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Leonardo da vinci humanist

In his explicit turn back to an ancient model in search of knowledge and wisdom, Leonardo follows early humanist practice.
On whom is Christ modelled?For Leonardo death is always present, that taglio cane barbone underlying melancholy, yet it is intertwined with life, with water, babies, women, and the promise, the pursuit, of immortality.When advising city planners and engineers, Leonardo would suggest they work with nature and not against. .Leonardo DaVincis Vitruvian Man the bold, nude, outstretched human figure; arms and legs flung wide to the boundaries of a circle and a square. .He, one man, makes us remember that we all are as one.Photos: The Two Mona Lisas, mona Lisa (Musée du Louvre the restored copy of La Gioconda in the Museo del Prado, Madrid.It is static motion.
He strove for a harmony between civilization and its environment, a harmony more relevant today than ever.

The hands, as so often with Leonardos subjects, demand our attention: Johns are clasped in devotion; the Christ child signals his destiny while his left hand grips the ledge to stop himself falling down to the rocks below; the Saint points with one hand and.Not because we know that it is like Leonardo we dont - but because, at least metaphorically, it has to be him.Universal Man by Hildegard of Bingen.Leonardo displays a more mature humanist understanding and appreciation of the human body (fig.Many consider da Vinci to be the epitome of the Renaissance mana Renaissance polymath, someone whose intellectual achievements and interests span a wide variety of fields in art, science, and literature.Moreover, Christs hand remains miraculously undistorted.Her right liceo da vinci pescara area riservata hand shows alarm, her left tries to draw her baby back to her.There was talk of the risk of causing damage to the paintings and the high cost of the exhibition at a time of austerity measures.Note how her right hand, slightly clawed and elevated, complements that of the ermines left paw resting on her sleeve.Portrait of Cecilia Gallerani (The Lady with an Ermine), about 148990, oil on walnut.8.3 cm, property of the Czartoryski Foundation in Cracow on deposit at the National Museum in Cracow.
The power of geometry. .
Martin Clayton and Ron Philo, Leonardo da Vinci: The mechanics of man (Los Angeles, 2010).