14 January 2015
This blog describes the topics and themes of art and artists, their studies, their research, to communicate and highlight the dedication and passion that accompanies the creative act.
You must evaluate very much the commitment of every artist, whether painter, sculptor, musician, writer, cartoonist, etc; art as an expression of creativity, the spirit and the unconscious must emerge in today's society, clouded by myths and misleading communications.
LEONARDO DA VINCI
(1452 - 1519)
training
The most fascinating character of the Renaissance was born April 15, 1452 at the village of Vinci, sixty miles from Florence.
His mother was a peasant girl, Caterina, who had not bothered to marry the baby's father. The seducer of Catherine, Piero d'Antonio, was a Florentine lawyer rather wealthy. Just when Leonardo was born, he married a woman of her class and Catherine had to settle for a husband farmer. She gave her pretty little son to Peter and his wife, so that Leonardo grew up in comfort of a family semiaristocratica, devoid of maternal. Perhaps it was in that environment of his childhood that he acquired a taste for fine clothes and aversion for women.
He attended school in the neighborhood, he devoted himself passionately to mathematics, music and drawing, and his father rejoiced with song and the sound of the lute. To draw well observed all things of nature with curiosity, with patience and care; science and art, so much together in his mind, had only one source: the accurate observation. When he reached the fifteen years or so. his father took him in the workshop of Verrocchio in Florence, and persuaded the versatile artist to accept his son as an apprentice.
World culture knows the story told by Vasari about the angel painted by Leonardo in the left side of the "Baptism" of Verrocchio and the amazement of the teacher before the beauty of the figure, so that he abandoned painting for sculpture. Probably this abdication is not a legend that post-mortem, as the other paintings Verrocchio composed after Baptism. Maybe in that period of apprenticeship Leonardo painted "The Annunciation" of the Louvre, where the angel is clumsy and Madonna has an attitude of surprise and fright. In fact, he could hardly learn the grace of Verrocchio. Meanwhile ser Piero became wealthy, bought many possessions, carrying the family in Florence (1469) and married four wives, one after the alt. The second of them he was just 10 years older than Leonardo. When the third gave Piero a son, Leonardo, to decongest the family, went to live with Verrocchio. In that year (1472) he was admitted to be in the company of St. Luke, an association composed mainly of pharmacists, doctors and artists, headquartered in the hospital of Santa Maria Nuova. Leonardo found here, most likely, the opportunity to study both the internal anatomy and the external. Perhaps it was he who painted in those years the "Saint Jerome" Gelleria the Vatican, the skinny body and anatomy perfect. It was probably he who, towards 1474 polychrome painted the "Annunciation" in the Uffizi, which again reflects the immaturity of the artist. A week before he was twenty-four, Leonardo and three other young men were called in front of the Signoria Fiorentina gathered to answer charges of having had homosexual relations. S'ignora the result of such investigation. On 7 June 1476, the charge was repeated, the Assembly had him imprisoned Leonardo briefly and released, acquitted for lack of evidence. One year after the indictment, he was offered a study, in the gardens Doctors and he accepted .. In 1478 the same Lordship asked him to paint an altarpiece in the chapel of San Bernardo, in the Palazzo Vecchio. It is unknown why he has not fulfilled the assignment, which was later taken by Ghirlandaio; Filippino Lippi finished the work of the latter. Nevertheless, the Signoria gave him and Botticelli another assignment: to paint the portrait of two men hanged for the Pazzi conspiracy against Lorenzo and Giuliano de 'Medici. Leonardo, with his almost morbid interest of deformities and human suffering, will certainly felt some attraction to the macabre subject. In truth he was interested in everything. Each position and attitude of the human body, every expression on a face of a young or old, bodies and movements of animals and plants, dall'ondeggiare grain in the fields until the flight of birds, erosion and increases in mountains occurred through the various cycles, the currents of the water and the expiration of the winds, the variation of the time and the gradations of the atmosphere, the inexhaustible variety of celestial bodies, everything appeared to him a boundless beauty. He filled pages and pages with his observations and drawings reproducing their various forms. When the monks of St. Scopeto asked him to paint a picture for their chapel (1481), he made many sketches of details and forms that are lost in the details and never finished the "Adoration of the Magi." However it is one of his best paintings. The plan from which he developed it was drawn on a path prospective strictly geometrical and all space remained divided into squares of decreasing size. From this we see that in the mathematician Leonardo always competed and often cooperated with the artist. However it was in full swing as we see in the pose and in the features of the Virgin, in the Magi understood significantly (since it was a very young artist) in the character and expression in their old age and finally philosopher left an absorbed of who is immersed in a speculation almost skeptical, as if the painter had even then managed to see the Gospel narrative with a spirit involuntarily disbelief, yet devout. Around these figures they collect so many other, as if men and women of all kinds will be quick to go to this hut, anxious to seek the meaning of life and light of the world, finding the answer in a succession of births. The unfinished masterpiece, faded by time, is exhibited in the Uffizi Gallery in Florence, but it was Filippino Lippi who executed the painting ordered by the monks Scopetani.
