The Complete Notebooks of Leonardo Da Vinci, Volume 1

The Complete Notebooks of Leonardo Da Vinci, Volume 1

Jean Paul Richter

Language: English

Pages: 607

ISBN: 2:00071336

Format: PDF / Kindle (mobi) / ePub

This captivating book provides the reader with a unique insight into the life and work of one of history's most intriguing figures. All of Leonardo Da Vinci's work is presented in this compact volume - from his paintings and frescos, to detailed reproductions of his remarkable encrypted notebooks. As well as featuring each individual artwork, sections of each are shown in isolation to reveal incredible details - for example, the different levels of perspective between the background sections of the "Mona Lisa", and the disembodied hand in "The Last Supper". 640 pages of colour artworks and photographs of Da Vinci's original notebooks, accompanied by fascinating biographical and historical details are here.


Monet's years at Giverny: Beyond Impressionism

The Man Who Made Vermeers: Unvarnishing the Legend of Master Forger Han van Meegeren

















not be larger than the spot where these pyramids are received into the eye. Therefore, if you extend the lines from the edges of each body as they converge you will bring them to a single point, and necessarily the said lines must form a pyramid.] [Perspective is nothing more than a rational demonstration applied to the consideration of how objects in front of the eye transmit their image to it, by means of a pyramid of lines. The Pyramid is the name I apply to the lines which, starting from the

single point; and this point, in the present instance, I will show to be situated in the eye which is the universal judge of all objects. By a point I mean that which cannot be divided into parts; therefore this point, which is situated in the eye, being indivisible, no body is seen by the eye, that is not larger than this point. This being the case it is inevitable that the lines which come from the object to the point must form a pyramid. And if any man seeks to prove that the sense of sight

the fourth part of the man. The distance from the bottom of the chin to the nose and from the roots of the hair to the eyebrows is, in each case the same, and like the ear, a third of the face. [Footnote: See Pl. XVIII. The original leaf is 21 centimetres wide and 33 1/2 long. At the ends of the scale below the figure are written the words diti (fingers) and palmi (palms). The passage quoted from Vitruvius is Book III, Cap. 1, and Leonardo's drawing is given in the editions of Vitruvius by FRA

from his fulcrum, and to this is added the force given by his legs and bent back as he raises himself. 381. Again, a man has even a greater store of strength in his legs than he needs for his own weight; and to see if this is true, make a man stand on the shore-sand and then put another man on his back, and you will see how much he will sink in. Then take the man from off his back and make him jump straight up as high as he can, and you will find that the print of his feet will be made deeper by

draughtsman should so place himself that the eye of the figure he is drawing is on a level with his own. This should be done with any head he may have to represent from nature because, without exception, the figures or persons you meet in the streets have their eyes on the same level as your own; and if you place them higher or lower you will see that your drawing will not be true. 542. WHY GROUPS OF FIGURES ONE ABOVE ANOTHER ARE TO BE AVOIDED. The universal practice which painters adopt on the

Download sample


Comments are closed.