"The Notebooks of Leonardo Da Vinci — Volume 2" by Leonardo da Vinci is a collection of notes and sketches illustrating Leonardo's insights on various artistic and scientific topics, written during the late 15th and early 16th centuries. This volume particularly focuses on sculpture, highlighting Leonardo's studies and methodologies related to the casting and design of the equestrian statue dedicated to Francesco Sforza, Duke of Milan, along with his thoughts on architectural concepts and interpretations. At the start of this volume, the text delves into Leonardo's notes on sculpture, specifically capturing his meticulous exploration of the techniques and challenges involved in creating the monumental horse statue. The opening portion discusses scattered manuscripts that reveal Leonardo's process, from preparing clay models to considerations of proportion and movement in the art of sculpture. He reflects on the competition for the statue, his attempts to make detailed sketches, and the evolution of design ideas, revealing both the technical and creative challenges he faced. Additionally, he connects these ideas to broader artistic principles, emphasizing the relationship between sculpture and painting, and hinting at the importance of chronicling these methods for future artists. (This is an automatically generated summary.)
The Notebooks of Leonardo Da Vinci — Volume 2
By da Vinci Leonardo
"The Notebooks of Leonardo Da Vinci — Volume 2" by Leonardo da Vinci is a collection of notes and sketches illustrating Leonardo's insights on various...
Leonardo di ser Piero da Vinci was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor, and architect. While his fame initially rested on his achievements as a painter, he has also become known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and palaeontology. Leonardo is widely regarded to have been a genius who epitomised the Renaissance humanist ideal, and his collective works comprise a contribution to later generations of artists matched only by that of his younger contemporary Michelangelo.