"Leonardo's work is universally recognized: it arouses enthusiasm, causes astonishment, and provokes lyrical descriptions as well as inflammatory debate. A particular approach in appreciating Leonardo's work is to understand its material aspects more fully (the materials used by the artist, the manner of their preparation, associations between them and ways of combining different materials) so that artistic intention can be studied in depth, while at the same time revealing technical mastery and inventiveness. In addition, studying the way in which works age allows them to be better conserved and preserved. These are precisely the aims of the CHARISMA project, which brings together the expertise and experience of major European institutions that specialize in the examination and conservation of cultural heritage. This book is the result of contributions made by art historians, scientists and conservators during an international meeting held in early 2012 at the National Gallery, London, organized by CHARISMA to coincide with the exhibition 'Leonardo da Vinci: Painter at the Court of Milan' which included the newly-conserved London version of the 'Virgin of the Rocks.' The workshop was devoted to the study of the artistic technique of Leonardo and his workshop. The juxtaposition of different perspectives on the paintings and drawings of one of the most iconic artists of the Italian Renaissance highlights the need to take account of multidisciplinary points of view in order to build a more complete history of the works of art. The various articles illustrate the influence that Leonardo had not only on his students and those with whom he shared his workshops, but also on his contemporaries."--Back cover.

"First published in hardback 2012 by Royal Collection Trust".-Title page verso.

A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.

The basis for our understanding of Leonardo’s theory of art was, for over 150 years, his Treatise on Painting, which was issued in 1651 in Italian and French. This present volume offers both the first scholarly edition of the Italian editio princeps as well as the first complete English translation of this seminal work. In addition, It provides a comprehensive study of the Italian first edition, documenting how each editorial campaign that lead to it produced a different understanding of the artist’s theory. What emerges is a rich cultural and textual history that foregrounds the transmission of artisanal knowledge from Leonardo’s workshop in the Duchy of Milan to Carlo Borromeo’s Milan, Cosimo I de’ Medici’s Florence, Urban VIII’s Rome, and Louis XIV’s Paris.

A science biography that examines the life and work of Leonardo da Vinci and offers kids the opportunity to make their own designs and inventions with hands-on activities! Leonardo da Vinci is famous for the Mona Lisa and other works of art. His other claim to fame? Being an inventor! During the Renaissance, inventors and other creative thinkers designed and constructed many new things. It was a time of discovery, wonder, and exploration. And one of the people on the forefront of that awakening was Leonardo da Vinci. In The Science and Technology of Leonardo da Vinci, readers ages 9 through 12 explore the life of one of the world''s most amazing minds. They discover what it might have been like to live in the seventeenth century, when work, entertainment, medicine, travel, and food were very different. They ponder the same kinds of questions that drove Leonardo to tinker and experiment endlessly, even while creating artwork that influenced entire generations who came after him. What is the inside of the body like? How might humans fly? How can geometry be used to design strong buildings? His dedication to invention, experimentation, and art, along with his insatiable curiosity, gave the world new insight into anatomy, botany, engineering, and much more. Kids gain these same insights through hands-on STEM activities, essential questions, text-to-world connections, and links to online resources, including primary sources, that encourage readers to take a closer look at the world of the Renaissance. Projects use materials already found in most homes, reimagining and repurposing everyday items, as well as those found in the recycling bin. Make career connections in the fields of engineering, art, medicine, and more! Aligns with Common Core State Standards Projects include Designing a parachute, Making a camera obscura, Working with perspective, Designing a water clock. Addresses disciplinary core ideas (e.g., "Structure and Properties of Matter") and crosscutting concepts (e.g., "Energy and Matter;" "Influence of Engineering, Technology, and Science on Society and the Environment") for NSTA''s NGSS curriculum. Numerous, direct connections to Dimension 2 of the C3 Framework ("History" Grades 3-5), providing opportunities for young readers to explore how a historically significant person evolved in context and engendered both scientific and social change. Additional materials include a glossary, a list of media for further learning, a selected bibliography, and index. About the Build It Science Biographies set and Nomad Press The Science and Technology of Leonardo da Vinci is part of a set of three Build It Science Biographies that capture the curiosity of three science revolutionaries who were able to glimpse beyond the limits of human experience and make discoveries that continue to resonate today. Other titles in this set include The Science and Technology of Ben Franklin and The Science and Technology of Marie Curie. Nomad Press books in the Build It series integrate content with participation. Combining content with inquiry-based projects stimulates learning and makes it active and alive. Nomad''s unique approach simultaneously grounds kids in factual knowledge while allowing them the space to be curious, creative, and critical thinkers. All books are leveled for Guided Reading level and Lexile and align with Common Core State Standards and Next Generation Science Standards. All titles are available in paperback, hardcover, and ebook formats.