Start something, too conceive so great and get lost in the sketches of details; see, beyond the subject, a boundless prospect of human forms, animals, plants and architectural constructions, rocks and mountains, streams, clouds and trees, all wrapped in a mystical chiaroscuro; let absorb more from the concept of the painting from its technical implementation; leave to others the task of giving less color the figures designed and placed so as to highlight the significance; to despair, after long labors of the mind and body, for the imperfection with which the hand and the matter had given life to what had been dreamed; This, with some exceptions, was to be until the end the temperament and the fate of Leonardo.
Michelangelo
Youth (1475 - 1505)
Michelangelo's father was Lodovico Buonarroti Simoni of Leonardo, mayor of the town of Caprese, on the road between Arezzo and Florence. He claimed to be a distant relative of the Counts of Canossa, one of whom was pleased to recognize their kinship; Michelangelo always boasted of having a liter or two of noble blood, but ruthless investigations have shown that he was wrong. Born in Caprese on March 6, 1475, and baptized, as Raphael, with the name of an archangel, he was the second of four brothers. He was sent to nurse near a marble quarry, in Settignano, so breath since birth dust sculpture; noted later that, with the milk of the nurse, had sucked also chisels and hammers. Was six months old when the family moved to Florence. Here he attended the school for a while, long enough to write, in the years that followed, some good Italian verse. Did not learn Latin and never fell completely under hypnosis antiquity, as it was for many artists of his time; he was Jewish, and not classic, more Protestant in spirit, that Catholic. He preferred to draw rather than write, what after all is a corruption of the design. His father complained of such preference, but finally gave in and at thirteen Michelangelo was apprenticed to Domenico Ghirlandaio, then the most popular artist in Florence. The contract committed the young to stay with Domenico for three years "to learn the art of painting"; received six florins the first year, eight the second, 10 the third and probably food and lodging. The boy completed the education received by Ghirlandaio keeping your eyes open in his wanderings through Florence, because everywhere discerned an art object. Tells his friend Condivi: "so hied at the fish, considered that the shape and color of the wings were fish, what color eyes and every other part, representing them in his paintings." It was just over a year with Ghirlandaio, when, for both natural inclination is for a case, he devoted himself to sculpture. Like many other art students, had free access to the gardens where the Medici had placed their collections of ancient sculptures and architectural fragments. Must have copied some of those marbles with a special interest and skill, because, when Lorenzo, who wanted to found a school of sculpture in Florence, asked Ghirlandaio to send him some promising students in that branch, Domenico gave Francesco Granacci and Michelangelo Buonarroti. The boy's father hesitated to let him go from one art to another, because he feared his son was employed as a mason, and in fact had a similar position: squaring the marble for the Laurentian Library. But soon the boy executed statues. Known throughout the world is the history of the Marble Faun Michelangelo: he carved from a piece of marble, found by chance, the figure of an old faun; Lorenzo, passing, pointed out that hardly a faun that old would have had a set of teeth intact; Michelangelo remedied the error with a single stroke, removing a tooth from the upper jaw.
Pleased with the work and attitudes of the boy, Lorenzo took him into his home and treated him like a son. For two years (1490-1492) the young artist lived in the Palazzo Medici, ate regularly at the same table with Lorenzo Poliziano, Pico, Ficino and Fleas and heard speeches more enlightened politics, literature, philosophy, and on 'art.
Lorenzo gave him a good room and five ducats a month for his personal expenses. Any work of art Michelangelo produce, it remained his and could dispose of at will. These years in Palazzo Medici could have been a happy time of adolescence, if it was not the fault of Peter Torrigiano. One day he took offense to a joke by Michelangelo and (so he told Cellini) responded with a punch so violent that the nose of Michelangelo broke like a biscuit, irreparably.
