Leonardo Da Vinci the Complete Paintings and Drawings Frank Zollner
Leonardo da Vinci. The Complete Paintings and Drawings
One of the virtually fully accomplished homo beings who has ever lived, Leonardo da Vinci (1452–1519) is recognized the globe over as a figure of infinite curiosity, feverish imagination and sublime artistic power.
This updated edition of our Xl championship provides the near comprehensive survey of the life and piece of work of this chief painter, sculptor, architect, scientist, and inventor. Its catalogue raisonn� of Leonardo's paintings covers both his surviving and his lost painted works. With full-bleed details of many paintings, the reader is able to inspect the subtlest facets of brushworks that came to revolutionize Art History.
A farther catalog of Leonardo'due south drawings arranges nearly 700 of his drawings by category (architecture, technical, proportion, cartography, etc) and showcases his fabulous observational finesse, from anatomical studies to architectural plans, from complex applied science designs to pudgy infant portraits. It includes a fresh chapter exploring the artist's mesmerizing manuscripts.
The accompanying account of Leonardo's life and work includes a special in-depth exploration of his masterworks The Annunciation and The Final Supper.
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Review:
Lying open up, this unutterably wonderful book is almost the size of the Mona Lisa and about every bit hefty every bit a slab of The Final Supper's monastery wall. All 34 paintings are here (including what we know of the lost ones), many with huge and immensely illuminating details, plus 663 drawings. The reproductions are stunning, on paper sturdy enough to serve as wings on some of the flying machines depicted on pages 644 to 671. The precision of the images amazes: the fragile petals fingered by the larger-than-life-size baby Jesus in Madonna of the Carnation; the wailing, dismembered victims of Leonardo's scary scythed chariots; Mary's transparent drape in the Annunciation; the bands of sunlight streaking each swirling curl of Ginevra de Benci; Mona Lisa's gossamer veil and intricately embroidered gown; even, unless my eyes deceive me, one of the fingerprints Leonardo famously left while daubing paint past paw.
The text by Frank Zollner (and Johannes Nathan, who discusses the drawings) teases out meanings and sketches historical context without overloading his scholarly castor. Without it, 1 might accept overlooked the dim crucifix on which St. Jerome fixes his blazing gaze, and quite misunderstood the sexist Hippocratic delusions that inform The Sexual Act in Vertical Department: "A tube-like duct leads from the adult female's breasts to her womb, while the male organ is directly linked not simply to the testicles but also...to the brain." (Zollner's discussion of the erotic subtext of some of the artwork suggests that Leonardo's male passion was not necessarily so rational.) The brief accounts of Leonardo's esthetic combat with Michelangelo and Raphael suggest that you don't demand a scythed chariot to cut off an opponent at the knees. The famous quotes by everyone from Nietzsche to Warhol are well selected, especially Freud diagnosing Leonardo'south genius every bit residing in his childlike sense of play. That's a primal to the spirit of this book: it's more fun than a week in the Louvre. –Tim Appelo
Well-nigh the Author:
Johannes Nathan studied art history at New York Academy and the Courtauld Institute of Fine art in London, where he earned his Ph.D. in 1995 with a dissertation on the working methods of Leonardo da Vinci. He is the author of numerous fine art publications, manager of Nathan Fine Art (Berlin and Z�rich) and a teacher of fine art history at the Technische Universit�t, Berlin.
Frank Z�llner wrote his doctoral thesis on motifs originating from Antiquity in the history of art and architecture of the Medieval and Renaissance periods (1987). He is too the writer of a postdoctoral treatise on motion and expression in the art of Leonardo da Vinci, published in 2010. He has published numerous works on Renaissance art and fine art theory, and on 20th-century art. Since 1996 he has been Professor of Medieval and Modern Fine art at the University of Leipzig. For TASCHEN he has authored the Twoscore monographs on Leonardo da Vinci and Michelangelo.
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