Abstract The article offers a critical comentary of Carmen Bambach's book, Leonardo da Vinci rediscovered, piublished in 2019, through the análisis of its importance as work in History of Art's ...field. With the purpose of confering perspective, to ponderate its cientific contribution in the frame of the little scholar production at this point in Chile -considering that the author is Chilean, but living in foreing country-, it also brings a summary approach about Da Vinci's studies in the country. Uno podría haber planificadoun grand tour con ese único propósito, pudiendo recorrer los museos, galerías y bibliotecas del Viejo y el Nuevo Mundo: el Prado, y la Biblioteca Nacional en Madrid; el Palacio Vecchio, en Florencia, la Pinacoteca Ambrosiana en Milán y el Museo Leonardo da Vinci, en su ciudad natal en Toscana; el Louvre, en París, con casi un tercio de sus pinturas montó una muestra retrospectiva que obtuvo préstamos del Hermitage, en San Petersburgo, del Vaticano y de la Colección Real de la corona inglesa, con la curatoría de Vincent Delieuvin y Louis Frank; la National Gallery, el Palacio de Buckingham -con la riquísima Colección Real-, en Londres y también en The Queen's Gallery del Palacio de Holyroodhouse en Edimburgo; el Metropolitan Museum of Art (MET) en Nueva York y finalmente la National Gallery en Washington D.C. Multitud de publicaciones vieron la luz internacionalmente; solo en el campo de las lenguas europeas aparecieron al menos 250 libros repartidos en algunas biografías, clásicas como la de Giorgio Vasari, y otras modernas, monografías académicas, guías de exposiciones y nuevas versiones -todas actualizadas-, de compilaciones de la obra del polímata florentino1. En cuanto a la cabeza del Cristo, muy deteriorada en el cuadro (como asimismo la mayor parte de él) es preciso juzgarla por un estudio auténtico que se conserva en dibujo y que es, en nuestro sentir, la última palabra de la elocuencia en la representación de la mansedumbre resignada y tirste de la víctima voluntaria y divina"9.
Not only was Leonardo da Vinci (1453-1519) an astonishing painter, but also a scientist, anatomist, sculptor, architect, musician, engineer, inventor, and more. The question is rather, what was he ...not? During the Italian Renaissance, he mastered the most beautiful works of art for the Medicis' in Italy and for the King of France. He aroused admiration from his contemporaries, who depicted a universal genius, curious and virtuous. Even today, interest in da Vinci and his work does not fade his works and writings are still studied by foremost experts hoping to decipher one of the numerous secrets of this visionary artist. The archetypal Renaissance man is here explored by the engaging prose of Eugène Müntz who narrates how Leonardo da Vinci mastered a diverse range of fields, from painting to engineering, making him one of the most brilliant minds in human history and one of the most recognised artists in modern times.
Osteoarthritis Barnett, Richard
The Lancet (British edition),
05/2018, Letnik:
391, Številka:
10134
Journal Article
Recenzirano
Stiffness and pain in the joints was for centuries seen as a mark of mortality, one of the natural shocks of old age: just look at Leonardo da Vinci or Thomas Rowlandson's caricatures of old people, ...with their crooked digits and knobbly joints. Since the 16th century, anatomists have been familiar with the basic structure of joints—bones capped with cartilage, connected by ligaments, and lubricated by synovial fluid—and the name they gave to the principal disorder of these joints is a classic example of plain English put into learned Greek: arthritis, literally joint inflammation. ...physicians increasingly acknowledged a distinction between rheumatoid arthritis as a form of chronic inflammation and osteoarthritis as the consequence of physical wear. A broad demographic shift forced industrial states and their health-care systems to confront the burden of chronic disease affecting older populations, while medicine itself took on a new role in monitoring and maintaining health from cradle to grave.