And so it was. Michelangelo showed, for the remaining seventy-four with a nose broken septum. And this is not softened his character.
In those same years, Savonarola preached his fiery gospel of strict reform. Michelangelo, then a youth, often went to hear him and never forgot those sermons or the icy chill that ran through his veins when the angry cry of the prior, Italy corrupt announcing the end of the world, tore the motionless silence of the cathedral crowded . When Savonarola died, something of his spirit persisted in Michelangelo, and that is the horror of moral decadence that surrounded him, the fierce impatience of tyranny and the dark foreboding of the final judgment.
These memories and these fears were part in the formation of his character and in the inspiration of his paintings and sculptures. Lying on his back under the ceiling of the Sistine Chapel, he is reminded of Savonarola and painting the Last Judgement the revived, handing down the curses of the monk through the centuries.
Lorenzo died in 1492 and Michelangelo returned to the family home. He continued to sculpt and paint, adding to the muse education a strange experience. He performed many dissections that stomach turned, and for a while he could not touch food or drink. But he learned the anatomy. He had a strange chance to show his knowledge, when Piero de 'Medici asked him to model a giant snowman in the cover of the building. Michelangelo condescended and Piero made him live again in the House of Medici (January 1494).
Towards the end of 1494 Michelangelo fled across the Apennines covered by winter snows to travel to Bologna. It is said that he had been warned in a dream, from a friend, the imminent fall of Piero, but perhaps it was his own discernment in predirgliela. However, Florence would not be a safe place for a man favored by the Medici. In Bologna he studied carefully the bas-reliefs of the facade of S. Petronio, executed by Jacopo della Quercia. Was commissioned to finish the ark of S. Domenico and carved it for a pretty angel candlestick holder; then sculptors organized in Bologna they sent the notice that if a stranger and intruder who had continued to tear the work of their hands, they would have arranged with one or another of the many tricks used by the men of the Renaissance initiative. Meanwhile Savonarola had taken the reins of Florence where now pulling air of sanctity. Michelangelo, then returned (1495). - At Artistic Laboratory NV ART.
You must evaluate very much the commitment of every artist, whether painter, sculptor, musician, writer, cartoonist, etc; art as an expression of creativity, the spirit and the unconscious must emerge in today's society, clouded by myths and misleading communications.
LEONARDO DA VINCI
(1452 - 1519)
training
The most fascinating character of the Renaissance was born April 15, 1452 at the village of Vinci, sixty miles from Florence.
His mother was a peasant girl, Caterina, who had not bothered to marry the baby's father. The seducer of Catherine, Piero d'Antonio, was a Florentine lawyer rather wealthy. Just when Leonardo was born, he married a woman of her class and Catherine had to settle for a husband farmer. She gave her pretty little son to Peter and his wife, so that Leonardo grew up in comfort of a family semiaristocratica, devoid of maternal. Perhaps it was in that environment of his childhood that he acquired a taste for fine clothes and aversion for women.
He attended school in the neighborhood, he devoted himself passionately to mathematics, music and drawing, and his father rejoiced with song and the sound of the lute. To draw well observed all things of nature with curiosity, with patience and care; science and art, so much together in his mind, had only one source: the accurate observation. When he reached the fifteen years or so. his father took him in the workshop of Verrocchio in Florence, and persuaded the versatile artist to accept his son as an apprentice.
