Vinci L biography

Born in Leonardo Vinci, near Florence, in the city he was the son of a certain Pierrot, a notary of Signoria in Florence. Noticing his son’s extreme abilities for painting, his father gave him to the teaching to Andrea Verrocco, one of the representatives of the Tuscan School of Painting. Vasari mentions Vinci's first picturesque experience, about the "Medusa" lying on the ground among the many reptiles.

Many experts in art believe that this is the very picture that is currently in Florence, in Uffizi, but the RUMOR and Kugler are inclined to the opinion that the Florentine Medusa has only a copy from the original work of Vinci. In the painting of Verrrokyo: “Baptism of the Lord”, one of the angels was written by Vinci; According to the legend, transmitted by Vasari, the old master, seeing himself an surpassed work of the student, threw a painting as if painting.

Be that as it may, but near G. Vinci, who was then twenty years old, left the workshop of Verrocco and began to work independently. Two cardboard belongs to his early works: one depicts Neptune among the raging waves, with nymphs and news; On the other, the fall of Adam and Eve among the landscape representing paradise. It is difficult to say anything definite about these early works: they have not been preserved.

In general, most of the works that are lying under the name of Lyonardo in museums - either copies or the work of his students. In any case, there is little information about Vinci's youth; Normal and consistent development, so noticeable in Michelangelo and Raphael, cannot be traced in Vinci's life. Approximately in the city, he, however, was instructed to establish the Academy of Arts in Milan.

For teaching at this Academy, Vinci compiled treatises about painting, about the lines, about the shadows, about movement, about theory and practice, about the movements of the human body, the proportions of the human body, Vasari also mentions the “treatise on the perspective”, which was supposed to enter all the works of Vinci in painting, and one copy of which belonged to Benvenuto Cellini.

Vinci was beautiful, perfectly complicated, possessed huge physical strength, was knowledgeable in knightly arts, riding, dancing, fencing, etc. As an architect Vinci, he built buildings, especially in Milan, and composed a lot of architectural projects and drawings, specially engaged in anatomy, mathematics, prospects, mechanics; He left extensive projects, like, for example.

Giovanni in Florence in order to exalt the foundation under it and thus give this building a more magnificent look. For the sake of studying the expressions of feelings and passions in a person, Vinci visited the most crowded places where human activity was in full swing, and brought into the album everything that he came across; He escorted the criminals to the place of execution, capturing the expression of torment and extreme despair; He invited peasants to his house, which he told the funniest things, wanting to study their comic expression on their faces.

With such realism, Vinci was at the same time endowed in the highest degree deep, a delicate, tender, partly centimerative dreaminess. In some of his works, one or the other element prevails, but in the main, best, works, both elements are balanced by excellent harmony, so, thanks to the ingenious plan and a sense of beauty, they occupy that high step that strengthens Vinci, of course, one of the first places among the great masters of the latest art.

Vinci belongs to the same era of life, “St. Family ” - a picture known as“ Vierge Aux Rochers ”Louvre. Of the enterprises executed by Vinci, on behalf of Louis, the Sforztsi, the colossal horse statue in memory of the Francesniki, spilled from bronze, is especially remarkable. The first model of this monument accidentally crashed. Vinci pulled out another, but the statue was not cast due to a lack of money.

When the French in the city in the same way is another great work of Vinci, the “secret evening” can be considered almost non -existent. It is written on a wall of 28 feet in the meal of the monastery of Santa Maria Delle-grace. From the certificate of ammoreti it should be concluded that this picture was over in the year. Unfortunately, Vinci performed it with colors, of which some turned out to be very fragile.

Fifty years after the end, the picture, according to Vasari, was in the most miserable condition. However, if at that time it was possible to fulfill the desire of King Francis I, expressed sixteen years after the end of the picture, and, breaking the wall, translate the picture to France, then maybe it would be preserved. But this could not be done.

In the city, in the city, the picture was several times unsuccessful in the city at the present time, when this great work represents such a sad ruin, a caretaker was assigned to it and scraps were made for the audience. Fortunately, the original cardboard of some goals survived, as well as copies removed by the students of the master, partly under his direct supervision.

A copy of M. Ojion transmitting the work of Vinci in small form is located in the St. Petersburg Hermitage.Cardboard is partly preserved in the Velikogsog meeting in Weimar, partly among individuals in England. Some sketches are located at the Venice Academy, and the initial drawing of the entire composition is in the Parisian meeting of original drawings. Based on these materials, attempts were made to reproduce the “secret evening” in the form that it had at the beginning.

These attempts include: engraving of Morgen and Cardboard Bossy; From this cardboard, Bossy himself took copies with oil paints, which served as a model for a mosaic located in the Augustine church in Vienna. A copy of Ferrari is located in the Gallery of the Duke of Leichtenberg at the St. Petersburg Academy of Arts. Thanks to all these attempts, we can at least have a general idea of ​​this great work of art.

Vinci worked slowly and left many unfinished things, which is explained by frequent interruptions in his artistic activity. These works, in most cases, were subsequently endured by his students. Therefore, there are very few paintings that are undoubtedly belonging to Vinci.

It is hardly possible to reckon the paintings for Vinci's works: “Vierge au Has Relief” Gal. Connoisseurs of art are recognized as genuine only the following works: “The Secret Evening” by Milan, “The Virgin and St. Family ”and a portrait of a lady probably Lucretia Creelli, in the Hermitage. The Ambrosian library in Milan has a whole series of very interesting small sketches and drawings, including the portraits of Louis Sforza and his wife, as well as several other portraits, are especially remarkable.

Leonardo da Vinci died in a club, near ambuas, in France, in the city Vazari's touching story about his death in the hands of the king is fictitious. The first edition, according to the manuscript of the Barberini library, appeared in Paris in G. Regarding the other manuscripts of Vinci, they are in different meetings, public and private. The most valuable collection of manuscripts is stored in the Paris National Library of one volume and at the French Institute thirteen volumes.

These manuscripts were taken by the French in Charles Ravesson Mollien, the publication of these manuscripts with photographic Facsimile, literal transcription, French translation, preface and systematic contents. The last, fourth volume was published in Amoretti, “Memori Storiche Sulla Vita, Gli Studjet Le Opese di L. Lebensskizze etc. Vinci's scientists are the main ones as follows.

He invented the so -called oval cartridge, which serves to wipe the ellipses of arbitrary eccentric on a lathe. It is known that he dealt with various issues of mechanics, as can be judged by the notebooks remaining after him, which concludes a lot of very diverse material; But there are no whole works on mechanics. Venturi in his Essai Sur Les Ouvrags Physicomathematiques de Leonard de Vinci, Paris, indicates that Vinci was known to increase the speed of a freely falling body.

Libri, in his “Histoire des Sciences Mathematiques En Italie” Paris, 41 ascribes Vinci the following studies: about the fall of the body on the inclined plane, about the severity of the pyramids, about the blow of the bodies, about the movement of sand on sounding plates; On the laws of friction, and inventions: dynamometer, odometer, some blacksmithing tools, a double air supply lamp; In addition, Libri says that Vinci wrote an essay on hydraulics.

He is also attributed to an explanation of the vision of objects by once with two eyes, in contrast to viewing only one.