Leonardo da Vinci
Born in the small town of Vinci, near Florence,Leonardo da Vinci
(1452–1519) trained in the studio of Andrea del Verrocchio (FIG.
21-13). The quintessential “Renaissance man,” Leonardo had prodi-
gious talent and an unbridled imagination. Art was but one of his in-
numerable interests. The scope and depth of these interests were with-
out precedent—so great as to frustrate any hopes Leonardo might
have had of realizing all that his extraordinarily inventive mind could
conceive. Still, he succeeded in mapping the routes that both art and
science were to take for generations. Although the discussion here fo-
cuses on Leonardo as an artist, exploring his art in conjunction with
his other pursuits considerably enhances an understanding of his
artistic production. Leonardo revealed his unquenchable curiosity in
his voluminous notes, liberally interspersed with sketches dealing with
botany, geology, geography, cartography, zoology, military engineer-
ing, animal lore, anatomy, and aspects of physical science, including
hydraulics and mechanics. These studies informed his art. In his notes,
he stated repeatedly that all his scientific investigations made him a
better painter. For example, Leonardo’s in-depth exploration of optics
gave him an understanding of perspective, light, and color. His scien-
tific drawings (FIG. 22-6) are themselves artworks.
Leonardo’s great ambition in his painting, as well as in his scien-
tific endeavors, was to discover the laws underlying the processes
and flux of nature. With this end in mind, he also studied the human
body and contributed immeasurably to the fields of physiology and
psychology. Leonardo believed that reality in an absolute sense was
inaccessible and that humans could know it only through its chang-
ing images. He considered the eyes the most vital organs and sight
the most essential function. Better to be deaf than blind, he argued,
because through the eyes individuals could grasp reality most di-
rectly and profoundly.
Around 1481, Leonardo left Florence after offering his services
to Ludovico Sforza (1451–1508), the son and heir apparent of the
ruler of Milan. The political situation in Florence was uncertain, and
Leonardo may have felt that his particular skills would be in greater
demand in Milan, providing him with the opportunity for increased
financial security. He devoted most of a letter to Ludovico to adver-
tising his competence and his qualifications as a military engineer,
mentioning only at the end his abilities as a painter and sculptor.
The letter illustrates the relationship between Renaissance artists
and their patrons, as well as Leonardo’s breadth of competence. That
he should select expertise in military engineering as his primary at-
traction to the Sforzas is an index of the period’s instability.
And in short, according to the variety of cases, I can contrive various
and endless means of offence and defence....In time of peace I
believe I can give perfect satisfaction and to the equal of any other
in architecture and the composition of buildings, public and private;
and in guiding water from one place to another....I can carry out
sculpture in marble, bronze, or clay, and also I can do in painting
whatever may be done, as well as any other, be he whom he may.^2Ludovico accepted Leonardo’s offer, and the Florentine artist re-
mained in Milan for almost 20 years.
MADONNA OF THE ROCKSShortly after settling in Milan,
Leonardo painted Madonna of the Rocks (FIG. 22-2) as the central
panel of an altarpiece for the chapel of the Confraternity of the Im-
maculate Conception in San Francesco Grande. The painting builds
on Masaccio’s understanding and usage of chiaroscuro, the subtle
play of light and dark. Modeling with light and shadow and express-
ing emotional states were, for Leonardo, the heart of painting:
A good painter has two chief objects to paint—man and the inten-
tion of his soul. The former is easy, the latter hard, for it must be
expressed by gestures and the movement of the limbs....A painting
will only be wonderful for the beholder by making that which is not
so appear raised and detached from the wall.^3
Leonardo presented the figures in Madonna of the Rocks in a
pyramidal grouping and, more notably, as sharing the same environ-
ment. This groundbreaking achievement—the unified representation
of objects in an atmospheric setting—was a manifestation of his sci-
entific curiosity about the invisible substance surrounding things.
The Madonna, Christ Child, infant John the Baptist, and angel
emerge through nuances of light and shade from the half-light of the
cavernous visionary landscape. Light simultaneously veils and reveals
the forms, immersing them in a layer of atmosphere. Leonardo’s580 Chapter 22 ITALY,1500 TO 160022-2Leonardo da Vinci,Madonna of the Rocks,from San Francesco
Grande, Milan, Italy, begun 1483. Oil on wood (transferred to canvas),
6 61 – 2 4 . Louvre, Paris.
In this groundbreaking work, Leonardo used gestures and a pyramidal
composition to unite the Virgin, Saint John the Baptist, the Christ Child,
and an angel. The figures share the same light-infused environment.1 ft.