World culture knows the story told by Vasari about the angel painted by Leonardo in the left side of the "Baptism" of Verrocchio and the amazement of the teacher before the beauty of the figure, so that he abandoned painting for sculpture. Probably this abdication is not a legend that post-mortem, as the other paintings Verrocchio composed after Baptism. Maybe in that period of apprenticeship Leonardo painted "The Annunciation" of the Louvre, where the angel is clumsy and Madonna has an attitude of surprise and fright. In fact, he could hardly learn the grace of Verrocchio. Meanwhile ser Piero became wealthy, bought many possessions, carrying the family in Florence (1469) and married four wives, one after the alt. The second of them he was just 10 years older than Leonardo. When the third gave Piero a son, Leonardo, to decongest the family, went to live with Verrocchio. In that year (1472) he was admitted to be in the company of St. Luke, an association composed mainly of pharmacists, doctors and artists, headquartered in the hospital of Santa Maria Nuova. Leonardo found here, most likely, the opportunity to study both the internal anatomy and the external. Perhaps it was he who painted in those years the "Saint Jerome" Gelleria the Vatican, the skinny body and anatomy perfect. It was probably he who, towards 1474 polychrome painted the "Annunciation" in the Uffizi, which again reflects the immaturity of the artist. A week before he was twenty-four, Leonardo and three other young men were called in front of the Signoria Fiorentina gathered to answer charges of having had homosexual relations. S'ignora the result of such investigation. On 7 June 1476, the charge was repeated, the Assembly had him imprisoned Leonardo briefly and released, acquitted for lack of evidence. One year after the indictment, he was offered a study, in the gardens Doctors and he accepted .. In 1478 the same Lordship asked him to paint an altarpiece in the chapel of San Bernardo, in the Palazzo Vecchio. It is unknown why he has not fulfilled the assignment, which was later taken by Ghirlandaio; Filippino Lippi finished the work of the latter. Nevertheless, the Signoria gave him and Botticelli another assignment: to paint the portrait of two men hanged for the Pazzi conspiracy against Lorenzo and Giuliano de 'Medici. Leonardo, with his almost morbid interest of deformities and human suffering, will certainly felt some attraction to the macabre subject. In truth he was interested in everything. Each position and attitude of the human body, every expression on a face of a young or old, bodies and movements of animals and plants, dall'ondeggiare grain in the fields until the flight of birds, erosion and increases in mountains occurred through the various cycles, the currents of the water and the expiration of the winds, the variation of the time and the gradations of the atmosphere, the inexhaustible variety of celestial bodies, everything appeared to him a boundless beauty. He filled pages and pages with his observations and drawings reproducing their various forms. When the monks of St. Scopeto asked him to paint a picture for their chapel (1481), he made many sketches of details and forms that are lost in the details and never finished the "Adoration of the Magi." However it is one of his best paintings. The plan from which he developed it was drawn on a path prospective strictly geometrical and all space remained divided into squares of decreasing size. From this we see that in the mathematician Leonardo always competed and often cooperated with the artist. However it was in full swing as we see in the pose and in the features of the Virgin, in the Magi understood significantly (since it was a very young artist) in the character and expression in their old age and finally philosopher left an absorbed of who is immersed in a speculation almost skeptical, as if the painter had even then managed to see the Gospel narrative with a spirit involuntarily disbelief, yet devout. Around these figures they collect so many other, as if men and women of all kinds will be quick to go to this hut, anxious to seek the meaning of life and light of the world, finding the answer in a succession of births. The unfinished masterpiece, faded by time, is exhibited in the Uffizi Gallery in Florence, but it was Filippino Lippi who executed the painting ordered by the monks Scopetani.
Start something, too conceive so great and get lost in the sketches of details; see, beyond the subject, a boundless prospect of human forms, animals, plants and architectural constructions, rocks and mountains, streams, clouds and trees, all wrapped in a mystical chiaroscuro; let absorb more from the concept of the painting from its technical implementation; leave to others the task of giving less color the figures designed and placed so as to highlight the significance; to despair, after long labors of the mind and body, for the imperfection with which the hand and the matter had given life to what had been dreamed; This, with some exceptions, was to be until the end the temperament and the fate of Leonardo.