"[The Shadow Drawing] reorients our perspective, distills a life and brings it into focus—the very work of revision and refining that its subject loved best." —Parul Sehgal, The New York Times | Editors' Choice An entirely new account of Leonardo the artist and Leonardo the scientist, and why they were one and the same man Leonardo da Vinci has long been celebrated for his consummate genius. He was the painter who gave us the Mona Lisa and The Last Supper, and the inventor who anticipated the advent of airplanes, hot air balloons, and other technological marvels. But what was the connection between Leonardo the painter and Leonardo the scientist? Historians of Renaissance art have long supposed that Leonardo became increasingly interested in science as he grew older and turned his insatiable curiosity in new directions. They have argued that there are, in effect, two Leonardos—an artist and an inventor. In this pathbreaking new interpretation, the art historian Francesca Fiorani offers a different view. Taking a fresh look at Leonardo’s celebrated but challenging notebooks, as well as other sources, Fiorani argues that Leonardo became familiar with advanced thinking about human vision when he was still an apprentice in a Florence studio—and used his understanding of optical science to develop and perfect his painting techniques. For Leonardo, the task of the painter was to capture the interior life of a human subject, to paint the soul. And even at the outset of his career, he believed that mastering the scientific study of light, shadow, and the atmosphere was essential to doing so. Eventually, he set down these ideas in a book—A Treatise on Painting—that he considered his greatest achievement, though it would be disfigured, ignored, and lost in subsequent centuries. Ranging from the teeming streets of Florence to the most delicate brushstrokes on the surface of the Mona Lisa, The Shadow Drawing vividly reconstructs Leonardo’s life while teaching us to look anew at his greatest paintings. The result is both stirring biography and a bold reconsideration of how the Renaissance understood science and art—and of what was lost when that understanding was forgotten.

This inspiring and inventive guide teaches readers how to develop their full potential by following the example of the greatest genius of all time, Leonardo da Vinci. Acclaimed author Michael J. Gelb, who has helped thousands of people expand their minds to accomplish more than they ever thought possible, shows you how. Drawing on Da Vinci's notebooks, inventions, and legendary works of art, Gelb introduces Seven Da Vincian Principles—the essential elements of genius—from curiosità, the insatiably curious approach to life to connessione, the appreciation for the interconnectedness of all things. With Da Vinci as your inspiration, you will discover an exhilarating new way of thinking. And step-by-step, through exercises and provocative lessons, you will harness the power—and awesome wonder—of your own genius, mastering such life-changing abilities as: •Problem solving •Creative thinking •Self-expression •Enjoying the world around you •Goal setting and life balance •Harmonizing body and mind Drawing on Da Vinci's notebooks, inventions, and legendary works of art, acclaimed author Michael J. Gelb, introduces seven Da Vincian principles, the essential elements of genius, from curiosita, the insatiably curious approach to life, to connessione, the appreciation for the interconnectedness of all things. With Da Vinci as their inspiration, readers will discover an exhilarating new way of thinking. Step-by-step, through exercises and provocative lessons, anyone can harness the power and awesome wonder of their own genius, mastering such life-changing skills as problem solving, creative thinking, self-expression, goal setting and life balance, and harmonizing body and mind.