Historical Figures
Leonardo Da Vinci by
He was history's most creative genius. What secrets can he teach us? The [bestselling biographer] brings Leonardo da Vinci to life in this exciting new biography. Drawing on thousands of pages from Leonardo's astonishing notebooks and new discoveries about his life and work, Walter Isaacson weaves a narrative that connects his art to his science. He shows how Leonardo's genius was based on skills we can improve in ourselves, such as passionate curiosity, careful observation, and an imagination so playful that it flirted with fantasy. His creativity, like that of other great innovators, came from standing at the intersection of the humanities and technology. He peeled flesh off the faces of cadavers, drew the muscles that move the lips, and then painted history's most memorable smile on the Mona Lisa. He explored the math of optics, showed how light rays strike the cornea, and produced illusions of changing perspectives in The Last Supper. Isaacson also describes how Leonardo's lifelong enthusiasm for staging theatrical productions informed his paintings and inventions. His ability to combine art and science, made iconic by his drawing of what may be himself inside a circle and a square, remains the enduring recipe for innovation. His life should remind us of the importance of instilling, both in ourselves and our children, not just received knowledge but a willingness to question it; to be imaginative and, like talented misfits and rebels in any era, to think different."
Leonardo da Vinci by
Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.
Leonardo Da Vinci by
In Verrocchio's workshop -- "Maestro Lionardo dipintore" -- Virgin of the rocks: an unfortunate model, a successful composition -- Portraits: new iconography and old prejudices -- Toward a new classicism: from The Last Supper to The Virgin and Child with St. Anne -- Epilogue with deluges.
Leonardo Da Vinci's Treatise of Painting by
This book traces the story of the world's greatest treatise on painting - Leonardo Da Vinci's: Treatise of Painting. It combines an extensive body of literature about the Treatise with original research to offer a unique perspective on: Its origins, and history of how it survived the dispersal of manuscripts; Its contents, their significance and how Leonardo developed his Renaissance Theory of Art; The development of both the abridged and complete printed editions; How the printed editions have influenced treatises and art history throughout Europe, the Eastern Mediterranean, and America from the Seventeenth to the Twentieth Centuries.
Michelangelo by
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
Michelangelo by
Michelangelo Buonarroti (1475-1564) was a sculptor, architect, and painter of genius and a poet and writer of great accomplishment. He was born in Caprese, where his father, a Florentine nobleman, was the visiting magistrate. He was apprenticed in Florence to the painter Ghirlandaio in 1488, and thereafter learned the elements of fresco technique and developed a lifelong interest in sculpture. His talent brought him to the attention of Lorenzo de' Medici and other patrons in Florence and Rome. In his lifetime he was recognized as the greatest living artist, and created a succession of masterpieces of sculpture, fresco painting, and architecture. In all his work, Michelangelo impressed his contemporaries as a forceful personality, a divine genius endowed with terribilita, or intense emotional power. Often portrayed as a solitary and austere figure, he in fact enjoyed a remarkable range of friendships, and those he loved and hated, served or resisted, are presented here, from his family and fellow artists to the popes, nobles, and rulers of Europe. In this new life of Michelangelo, George Bull places him firmly in the context of his time. He worked during three-quarters of a century of tremendous change in European society, and as an artist was supremely responsive to the hopes, fears, and values of his culture, which he both exemplified and defied.
Michelangelo by
Michelangelo Buonarroti was born in 1475 at Caprese, in Tuscany. He was apprenticed to Domenico Ghirlandaio in 1488, when he was 13, and worked continuously until six days before his death. In 1489, Michelangelo was summoned to the court of Lorenzo de'Medici, where he learnt the technical skills essential to his craft, fashioning clay and practising drawing by copying earlier works. Michelangelo examines the life and works of this great artist, including the Pieta, created when he was just 23, and the David, commissioned in 1501. The book is divided in to sections corresponding to the phases of Michelangelo's work, with one section devoted to the paintings on the Sistine Chapel Ceiling.
