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达芬奇
达.芬奇(LeonardodaVinci，1452-1519)
意大利文艺复新时期最负盛名的艺术大师,科学家。他生于佛罗伦萨郊区的芬奇镇,卒于法国。其父为律师兼公证人,母为农妇,他15岁来到佛罗伦萨,学艺于韦罗基奥的作坊,147易天2年入画家行会。70年代中期个人风格已趋360问答成熟。1482--1499年间一直工作于米兰,主要为米兰公爵服务,进行了广泛的艺术和科学活动,《岩间圣母》是他在这段时期创作的最有名的代表作。
他是一位天才，他一面热心于艺目免负神立术创作和理论研究，他研究如何用线条与立体造型去表现形体的各种问题;另一方面他也同时研究自然科学。
《自画像》意大利绘画大师达.芬奇的素描精品。他的素描作品的艺术水平已达极高的境地,被誉为素描艺术的典范。他对建筑,雕刻和绘画的创作都以大量素描为构思和研究的基础,从构到每个人物甚至每个手势都准备了充分的素描习作及写生,他的素描起了相当于甚或超过现代摄影术的作用。在这清非第上幅《自画像》中,画家描绘起自己来可谓得心应手,他观察入微,用的线条丰富多变,刚柔相济尤其善用浓密程度不同斜职苦酒级却题害海线表现光暗的微妙变化,这些素描艺席缩运威害高发叶术手法使后来的不少画家得伟太屋检立益菲浅,堪称素描艺术的精典。此画用线生动灵活,部往杂晚某别概括性强,简单的寥寥数笔所却包含许多转折,体面关系,发线代面,立体感很强,还有,人物的表情也很传神。因此,此画虽为素描小作,其艺术美,形式美却丝毫不亚于达.芬奇的那些恢宏巨制,诸多年来,继续以其隽永的魅力吸引后世美术爱好者的赞赏和推崇。
LEONARDO:RENAISSANCEPOLYMATH
"Therehasneverbeenanartistw相春科计铁howasmor父争绍突语谈必速级湖地efittingly,andwithoutqualification,describedasagenius.LikeShakespeare,Leonardocamefromaninsignificantbackgroundandrosetouniversalacclai预早律井吗m.Leonardowastheillegitima由tesonofalocallawyerinthesmallto称理够粮端器注行亲专wnofVinciintheTuscanregion.Hisfathe转乎racknowledgedhimandpaidforhistraining,butwemaywonderwhetherthestrangelyself-sufficienttoneofLe浓示可众李投己onardo'smindwasnotperhapsaffectedbyhisearlyambiguityofstatus.Thed定efinitivepolymath,hehadalmosttoomanygifts,includingsuperlativemalebeauty,aspl画作鱼endidsingingvoice,magnificentphysique,mathematica持古波孔lexcellence,scientificdaring...thelistisendless.Thisoverabundanceoftalentscausedhimtotreathisartistrylightly,seldomfinishingapicture,andsometimesmakingrashtechnicalexperiments.TheLastSupper,inthechurchofSantaMariadelleGrazieinMilan,forexample,hasalmostvanished,soinadequatewerehisinnovationsinfrescopreparation.
"Yettheworksthatwehavesalvagedremainthemostdazzlinglypoeticpicturesevercreated.TheMonaLisahastheinnocentdisadvantageofbeingtoofamous.Itcanonlybeseenbehindthickglassinaheavingcrowdofawe-strucksightseers.Ithasbeenreproducedineveryconceivablemedium;itremainsintactinitsmagic,foreverdefyingthehumaninsistenceoncomprehending.Itisaworkthatwecanonlygazeatinsilence.
"Leonardo'sthreegreatportraitsofwomenallhaveasecretwistfulness.ThisqualityisatitsmostappealinginCeciliaGallarani,atitsmostenigmaticintheMonaLisa,andatitsmostconfrontationalinGinevrade'Benci.ItishardtogazeattheMonaLisabecausewehavesomanyexpectationsofit.Perhapswecanlookmoretrulyatalessfamousportrait,Ginevrade'Benci.Ithasthathaunting,almostunearthlybeautypeculiartoLeonardodaVinci.
AWITHHELDIDENTITY
"ThesubjectofGinevrade'BencihasnothingoftheMonaLisa'sinwardamusement,andalsonothingofCecilia'sgentlesubmissiveness.Theyoungwomanlookspastuswithawonderfulluminoussulkiness.Hermouthissetinanunforgivinglineofsensitivedisgruntlement,herproudandperfectheadistautabovetheunyieldingcolumnofherneck,andhereyesseemtonarrowassheenduresthepainterandhisart.Herringlets,infinitelysubtle,cascadedownfromthebreadthofhergleamingforehead(theforehead,incidentally,ofoneofthemostgiftedintellectualsofhertime).Thesedelicateripplesarerepeatedinthespikesofthejuniperbush.
"Thedesolatewaters,themists,thedarktrees,thereflectedgleamsofstillwaters-allthesesurroundandilluminatethesitter.Sheistotallyfleshlyandtotallyimpermeabletotheartist.Heobserves,heldraptbyherperfectionofform,andshowsusthethinveilofherupperbodiceandthedelicateflushingofherthroat.Whatsheistrulylikesheconceals;whatLeonardorevealstousispreciselythisconcealment,aself-absorptionthatsparesnooutwardglance.
INTERIORDEPTH
"WecanalwaystellaLeonardoworkbyhistreatmentofhair,angelicinitsfineness,andbythelackofanyrigidityofcontour.Oneformglidesimperceptiblyintoanother(theItaliantermissfumato),awonderofglazescreatingthemostsubtleoftransitionsbetweentonesandshapes.Theangel'sfaceinthepaintingknownastheVirginoftheRocksintheNationalGallery,London,ortheVirgin'sfaceintheParisversionofthesamepicture,haveaninteriorwisdom,anartisticwisdomthathasnopictorialrival.
"ThisunrivaledqualitymeantthatfewartistsactuallyshowLeonardo'sinfluence:itisasifheseemedtobeinaworldapartfromthem.Indeedhedidmoveapart,acceptingtheFrenchKingFrancisI'ssummonstoliveinFrance.Thosewhodidimitatehim,likeBernardiniLuiniofMilan(c.1485-1532),caughtonlytheoutermanner,thehalf-smile,themistiness.
"Theshadowofagreatgeniusisapeculiarthing.UnderRembrandt'sshadow,paintersflourishedtotheextentthatwecannolongerdistinguishtheirworkfromhisown.ButLeonardo'swasachillingshadow,toodeep,toodark,toooverpowering."
