Masters of Art: Leonardo da Vinci by Delphi Classics

By Delphi Classics

This can be the 1st quantity of a brand new sequence of guides by means of Delphi Classics, the best-selling writer of classical works. a primary of its style in electronic print, the ‘Masters of Art’ sequence permits electronic readers to discover the works of the world’s maximum artists in finished aspect. This quantity provides the genius of Leonardo da Vinci, the world's maximum painter, in attractive aspect, with concise introductions and the standard Delphi bonus material.

Features:
* the full work of Leonardo da Vinci
* comprises formerly misplaced works, with annotations
* concise introductions to the work and different works, giving precious contextual information
* study the secrets and techniques of the MONA LISA, the historical past of THE final SUPPER or the that means at the back of THE VITRUVIAN MAN
* appealing 'detail' photos, permitting you to discover Leonardo's masterpieces as if within the gallery
* contains Leonardo’s drawings and his entire notebooks, with plates
* particular feedback part, with essays through critics reminiscent of Sigmund Freud
* positive aspects biographies on Leonardo's lifestyles, together with Vasari's well-known biography
* countless numbers of pictures in attractive color - hugely instructed for Kindle fireplace, iPhone, iPad or notebook clients, or as a worthy reference software on conventional Kindles
* up to date with better pictures and lately attributed works

Please stopover at: www.delphiclassics.com to browse our diversity of paintings eBooks

CONTENTS:

The Paintings
TOBIAS AND THE ANGEL
MADONNA OF THE POMEGRANATE
THE MADONNA OF THE CARNATION
THE BAPTISM OF CHRIST
THE ANNUNCIATION
THE BENOIS MADONNA
PORTRAIT OF GINEVRA DE’ BENCI
ST. JEROME within the WILDERNESS
THE ADORATION OF THE MAGI
THE VIRGIN OF THE ROCKS (LOUVRE)
THE VIRGIN OF THE ROCKS (NATIONAL GALLERY)
THE HEAD OF A WOMAN
LITTA MADONNA
LADY WITH AN ERMINE
PORTRAIT OF A MUSICIAN
LA BELLE FERRONNIÈRE
THE final SUPPER
THE MADONNA OF THE YARNWINDER
MONA LISA
THE VIRGIN AND baby WITH ST. ANNE
LEDA AND THE SWAN
ST. JOHN THE BAPTIST
BACCHUS (ST. JOHN THE BAPTIST)
THE conflict OF ANGHIARI
SALVATOR MUNDI
PORTRAIT OF a girl IN PROFILE
MADONNA AND baby WITH ST. JOSEPH

The Drawings
THE VITRUVIAN MAN
THE VIRGIN AND baby WITH ST. ANNE AND ST. JOHN THE BAPTIST
SELF-PORTRAIT
STUDY OF HORSES
OTHER DRAWINGS

The Notebooks
THE NOTEBOOKS OF LEONARDO DA VINCI
THOUGHTS ON paintings AND LIFE

The Criticism
LEONARDO DA VINCI through Sigmund Freud
Extract from ‘THE RENAISSANCE’ by means of Walter Pater
Extract from ‘ESSAYS ON ART’ via A. Clutton-Brock

The Biographies
LIFE OF LEONARDO DA VINCI through Giorgio Vasari
LEONARDO DA VINCI by means of MAURICE W. BROCKWELL

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Additional resources for Masters of Art: Leonardo da Vinci

Sample text

Peter (no. 24a), which singles out just one figure for analysis. 45 Naturally, drawing was the preferred medium for such studies as these and for the rare preparatory studies that some copyists made, like the Bari pen-and-ink with color notes in the McCrindle Collection (no. 52e) and Conca's crayon drawing for the engraving of the judith (nos. 13b; 13a, figure 22; and 13). Because of their fragility, personal nature, and relatively minor economic value, such drawings were easily lost or discarded or destroyed; so the rarity of these studies should not be surprising.

Lucy was painted; he was the leading local painter, known for his mass production, so even the impoverishment of style of his replica (no. 43a; figure 110) still in Syracuse, of the St. Lucy, may be appropriate. So finally the Bordeaux Fainting Magdalen (no. 69e; figure 98), which does not have any close geographical connection with Regnier, to whom I propose attribution; the theme was a favorite throughout his early career and indeed was the subject of the single documentary reference we have to the artist as a copyist of Caravaggio.

Finally, the colors of the Vicenza Execution of St. john (no. 39d) seem to betray the intervention of a monochrome drawing between it and the original, because its hues are so different (and apparently arbitrarily) from those of the original. Thus, the copy can serve as the original's surrogate in distant lands. Needless to say, neither so pretentious an effect nor any deception was necessarily intended or achieved, by either the copyist or his patron. For just as the drawing or sketch on small oil might serve the traveling painter as an aide-memoire of his Italian visit and his exposure to Caravaggio's style, and as the engraving functioned as the prephotographic equivalent of the picture postcards that some contemporary artists and amateurs collect and save, so the more ambitious painting, particularly of a secular (or apparently secular) subject, might serve the traveling patron as a souvenir.

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