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Covi, Dario A. (2005). Andrea del Verrocchio: Life and Work. Arte e archeologia: Studi e documenti. Florence, Italy: Leo S. Olschki Editore. ISBN 978-8822254207. Salaì, or Il Salaino ("The Little Unclean One", i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. [94] Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. [95] Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," [‡ 3] his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. Widely accepted Martin Kemp claims that the National Gallery, London, exhibited the Madonna Litta on loan from the Hermitage as an autograph work, even though the gallery's own curators believed it to be by a pupil, Giovanni Antonio Boltraffio. [8] These drawings were pasted into an album by Pompeo Leoni, probably entered the English royal collection in the reign of Charles II, and were removed from their binding in the 19th century. [42] As the program utilizes several modern technologies that take advantage of the GPU and CPU, the application comes included with out-of-the-box support for the most widespread and powerful chips. It's been optimized for AMD and Intel CPUs and can utilize the advanced computing functions of NVIDIA RTX video cards.

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Solari, Ernesto (2016). Leonardo da Vinci Horse and Rider Il "Monumento" a Charles d'Amboise. Milan: Colibri Edizioni. p.28. ISBN 978-88-97206-33-0. Carlo Pedretti: In my opinion, this wax model is by Leonardo himself, and to my knowledge it has not been seen by other scholars. There is not much firsthand information about Leonardo's religious inclination, but most historians have deemed him as Catholic. [44] Leonardo referred to God as a kind of supreme being. Leonardo could be described as a spiritual metaphysician, [45] who was interested in Greek philosophy such as that of Plato [46] and Aristotle. He describes friars as the "fathers of the people who know all secrets by inspiration" and calls books such as the Bible "supreme truth", [47] while also jesting that "Many who hold the faith of the Son only build temples in the name of the Mother." [48] Yet other people who have played a big part in the story, including Syson and Kemp, get short shrift. Their voices are just part of a hubbub of witnesses in which the major tone is massive scepticism. I found myself wanting to hear more about Leonardo’s art and a bit less about freeports: after all, if this really is a rediscovered work by the greatest artist-scientist of all time, isn’t it a wonder of the world whatever chicanery and cynicism surround it? And in the end, The Lost Leonardo concludes that that is probably the case. his magnificent presence brought comfort to the most troubled soul; he was so persuasive that he could bend other people to his will. ... He was so generous that he fed all his friends, rich or poor... Through his birth Florence received a very great gift, and through his death it sustained an incalculable loss.

Widely accepted While controversial in the past, modern scholarship widely attributes the work to Leonardo. The attribution of Lady with an Ermine supports the attribution of this painting. [4] Scaramella, A. D. "Artwork Analysis self Portrait in Red Chalk by Leonardo Da Vinci". Finearts.com. Helium Inc. Archived from the original on 2014-11-29 . Retrieved 16 November 2014. Leonardo da Vinci, (born April 15, 1452, Anchiano, Republic of Florence—died May 2, 1519, Cloux, France), Italian Renaissance painter, sculptor, draftsman, architect, engineer, and scientist. Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. [31] While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. [32] Verrocchio's workshop The Baptism of Christ (1472–1475) by Verrocchio and Leonardo, Uffizi Gallery Many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination", and he is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote". Marco Rosci notes that while there is much speculation regarding his life and personality, his view of the world was logical rather than mysterious, and that the empirical methods he employed were unorthodox for his time.

Leonardo da Vinci - 205 artworks - painting - WikiArt.org Leonardo da Vinci - 205 artworks - painting - WikiArt.org

Lorenzi, Rossella (May 10, 2016). "Did a Stroke Kill Leonardo da Vinci?". Seeker . Retrieved June 10, 2021. Workshop of Leonardo da Vinci? Saint John the Baptist, c. 1508 – 1513? Panel, 71cm ×52cm (28in ×20in), Kunstmuseum Basel. [67] Chapman, Hugo; Faietti, Marzia (2010). Fra Angelico to Leonardo: Italian Renaissance Drawings. London, England: British Museum Press. ISBN 978-0-7141-2667-8.

Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle . New York: The Metropolitan Museum of Art. 1983. ISBN 9780870993626. Identity of Leonardo da Vinci's mother revealed in new book". ox.ac. University of Oxford. May 26, 2017 . Retrieved October 16, 2019. Marani 2003, p.339: "Unanimously recognized as the only surviving fragments by Leonardo for this room."

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Masters, Roger (1998). Fortune is a River: Leonardo Da Vinci and Niccolò Machiavelli's Magnificent Dream to Change the Course of Florentine History. Simon & Schuster. ISBN 978-0-452-28090-8. One of the few references that Leonardo made to sexuality in his notebooks states: "The act of procreation and anything that has any relation to it is so disgusting that human beings would soon die out if there were no pretty faces and sensuous dispositions." [20] This statement has been the subject of various extrapolations and interpretations in attempts to gain a picture of his sexuality. He also wrote "Intellectual passion drives out sensuality. ... Whoso curbs not lustful desires puts himself on a level with the beasts." [12]

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Zöllner, Frank (2019) [2003]. Leonardo da Vinci: The Complete Paintings and Drawings (Anniversaryed.). Cologne: Taschen. ISBN 978-3-8365-7625-3. Widely accepted Widely accepted that Leonardo painted the figure's face. Some scholars suggest the body to be the work of his pupils, Giovanni Antonio Boltraffio and Giovanni Ambrogio de Predis [10] Leonardo's father, Ser Piero, realising that his son's talents were extraordinary, took some of his drawings to show his friend, Andrea del Verrocchio, who ran one of the largest artists' workshops in Florence. Leonardo was accepted for apprenticeship and "soon proved himself a first class geometrician". Vasari says that during his youth Leonardo made a number of clay heads of smiling women and children from which casts were still being made and sold by the workshop some 80 years later. Among his earliest significant known paintings are the Annunciation in the Uffizi, the angel that he painted as a collaboration with Verrocchio in The Baptism of Christ, and a small predella of the Annunciation to go beneath an altarpiece by Lorenzo di Credi. The little predella picture is probably the earliest. Edward MacCurdy (one of the two translators and compilers of Leonardo's notebooks into English) wrote:

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White, Michael (2000). Leonardo, the first scientist. London: Little, Brown. p.133. ISBN 0-316-64846-9. It really is a tragedy’ … restorer Dianne Modestini in a scene from The Lost Leonardo. Photograph: Adam Jandrup/AP Other authors contend that Leonardo was actively homosexual. Serge Bramly states that "the fact that Leonardo warns against lustfulness certainly need not mean that he himself was chaste". [30] David M. Friedman argues that Leonardo's notebooks show a preoccupation with men and with sexuality uninterrupted by the trial and agrees with art historian Kenneth Clark that Leonardo never became sexless. [34] [37] And thou, man, who by these labours dost look upon the marvelous works of nature, if thou judgest it to be an atrocious act to destroy the same, reflect that it is an infinitely atrocious act to take away the life of man. [57] Physical characteristics [ edit ] A statue of Leonardo outside the Uffizi Gallery in Florence, based upon contemporary descriptions Adams, James (October 13, 2005). "Montreal art expert identifies da Vinci drawing". The Globe and Mail . Retrieved 2009-10-14.Leonardo wrote the following in his notebooks, which were not deciphered and made available for reading until the 19th century: