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Presentation on the topic: Paintings by Leonardo da Vinci

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Italian painter, sculptor, architect, scientist and engineer. The founder of the artistic culture of the High Renaissance. Leonardo da Vinci was born in 1452 in the village of Anchiano near the city of Vinci, not far from Florence. He was the illegitimate son of a wealthy Florentine notary, Piero da Vinci, his mother was a simple peasant woman. Leonardo's artistic abilities manifested themselves very early, and when he and his family moved to Florence in 1469, his father sent him to study with Andrea Verrocchio. Along with painting, sculpture and jewelry, architecture and construction were studied here. According to a long-standing custom, students helped the master in carrying out his orders, and this, in particular, makes it very difficult to determine the authorship or extent of Leonardo's participation in the works of this period. Leonardo da Vinci (1452-1519)

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Leonardo da Vinci, developing the traditions of the art of the Early Renaissance, emphasized the smooth volume of forms with soft chiaroscuro, sometimes enlivening faces with a subtle smile, trying to convey subtle emotional states with its help. The artist achieved, sometimes resorting to almost caricatured grotesquery, sharpness in conveying facial expressions, and brought the physical features and movement of the human body of young men and women into perfect harmony with the spiritual atmosphere of the composition. In 1481 or 1482, Leonardo da Vinci entered the service of the ruler of Milan, Ludovico Moro, and served as a military engineer, hydraulic engineer, and organizer of court holidays. While studying architecture, Leonardo da Vinci developed various versions of the “ideal” city and projects for a central-domed temple, which had a great influence on the contemporary architecture of Italy.

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After the fall of Milan, Leonardo da Vinci's life was spent in constant travel: Florence-Venice-Milan-Rome-France. Leonardo da Vinci gave first place to painting, understanding it as a universal language capable of embodying all the diverse manifestations of intelligence in nature. His appearance would be perceived one-sidedly without taking into account the fact that his artistic activity turned out to be inextricably linked with scientific activity. In essence, Leonardo da Vinci represents the only example of his kind of a great artist for whom art was not the main business of life.

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Madonna of the Rocks 1483-1494. Louvre Museum, Paris. High Renaissance. Leonardo da Vinci began painting “Madonna of the Rocks” in 1483, having received an order for an altar painting from one of the religious brotherhoods. Disagreements with customers over payment led to Leonardo da Vinci keeping the painting, finally completing it between 1490 and 1494

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Madonna in the Grotto 1495-1508. National Gallery, London. Renaissance. Having not received the promised painting “Madonna in the Grotto” from Leonardo da Vinci, the customers initiated a lawsuit against him that lasted about twenty years. Only between 1505 and 1508 did Leonardo's student Ambrogio de Predis, under the direct supervision of the master himself, complete (with some changes in details) a repetition of the painting "Madonna in the Grotto", which was transferred to the customers.

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Madonna Benois 1478. Hermitage, St. Petersburg. High Renaissance. Around 1480, the artist Leonardo da Vinci painted the Hermitage “Madonna with a Flower” (the so-called “Benois Madonna”) - a work that carries a new holistic concept and represents the first important milestone in Leonardo’s creative path. The artist has not yet reached the full maturity of his skill - this is reflected in the not entirely successful - too large and somewhat conventional-looking - figure of a baby. And yet, the painting “Benois Madonna” stands out sharply among Quattrocentist compositions similar to its theme, in which the image of the Madonna seems static, frozen.

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Mona Lisa or Gioconda 1503-1505. Louvre Museum, Paris. Renaissance. Around 1503, Leonardo began work on a portrait of Mona Lisa, the wife of the wealthy Florentine Francesco Giocondo. The feeling of strength emanating from the picture is an organic combination of internal composure and a sense of personal freedom, the spiritual harmony of a person, based on his consciousness of his own significance. And her smile itself does not at all express superiority or disdain; it is perceived as the result of calm self-confidence and complete self-control.

