Description
Discover the profound connection between art and science in 'The Shadow Drawing'. This captivating exploration delves into the genius of Leonardo da Vinci, revealing the lesser-known story behind one of history's greatest artists and inventors. In 'The Shadow Drawing', art historian Francesca Fiorani rewrites the conventional narrative, illuminating how Leonardo integrated his scientific understanding with his artistic endeavors. With a focus on optics and the science of light and shadow, this biographical masterpiece uncovers how da Vinci aimed to depict not just appearances, but the intricate layers of human emotion and complexity. Featuring detailed analysis of Leonardo’s notebooks and rare insights, this book is perfect for art enthusiasts and history buffs alike. Enhance your understanding of Renaissance art with this enriching read that highlights the interplay between creativity and scientific discovery. Perfect for students, scholars, or anyone captivated by the legacy of da Vinci, 'The Shadow Drawing' transforms our view of the great maestro. Free shipping is available for this item; please allow up to 6 weeks for delivery. Note: once your order is placed, it cannot be canceled. This brand new edition, published by St Martins Press in 2022, spans 394 pages, providing a thorough and insightful look into the life and works of Leonardo da Vinci.
Note: Shipping for this item is free. Please allow up to 6 weeks for delivery. Once your order is placed, it cannot be cancelled.
Condition: BRAND NEW
ISBN: 9781250800213
Year: 2022
Publisher: St Martins Press
Pages: 394
Description:
Leonardo da Vinci has long been celebrated as the epitome of genius. He was the masterful painter who gave us the Mona Lisa and the Last Supper, and the visionary inventor who anticipated airplanes, hot-air balloons, and other technological marvels. But what was the connection between Leonardo the painter and Leonardo the scientist? And what can a mysterious, long-lost book teach us about how Leonardo truly conceived his art?
Shortly after Leonardo’s death, his peers and rivals created the myth of the two Leonardos: there was Leonardo the artist and then, later in life, Leonardo the scientist. In this pathbreaking biographical interpretation, the art historian Francesca Fiorani tells a very different and much more interesting story.
Taking a fresh look at Leonardo’s celebrated but challenging notebooks as well as other, often obscure sources, Fiorani shows that Leonardo became fluent in science when he was still a young man. As an apprentice in a Florence studio, he was especially interested in the science of optics, which tells us how we see what we see. For the rest of his life he remained, according to a close observer, obsessed with optics, believing that his art would grow only as his knowledge of light and shadow deepened.
Given Leonardo’s scientific bent, one might think this meant that he wanted to turn himself into a human camera. In fact, he aspired to use science to capture—as no artist before him had ever done—the interior lives of his subjects, to paint the human soul in its smallest, tenderest motions and vicissitudes. And then he hoped to take one further step: to gather his scientific knowledge together
Note: Shipping for this item is free. Please allow up to 6 weeks for delivery. Once your order is placed, it cannot be cancelled.
Condition: BRAND NEW
ISBN: 9781250800213
Year: 2022
Publisher: St Martins Press
Pages: 394
Description:
Leonardo da Vinci has long been celebrated as the epitome of genius. He was the masterful painter who gave us the Mona Lisa and the Last Supper, and the visionary inventor who anticipated airplanes, hot-air balloons, and other technological marvels. But what was the connection between Leonardo the painter and Leonardo the scientist? And what can a mysterious, long-lost book teach us about how Leonardo truly conceived his art?
Shortly after Leonardo’s death, his peers and rivals created the myth of the two Leonardos: there was Leonardo the artist and then, later in life, Leonardo the scientist. In this pathbreaking biographical interpretation, the art historian Francesca Fiorani tells a very different and much more interesting story.
Taking a fresh look at Leonardo’s celebrated but challenging notebooks as well as other, often obscure sources, Fiorani shows that Leonardo became fluent in science when he was still a young man. As an apprentice in a Florence studio, he was especially interested in the science of optics, which tells us how we see what we see. For the rest of his life he remained, according to a close observer, obsessed with optics, believing that his art would grow only as his knowledge of light and shadow deepened.
Given Leonardo’s scientific bent, one might think this meant that he wanted to turn himself into a human camera. In fact, he aspired to use science to capture—as no artist before him had ever done—the interior lives of his subjects, to paint the human soul in its smallest, tenderest motions and vicissitudes. And then he hoped to take one further step: to gather his scientific knowledge together