Despite limited tools, Leonardo da Vinci displayed ingenious problem-solving. The authors examine a combination of Leonardo’s thought and physical experiments regarding the acceleration of falling ...objects. Leonardo recorded that if a water-pouring vase moves transversally (sideways), mimicking the trajectory of a vertically falling object, it generates a right (as in orthogonal) triangle with equal leg length, composed of falling material lining up diagonally (forming the hypotenuse) and the vase trajectory forming one of the legs. On the hypotenuse, Leonardo wrote “
,” or equalization of motions, noting the equivalence of the two orthogonal motions, one effected by gravity and the other prescribed by the experimenter. The authors present an analytical solution using Newtonian mechanics to confirm Leonardo’s “Equivalence principle.”
Leonardo da Vinci (1452-1519) is a key artistic and scientific figure of the Renaissance. He is renowned for his science of art, taking advantage of his acute observations of nature to achieve ...striking pictorial results. This study describes the analysis of an exceptional sample from one of Leonardo's final masterpieces: The Virgin and Child with St. Anne (Musée du Louvre, Paris, France). The sample was analyzed at the microscale by synchrotron-based hyperspectral photoluminescence imaging and high-angular X-ray diffraction. The results demonstrate Leonardo's use of two subtypes of lead white pigment, thus revealing how he must have possessed a precise knowledge of his materials; carefully selecting them according to the aesthetical results he aimed at achieving in each painting. This work provides insights on how Leonardo obtained these grades of pigment and proposes new clues regarding the optical and/or working properties he may have tried to achieve.
Labor oder Atelier Gerhartz, Wolfgang; Offermanns, Heribert
Chemie in unserer Zeit,
10/2023, Letnik:
57, Številka:
5
Journal Article
Recenzirano
Zusammenfassung Chemiker haben ein ganz spezielles Verhältnis zu Farben. Sie ermittelten die Struktur von natürlichen Farbstoffen, entwickelten Totalsynthesen, zum Beispiel Indigo, erfanden neue ...Farbstoffe wie Berliner Blau oder Phthalocyanine ohne Vorbild in der Natur und erarbeiteten Färbeverfahren. In der Analytik schufen sie Farbreaktionen. Den theoretischen Unterbau zur Erfassung, Verarbeitung, Ein‐ und Zuordnung von Farbphänomenen und Farbprinzipien sowie deren Anwendung auf unterschiedlichen Tätigkeitsfeldern erforschten viele bedeutende Naturwissenschaftler und schufen Farbenlehren, so Demokrit und Leonardo da Vinci. Besondere Bedeutung fanden die Farbenlehren von Johann Wolfgang von Goethe und Wilhelm Ostwald. Die Krönung der Liebe zu den Farben ist wohl, wenn der Chemiker sein Labor auf Zeit oder auf Dauer verlässt, um in einem Atelier oder auch der freien Natur zu malen, sei es als freischaffender Künstler oder als Hobbymaler: Teil 1 „Chemiker und Maler“. Viele Chemiker haben sich auch als Kunstsammler profiliert und bedeutende Sammlungen zusammengetragen: Teil 2: Chemiker und Kunstsammler (in Vorbereitung).
Recently, an oil‐on‐panel painting, portraying Leonardo da Vinci, was found in the monastery of Camaldoli (Arezzo, Italy). The painting comes from a private donation and, over time, it never was ...moved from the monastery or loaned to museums or art galleries for exhibitions. Historians hypothesise that the painting could be a seventeenth‐century copy of a portrait or a self‐portrait of Leonardo da Vinci. Although, almost certainly, the panel was not signed by Leonardo, it raised a great interest for art experts, since the copy could be the outstanding testimony left to us of an original Leonardo's masterpiece, which is gone lost. The ICRCPAL in Rome, in collaboration with the ISPC‐CNR and the INFN‐LNS of Catania, started a scientific investigation of the painting based on the use of non‐invasive techniques. Macro X‐ray fluorescence imaging technique (MA‐XRF) was employed to document, for the first time, the nature of original pigments composing the pictorial and priming layers. The results allowed to better elucidate the painting technique, also to know the original look of degraded areas, suggesting an appropriate restoration and conservation policy. Novel information has been obtained concerning the pictorial process, since elemental distribution maps revealed an underpainting below the Leonardo portrait. Despite the cleaning process of the panel before its reuse, some pictorial details remained visible to the MA‐XRF analysis, allowing to infer the presumed figure hidden behind the figure of Leonardo.
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