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Lady with an ermine 1485-1490. National Museum, Krakow. Renaissance. The painting “Lady with an Ermine” was painted by the artist around 1490. In this painting, the artist introduced something new into the technique of volumetric modeling of a figure. Florentine masters, for whom linear-volumetric elements played a leading role in their visual language, have long been famous for the clear, sometimes even sharp plasticity of their images. Leonardo da Vinci did not like strong direct lighting, which produced too harsh shadows and highlights. Light contributes to the soft, nuanced modeling of the face and figure, but also gives the image an aura of unique romantic poetry.

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Portrait of a musician, 1490s. Pinacoteca Ambrosiana, Milan. Renaissance. The painting “Portrait of a Musician” was begun by the artist Leonardo da Vinci at the turn of the 90s of the 15th century. The authorship of Leonardo da Vinci is disputed; it is assumed that the great painter began work, but later his student Ambrogio de Predis worked on the portrait, however, the painting “Portrait of a Musician” remained unfinished.

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Portrait of Beatrice d'Este 1490s. Pinacoteca Ambrosiana, Milan. Renaissance. The painting was begun by the great painter in the 90th year of the 15th century and subsequently completed by his student Giovanni Ambrogio de Predis. Beatrice d'Este is one of the most beautiful and enlightened princesses Italian Renaissance, daughter of Ercole I d'Este and younger sister of Isabella d'Este and Alfonso I d'Este. The girl was well educated, and was surrounded by famous artists of the Renaissance, such as the painter Leonardo da Vinci and the sculptor Donato Bramante. She was engaged at the age of fifteen to Lodovico Sforza. Beatrice d'Este's life ended very early, on January 3, 1497 at the age of 22, the cause of death was an unsuccessful birth.

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Madonna Litta 1490-1491. Hermitage, St. Petersburg. Renaissance. The artist Leonardo da Vinci painted the painting “Madonna Litta” in the early 90s of the 15th century. The feeling of the joy of motherhood in the painting “Madonna Litta” deepened thanks to the content of the very image of Mary - in it the type of Leonardian female beauty found its mature expression. Half-closed eyes and a subtle smile give the Madonna’s thin, beautiful face a special spirituality - it seems that she is smiling at her dreams. The painting “Madonna Litta” was painted by the artist not in oil, but in tempera.

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Last Supper 1495-1498. Monastery of Santa Maria delle Grazie, Milan. Revival. Fresco by Leonardo da Vinci “The Last Supper” (central fragment). In 1495, Leonardo began creating his central work, the fresco “The Last Supper” in the refectory of the monastery of Santa Maria delle Grazie in Milan. After almost three years of hard work, the painting was opened for viewing, glorifying the name of Leonardo as the greatest artist of his time. But the fate of this work turned out to be truly tragic. Leonardo's usual experimental work on paints and primers was not successful - the paint layer was not strong enough, and already in the 16th century the destruction of the fresco began, which intensified over time and was completed by crude and inept restorations. In 1954, the fresco was cleared of later layers, and the remains of the original painting were identified and fixed, thanks to which one can get a general idea of ​​the composition and colorful design of Leonardo da Vinci’s masterpiece. In order to judge more definitely about its features, one has to resort to old copies and engravings, as well as Leonardo’s own sketches and his preparatory drawings. The size of the fresco is 460 x 880 cm, mixed media. The fresco “The Last Supper” by the artist Leonardo da Vinci is a huge composition that occupies the entire transverse wall of the large hall of the monastery refectory. In Quattrocento painting, certain traditions have already developed in dealing with this topic - suffice it to name the works of Andrea del Castagno and Ghirlandaio, who, despite all their undoubted realistic aspirations, still retain some signs of dogmatic constraint - in particular, they separate Judas from the apostles, placing him alone in the other side of the table. Like his predecessors, Leonardo da Vinci depicted Christ and the apostles at a table set for a meal. The action takes place in a large room presented in frontal perspective, the walls of which are hung with carpets. Christ is placed in the center; his figure is drawn against the background of a doorway in the depths of the composition, through which a view opens onto a landscape with gentle mountainous slopes. Leonardo da Vinci chose to depict the moment that came after Christ uttered the fateful words: “One of you will betray me.” These words, so unexpected for his students, strike everyone to the very heart. Foreshadowing the imminent death of their teacher, they simultaneously strike a blow to their sense of trust and mutual solidarity, for there is a traitor in their ranks. So, instead of a religious sacrament, Leonardo da Vinci embodied the drama of human feelings in his fresco. The wise choice of the decisive moment of this drama allowed the artist to show each of the characters in the most vivid expression of his individual character. Young dreamy John, placed at the right hand of Christ, seemed to droop helplessly from the blow he received; on the contrary, the determined Peter, sitting next to him, grabs a knife with his hand to punish a possible traitor. Jacob the Elder, who is on the left hand of Christ, spread his arms to the sides with an eloquent gesture of bewilderment, and young Philip, who rose from his place next to him - an image of high spiritual beauty - bows before Christ in a fit of self-sacrifice. And in contrast to them is the base appearance of Judas. Unlike his predecessors, Leonardo placed him with the apostles, only highlighting his face with a shadow falling on him. But in this fresco, not only the faces are expressive - the characters of the participants in the event are just as clearly manifested in their movements and gestures. Hand movements alone express all shades of feelings, starting from Christ’s hand lying helplessly on the table, palm up - this gesture conveys the feeling of stoic submission to the fate awaiting him - to the fearfully clasped hands of the Apostle Andrew.