Michelangelo
Youth (1475 - 1505)
Michelangelo's father was Lodovico Buonarroti Simoni of Leonardo, mayor of the town of Caprese, on the road between Arezzo and Florence. He claimed to be a distant relative of the Counts of Canossa, one of whom was pleased to recognize their kinship; Michelangelo always boasted of having a liter or two of noble blood, but ruthless investigations have shown that he was wrong. Born in Caprese on March 6, 1475, and baptized, as Raphael, with the name of an archangel, he was the second of four brothers. He was sent to nurse near a marble quarry, in Settignano, so breath since birth dust sculpture; noted later that, with the milk of the nurse, had sucked also chisels and hammers. Was six months old when the family moved to Florence. Here he attended the school for a while, long enough to write, in the years that followed, some good Italian verse. Did not learn Latin and never fell completely under hypnosis antiquity, as it was for many artists of his time; he was Jewish, and not classic, more Protestant in spirit, that Catholic. He preferred to draw rather than write, what after all is a corruption of the design. His father complained of such preference, but finally gave in and at thirteen Michelangelo was apprenticed to Domenico Ghirlandaio, then the most popular artist in Florence. The contract committed the young to stay with Domenico for three years "to learn the art of painting"; received six florins the first year, eight the second, 10 the third and probably food and lodging. The boy completed the education received by Ghirlandaio keeping your eyes open in his wanderings through Florence, because everywhere discerned an art object. Tells his friend Condivi: "so hied at the fish, considered that the shape and color of the wings were fish, what color eyes and every other part, representing them in his paintings." It was just over a year with Ghirlandaio, when, for both natural inclination is for a case, he devoted himself to sculpture. Like many other art students, had free access to the gardens where the Medici had placed their collections of ancient sculptures and architectural fragments. Must have copied some of those marbles with a special interest and skill, because, when Lorenzo, who wanted to found a school of sculpture in Florence, asked Ghirlandaio to send him some promising students in that branch, Domenico gave Francesco Granacci and Michelangelo Buonarroti. The boy's father hesitated to let him go from one art to another, because he feared his son was employed as a mason, and in fact had a similar position: squaring the marble for the Laurentian Library. But soon the boy executed statues. Known throughout the world is the history of the Marble Faun Michelangelo: he carved from a piece of marble, found by chance, the figure of an old faun; Lorenzo, passing, pointed out that hardly a faun that old would have had a set of teeth intact; Michelangelo remedied the error with a single stroke, removing a tooth from the upper jaw.
Pleased with the work and attitudes of the boy, Lorenzo took him into his home and treated him like a son. For two years (1490-1492) the young artist lived in the Palazzo Medici, ate regularly at the same table with Lorenzo Poliziano, Pico, Ficino and Fleas and heard speeches more enlightened politics, literature, philosophy, and on 'art.
Lorenzo gave him a good room and five ducats a month for his personal expenses. Any work of art Michelangelo produce, it remained his and could dispose of at will. These years in Palazzo Medici could have been a happy time of adolescence, if it was not the fault of Peter Torrigiano. One day he took offense to a joke by Michelangelo and (so he told Cellini) responded with a punch so violent that the nose of Michelangelo broke like a biscuit, irreparably.
And so it was. Michelangelo showed, for the remaining seventy-four with a nose broken septum. And this is not softened his character.
In those same years, Savonarola preached his fiery gospel of strict reform. Michelangelo, then a youth, often went to hear him and never forgot those sermons or the icy chill that ran through his veins when the angry cry of the prior, Italy corrupt announcing the end of the world, tore the motionless silence of the cathedral crowded . When Savonarola died, something of his spirit persisted in Michelangelo, and that is the horror of moral decadence that surrounded him, the fierce impatience of tyranny and the dark foreboding of the final judgment.
These memories and these fears were part in the formation of his character and in the inspiration of his paintings and sculptures. Lying on his back under the ceiling of the Sistine Chapel, he is reminded of Savonarola and painting the Last Judgement the revived, handing down the curses of the monk through the centuries.
Lorenzo died in 1492 and Michelangelo returned to the family home. He continued to sculpt and paint, adding to the muse education a strange experience. He performed many dissections that stomach turned, and for a while he could not touch food or drink. But he learned the anatomy. He had a strange chance to show his knowledge, when Piero de 'Medici asked him to model a giant snowman in the cover of the building. Michelangelo condescended and Piero made him live again in the House of Medici (January 1494).
Towards the end of 1494 Michelangelo fled across the Apennines covered by winter snows to travel to Bologna. It is said that he had been warned in a dream, from a friend, the imminent fall of Piero, but perhaps it was his own discernment in predirgliela. However, Florence would not be a safe place for a man favored by the Medici. In Bologna he studied carefully the bas-reliefs of the facade of S. Petronio, executed by Jacopo della Quercia. Was commissioned to finish the ark of S. Domenico and carved it for a pretty angel candlestick holder; then sculptors organized in Bologna they sent the notice that if a stranger and intruder who had continued to tear the work of their hands, they would have arranged with one or another of the many tricks used by the men of the Renaissance initiative. Meanwhile Savonarola had taken the reins of Florence where now pulling air of sanctity. Michelangelo, then returned (1495). - At Artistic Laboratory NV ART.
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