Leonardo da Vinci: The Life of Leonardo da Vinci, Florentine Painter and Sculptor [1452-1519]
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LEONARDO DA VINCI ( 1452-1519). It was not only in painting that the genius of Leonardo was a seminal force -- he also made very advanced architectural designs and astonished the world in 1493 with his huge equestrian monument in Milan, of which the clay version was completed only to be destroyed by French troops in 1499. He was a musician and a virtuoso of the lute; as scientist, engineer and inventor, he was indisputably in the vanguard of his age. Of his paintings, only half a dozen pictures have been preserved, but he nevertheless introduced a new epoch in the history of the art. In the 'Last Supper' (1495-98) in the refectory of S. Maria delle Grazie in Milan, he succeeded, by using a daring technique, in applying to an old theme a new composition in the spirit of the High Renaissance. Unfortunately, the years have taken heavy toll of the fresco. In the 'Battle of Anghiari', which he painted for Florence, he produced highly animated scenes with riders, which anticipated Baroque and influenced Rubens, who copied part of the cartoon. Da Vinci's unfortunate addiction to technical experiment ruined the painting while he was still at work on it. In his 'Madonna of the Rocks' in the Louvre he already employed the sfumato technique and thus opened the way for a remarkable style of painting which later blossomed in Venice. The sweetness and grace of this picture is intensified in the wonderful harmony of his 'St Anne, Virgin and Child' in the Louvre, which is one of his most beautiful works. Here, the same wise, and yet secret smile plays round the features of St Anne, as was to enchant the whole world in the somewhat later Gioconda. The smile of Mona Lisa and its soft, blurred technique was copied by many imitators, but never again equalled. After his apprenticeship in Florence to Verrocchio, Leonardo was summoned to the Court of the Sforzas in Milan, which he left in 1499. He was in Florence until 1506 and then returned to Milan.
With Leonardo da Vinci we are introduced to the first great master of the High Renaissance. Fully trained in the old school, he both accepted quattrocento conventions and broke from them into 16th-century freedom. It is difficult to analyse in a word the quality which has placed Leonardo among the supreme masters. His art-product was small as compared to other Italian artists. He left no monumental architecture and no finished work of sculpture. There remain six authentic paintings, two of them unfinished, numerous drawings of all kinds showing marvellous invention, and voluminous written notes of his artistic and scientific theories, and finally there remains the record of the spell he cast over his contemporaries. As a mere painter there are many Florentines to delight us more. He never learned to paint supremely well. His mind was too active for the palette. No great artist ever left so many evidences of experiment, or so many signs of other enthralling interests. He is the courtier, the philosopher, the scientist. His drawings of plant life are botanical, those of the earth are geologic. His mathematical theories anticipated the discoveries of modern scientists. He was busy with aviation and theories of hydraulics. Years passed busied with sculpture and architecture, of which only sketches remain. Yet at important stages of his career painting was his chief interest, and though his other occupations limited the amount of his art-work, they also introduced into it an element of experience and intellectual power that is rare among artists, and which makes him the first culminating genius of Italian humanism, and the first modern painter.
True painting relies exclusively upon the qualities inherent in the paints, and does not depend on any other method of representation. Since the outline naturally follows the form of an object, its use introduces a sculptural element, which the 'pure' painter tries to avoid. With this end in view, Leonardo da Vinci invented sfumato. Its function is to make the picture appear as if a veil had been placed over it or as if it is enveloped in a mist, whereby all the outlines have become blurred and indefinite. An effect of a similar kind is achieved in 'tonal' painting where one basic colour tone is used. In Vermeer's case this was blue, whilst Rembrandt and other Flemish and Dutch painters used a golden brown. This basic tone suffuses all the other colours; it is either used as a 'ground' and shines through them, or is laid over them to form a last layer of colour. It was usual for great painters and architects to distinguish themselves in many fields of science. The Florentine architect Leone Battista Alberti was also a sculptor and painter und the leading theoretician of art in 15th-century Italy. He developed a fine physique as a skilful gymnast and horseman. Even musical compositions, elegant novels and Latin prose were not beyond him. In addition, he made a reputation as a capable lawyer and a talented mathematician. And yet beside Leonardo da Vinci's even mightier genius this remarkable man was a mere novice. In Burckhardt's words, ' Leonardo da Vinci was to Alberti as the finisher to the beginner, as the master to the dilettante'.
