073656/www.paintingsdirect.com/content/artnews/0
32001/artnews1.html . Retrieved 2007-09-27 . Diperoleh 2007/09/27.
43. ^ Rossiter, Nick (2003-07-04). " Could this be the secret of her smile? ".
Telegraph.co.UK . http://www.telegraph.co.uk/arts/main.jhtml?
xml=/arts/2003/04/07/banr.xml . Retrieved 2007-10-03 . Diperoleh 2007/10/03.
44. ^ By the 1490s Leonardo had already been described as a "Divine" painter. His fame is
discussed by Daniel Arasse in Leonardo da Vinci , pp.11-15
45. ^ These qualities of Leonardo's works are discussed by Frederick Hartt in A History of
Italian Renaissance Art , pp.387-411.
46. ^ a b Berti, Luciano (1971), The Uffizi , Scala
47. ^ Baxandall, Michael (1974), Painting and Experience in Fifteenth Century Italy ,
Oxford University Press, ISBN 0 19 881329 5
48. ^ " The Mysterious Virgin ". National Gallery, London .
http://www.nationalgallery.org.uk/collection/features/potm/2006/may/feature1.htm .
Retrieved 2007-09-27 . Diperoleh 2007/09/27.
49. ^ " The Mona Lisa had brows and lashes ". BBC News . October 22, 2007 .
http://news.bbc.co.uk/2/hi/entertainment/7056041.stm . Retrieved 2008-02-22 . Diperoleh
2008/02/22.
50. ^ a b c d e f g h Popham, AE (1946), The Drawings of Leonardo da Vinci , Jonathan Cape,
ISBN 0 224 60462 7
51. ^ " Sketches by Leonardo ". Turning the Pages . British Library .
http://www.bl.uk/onlinegallery/ttp/ttpbooks.html . Retrieved 2007-09-27 . Diperoleh
2007/09/27.
52. ^ Windsor Castle, Royal Library, sheets RL 19073v-19074v and RL 19102 respectively.
53. ^ O'Malley; Saunders (1982), Leonardo on the Human Body , New York: Dover
Publications
54. ^ Capra, Fritjof. The Science of Leonardo; Inside the Mind of the Genius of the
Renaissance. (New York, Doubleday, 2007)
55. ^ The Leonardo Bridge Project

56. ^ Levy, Daniel S. (October 4, 1999). " Dream of the Master ". Time magazine .
http://www.vebjorn-sand.com/dreamsofthemaster.html . Retrieved 2007-09-27 .
Diperoleh 2007/09/27.
57. ^ The US Public Broadcasting Service (PBS), aired in October 2005, a television
programme called "Leonardo's Dream Machines", about the building and successful
flight of a glider based on Leonardo's design.
58. ^ see reference to this in section "Old age".
59. ^ Castiglione, Baldassare (1528), Il Cortegiano
60. ^ "Anonimo Gaddiani", elaborating on Libro di Antonio Billi , 15371542
61. ^ Fuseli, Henry (1801), Lectures , II
62. ^ Rio, AE (1861), L'art chrtien
63. ^ Taine, Hippolyte (1866), Voyage en Italie
64. ^ Berenson, Bernard (1896), The Italian Painters of the Renaissance
65. ^ ArtNews article about current studies into Leonardo's life and works ,
http://web.archive.org/web/20060505165842/http://www.artnewsonline.com/currentarticl
e.cfm?art_id=1240

Bibliography Bibliografi

Daniel Arasse (1997). Leonardo da Vinci . Konecky & Konecky. ISBN 1 56852 1987 .
Fred Brence (1965). Lonard de Vinci, L'homme et son oeuvre . Somogy. Dpot lgal 4
trimestre 1965.

Liana Bortolon (1967). The Life and Times of Leonardo . Paul Hamlyn, London.

Hugh Brigstoke (2001). The Oxford Companion the Western Art . USA: Oxford
University Press. ISBN 0198662033 .

Gene A. Brucker (1969). Renaissance Florence . Wiley and Sons. ISBN 0 471 11370 0 .

Angela Ottino della Chiesa (1967). The Complete Paintings of Leonardo da Vinci .
Penguin Classics of World Art series. ISBN 0-14-00-8649-8 .

Simona Cremante (2005). Leonardo da Vinci: Artist, Scientist, Inventor . Giunti. ISBN
88-09-03891-6 (hardback).

Frederich Hartt (1970). A History of Italian Renaissance Art . Thames and Hudson. ISBN
0500231362 .

Michael H. Hart (1992). The 100 . Carol Publishing Group. ISBN 0-8065-1350-0
(paperback).

John N. Lupia. The Secret Revealed: How to Look at Italian Renaissance Painting .
Medieval and Renaissance Times, Vol. 1, no. 2 (Summer, 1994): 617. ISSN 1075-2110.