Raphael by
Raphael was the artist who most closely resembled Pheidias. The Greeks said that the latter invented nothing; rather, he carried every kind of art invented by his forerunners to such a pitch of perfection that he achieved pure and perfect harmony. Those words, “pure and perfect harmony,” express, in fact, better than any others what Raphael brought to Italian art. From Perugino, he gathered all the weak grace and gentility of the Umbrian School, he acquired strength and certainty in Florence, and he created a style based on the fusion of Leonardo's and Michelangelo's lessons under the light of his own noble spirit. His compositions on the traditional theme of the Virgin and Child seemed intensely novel to his contemporaries, and only their time-honoured glory prevents us now from perceiving their originality. He has an even more magnificent claim in the composition and realisation of those frescos with which, from 1509, he adorned the Stanze and the Loggia at the Vatican. The sublime, which Michelangelo attained by his ardour and passion, Raphael attained by the sovereign balance of intelligence and sensibility. One of his masterpieces, The School of Athens, was created by genius: the multiple detail, the portrait heads, the suppleness of gesture, the ease of composition, the life circulating everywhere within the light are his most admirable and identifiable traits.
Raphael by 
Titian by
The first definitive biography of the master painter in more than a century, Titian: His Life is being hailed as a "landmark achievement" for critically acclaimed author Sheila Hale (Publishers Weekly). Brilliant in its interpretation of the 16th-century master's paintings, this monumental biography of Titian draws on contemporary accounts and recent art historical research and scholarship, some of it previously unpublished, providing an unparalleled portrait of the artist, as well as a fascinating rendering of Venice as a center of culture, commerce, and power. Sheila Hale's Titian is destined to be this century's authoritative text on the life of greatest painter of the Italian High Renaissance.
Titian by
Showcases the remarkable career of Italian Renaissance master Titian, in a lavishly illustrated look at his complete oeuvre, including his colorful religious works, allegories, and mythological paintings.
Dosso Dossi by
The court of Ferrara was a leading center of Renaissance art in the 16th century, and Dosso Dossi was its greatest and most idiosyncratic painter. This book, which accompanies the first major exhibition of Dosso's work, includes nearly all his surviving paintings -- mythological, literary, and religious.
While Dosso learned much from his contemporaries Titian, Raphael, and Michelangelo, he developed a unique style marked by imagination, sensual delight, and sharp wit. Here, each painting is reproduced and discussed in detail, and essays by eminent scholars explore Dosso's career, probe the visual poetry of his works, and present important new documentary information as well as technical analyses of his innovative working methods.
Leonardo and the Last Supper by
Early in 1495, Leonardo da Vinci began work in Milan on what would become one of history's most influential and beloved works of art- The Last Supper . After a dozen years at the court of Lodovico Sforza, the Duke of Milan, Leonardo was at a low point personally and professionally: at forty-three, in an era when he had almost reached the average life expectancy, he had failed, despite a number of prestigious commissions, to complete anything that truly fulfilled his astonishing promise. His latest failure was a giant bronze horse to honor Sforza's father: His 75 tons of bronze had been expropriated to be turned into cannons to help repela French invasion of Italy. The commission to paint The Last Supper in the refectory of a Dominican convent was a small compensation, and his odds of completing it were not promising: Not only had he never worked on a painting of such a large size-15' high x 30' wide-but he had no experience in the extremely difficult medium of fresco.
In his compelling new book, Ross King explores how-amid war and the political and religious turmoil around him, and beset by his own insecurities and frustrations-Leonardo created the masterpiece that would forever define him. King unveils dozens of stories that are embedded in the painting. Examining who served as the models for the Apostles, he makes a unique claim: that Leonardo modeled two of them on himself. Reviewing Leonardo's religious beliefs, King paints a much more complex picturethan the received wisdom that he was a heretic. The food that Leonardo, a famous vegetarian, placed on the table reveals as much as do the numerous hand gestures of those at Christ's banquet.
As King explains, many of the myths that have grown up around The Last Supper are wrong, but its true story is ever more interesting. Bringing to life a fascinating period in European history, Ross King presents an original portrait of one of the world's greatest geniuses through the lens of his most famous work.
Creation of Adam. c. 1511
The Sistine Ceiling Restored by
Michelangelo's creation of the monumental frescos in the Sistine Chapel marked a revolutionary event in Western art. Now, another revolutionary event has occurred: a nine-year restoration, carried out by experts at the Vatican Museums and described and illustrated in this incredible work. 312 illustrations, 293 in full color; gatefold.
Bacchus and Ariadne. c. 1520 - 1523.