Born in the Florentine town of Vinci, of good family, his father a notary of Florence, his mother a girl of Vinci, Leonardo was brought up to cultivated intercourse in his father's house in Florence, and he was always at home in courtly circles. He was placed in Verrocchio's bottega at some early period, exactly when is not known, and had for fellow-pupils Lorenzo di Credi and Perugino. Here he worked for some years, at least as late as 1476, which is three years after his first dated work; perhaps he was there even later. There are few facts of this period. He was admitted to the Guild of Painters in 1472, while still with his master. There is something suggestive of Leonardo's just estimate of values, that he lingered so long as Verrocchio's assistant. It is indicative of a temperament which, however swift to accept new ideas, held at their full value the gifts of the past. Early in 1482 he went to Milan, and was established at the court of Ludovico Sforza--Il Moro--where, besides serious undertakings, he became involved in designing the accessories of court fêtes, and for seventeen years was one of the notable personages in the city. With the fall of the Duke in 1499 he returned to Florence, which he reached in 1500. From July 1, 1502, until the spring of 1503, he was travelling throughout Central Italy, assisting in designing Cesare Borgia's fortifications in the Marches. From 1503 to 1506 he was busy on important commissions in Florence. His remaining years were spent mainly in the employ of princes. He was at Milan 1506-1507 and 1508-1512, working for the French king or his viceroy--a period when he influenced Milanese painting even more than during his early residence there. He was in Rome 1513-1514, where he was lodged like a prince in the Vatican. Finally, after some months of travel in Italy, he went to France in the train of Francis I in 1515. Here, four years later ( 1519), he died, attended by loving friends and at peace in religion, in his château of Cloux, near Amboise.
Leonardo's character, like his works, eludes analysis. He was gracious, welcome in society, and dear to friends. He was an onlooker in the political and religious struggles of the Born in the Florentine town of Vinci, of good family, his father a notary of Florence, his mother a girl of Vinci, Leonardo was brought up to cultivated intercourse in his father's house in Florence, and he was always at home in courtly circles. He was placed in Verrocchio's bottega at some early period, exactly when is not known, and had for fellow-pupils Lorenzo di Credi and Perugino. Here he worked for some years, at least as late as 1476, which is three years after his first dated work; perhaps he was there even later. There are few facts of this period. He was admitted to the Guild of Painters in 1472, while still with his master. There is something suggestive of Leonardo's just estimate of values, that he lingered so long as Verrocchio's assistant. It is indicative of a temperament which, however swift to accept new ideas, held at their full value the gifts of the past. Early in 1482 he went to Milan, and was established at the court of Ludovico Sforza--Il Moro--where, besides serious undertakings, he became involved in designing the accessories of court fêtes, and for seventeen years was one of the notable personages in the city. With the fall of the Duke in 1499 he returned to Florence, which he reached in 1500. From July 1, 1502, until the spring of 1503, he was travelling throughout Central Italy, assisting in designing Cesare Borgia's fortifications in the Marches. From 1503 to 1506 he was busy on important commissions in Florence. His remaining years were spent mainly in the employ of princes. He was at Milan 1506-1507 and 1508-1512, working for the French king or his viceroy--a period when he influenced Milanese painting even more than during his early residence there. He was in Rome 1513-1514, where he was lodged like a prince in the Vatican. Finally, after some months of travel in Italy, he went to France in the train of Francis I in 1515. Here, four years later ( 1519), he died, attended by loving friends and at peace in religion, in his château of Cloux, near Amboise.
Leonardo's character, like his works, eludes analysis. He was gracious, welcome in society, and dear to friends. He was an onlooker in the political and religious struggles of the times, yet he was an independent thinker, and considered to be religious.
Leonardo's life may be divided into five periods:
I. 1452-1482, THE FLORENTINE, to which belong the little Annunciation (Louvre), the Adoration (Uffizi), the S. Jerome (Vatican), and the two debated pictures, the Baptism (Belle Arti) and Annunciation (Uffizi). II. 1482-1499, THE FIRST MILANESE, the period of the Equestrian Statue of Sforza, the Virgin of the Rocks, and the Last Supper. III. 1500-1508, THE SECOND FLORENTINE, including various journeyings; containing the cartoon of the Battle of Anghiari, for the decoration of the Great Council Hall in Florence, and the famous Mona Lisa. IV. 15081513, THE SECOND MILANESE PERIOD. V. THE FINAL PERIOD, including his visit to Rome ( 1514-1515), and his residence ( 15161519) until his death in France.
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