Andrew Martindale (1972). The Rise of the Artist . Thames and Hudson. ISBN 0-500056006 .

Charles D. O'Malley and JB de CM Sounders (1952). Leonardo on the Human Body: The
Anatomical, Physiological, and Embryological Drawings of Leonardo da Vinci. With
Translations, Emendations and a Biographical Introduction . Henry Schuman, New York.

Charles Nicholl (2005). Leonardo da Vinci, The Flights of the Mind . Penguin. ISBN 014-029681-6 .

Sherwin B. Nuland (2001). Leonardo Da Vinci . Phoenix Press. ISBN 0-7538-1269.

AE Popham (1946). The Drawings of Leonardo da Vinci . Jonathan Cape. ISBN 0 224
60462 7 .

Shana Priwer & Cynthia Phillips (2006). The Everything Da Vinci Book: Explore the Life
and Times of the Ultimate Renaissance Man . Adams Media. ISBN 1598691015 .

Ilan Rachum (1979). The Renaissance, an Illustrated Encyclopedia . Octopus. ISBN 07064-0857-8 .

Jean Paul Richter (1970). The Notebooks of Leonardo da Vinci . Dover. ISBN 0-48622572-0 and ISBN 0-486-22573-9 (paperback). 2 volumes. 2 jilid. A reprint of the
original 1883 edition .

Paolo Rossi (2001). The Birth of Modern Science . Blackwell Publishing. ISBN
0631227113 .

Bruno Santi (1990). Leonardo da Vinci . Scala / Riverside.

Jack Wasserman (1975). Leonardo da Vinci . Abrams. ISBN 0-8109-0262-1 .

Giorgio Vasari (1568). Lives of the Artists . Penguin Classics, trans. George Bull 1965.
ISBN 0-14-044-164-6 .

Alessandro Vezzosi (1997 (English translation)). Leonardo da Vinci: Renaissance Man .

Thames & Hudson Ltd, London. ISBN 0-500-30081-X .

Frank Zollner (2003). Leonardo da Vinci: The Complete Paintings and Drawings .
Taschen. ISBN 3-8228-1734-1 (hardback). [The chapter "The Graphic Works" is by
Frank Zollner & Johannes Nathan].

External links Pranala luar

Find more about Leonardo da Vinci on Wikipedia's sister projects :

Definitions from Wiktionary Definisi dari Wiktionary

Textbooks from Wikibooks Buku teks dari Wikibooks
Quotations from Wikiquote Kutipan dari Wikiquote
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Learning resources from Wikiversity Sumber belajar dari Wikiversity

" Leonardo da Vinci " in the 1913 Catholic Encyclopedia .

Leonardo da Vinci: Experience, Experiment, Design (review)

Works by Leonardo da Vinci at Project Gutenberg

Leonardo da Vinci by Maurice Walter Brockwell at Project Gutenberg

Complete text & images of Richter's translation of the Notebooks

Vasari Life of Leonardo : in Lives of the Most Eminent Painters, Sculptors, and
Architects .

Web Gallery of Leonardo Paintings

Drawings of Leonardo da Vinci

Da Vinci Decoded Article from The Guardian

The true face of Leonardo Da Vinci?

Leonardo da Vinci's Ethical Vegetarianism

The Notebooks of Leonardo da Vinci

[hide]

vdelde

Leonardo da Vinci
Key : *Attributed ( see here for details ) **Collaboration with Verrocchio Lost

 Medusa * Dreyfus Madonna ** The Baptism of Christ The

Annunciation * Ginevra de' Benci * The Madonna of the Carnation
* Benois Madonna St. Jerome in the Wilderness The Adoration of the
Magi The Virgin of the Rocks (Louvre version) * Lady with an
Paintings
Ermine * Portrait of a Musician * Madonna Litta * La belle
Lukisan
ferronnire The Last Supper * Madonna of the Yarnwinder Mona
Lisa The Virgin of the Rocks (London version) The Battle of
Anghiari Leda and the Swan The Virgin and Child with St. Anne
St. John the Baptist * Bacchus
Sculpture
Leonardo's horse (unexecuted)
Patung
Works on Vitruvian Man The Virgin and Child with St Anne and St John the
paper
Baptist Portrait of Isabella d'Este
Manuscripts Codex Atlanticus Codex Leicester Codex Trivulzianus Codex on the
Manuscripts Flight of Birds
Inventions
Leonardo's robot Viola organista
Penemuan
Cultural depictions of Leonardo da Vinci Science and inventions of Leonardo da Vinci
Leonardo da Vinci's personal life

Retrieved from " http://en.wikipedia.org/wiki/Leonardo_da_Vinci "

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physiologists | Renaissance architects | Renaissance artists | Renaissance painters | Tuscan
painters | Fabulists | 15th century in science | 16th century in science | 1452 births | 1519 deaths
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