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Copy of the fresco The Last Supper, late 16th century. Leonardo da Vinci Museum, Tongerlo. Renaissance. A copy of the fresco by Leonardo da Vinci “The Last Supper” (central fragment). Several artists took part in the creation of the restoration version-copy of the fresco. Painting size 418 x 794 cm, oil on canvas. The special depth and emotional ambiguity of the content of the fresco are associated with the internal dynamics of its dramatic construction. This image does not represent a frozen fixation of any one moment, torn out from the general time flow. On the contrary, it seems that the action is unfolding before our eyes, for this tragedy simultaneously contains both the climax (that is, the moment of the highest dramatic impulse), expressed in the images of the apostles, and its resolution, which represents the image of Christ, filled with a calm consciousness of the inevitability of the fate awaiting him . But, having given the full measure of expressiveness to each of the characters, Leonardo da Vinci retained a sense of amazing integrity and unity in his huge multi-figure fresco “The Last Supper”. This unity is achieved primarily by the unconditional primacy of the central image - Christ. He is the cause of the conflict unfolding before us; all the feelings of his students are directed to him. Visually, his leading role is emphasized by the fact that Christ is placed in the very center of the composition, against the backdrop of a bright doorway, and, moreover, as if alone - his figure is separated from the apostles by spatial intervals, while they themselves are united in threes in various groups on both sides from Christ. It also represents the center of the spatial construction of the fresco: if you mentally continue the lines of the walls and the carpets hanging on them going into perspective, then they will converge directly above the annual Christ. This centralization is finally expressed coloristically. The dominant combination of blue and red in the color scheme of the fresco is given in its most intense sound in the blue cloak and red tunic of Christ; in a weakened form it varies in different shades in the clothes of the apostles. It is necessary to point out new methods of connecting the Last Supper fresco with the architectural and spatial complex in which it is placed. In the 15th century, the fresco master, using the wall provided to him, rarely sought to actively influence his work on the entire architectural and artistic ensemble. Leonardo, placing the fresco on the end wall of an elongated hall, took into account the most advantageous opportunities for its perception in the perspective construction of his composition, in its scale, in the arrangement of the table and figures. Without resorting to illusionistic techniques for the transition of real space into the depicted, Leonardo da Vinci achieved, through powerful centralization of figurative and compositional construction, such an Effect when the huge refectory room turned out to be subordinate to the fresco itself, increasing the monumentality of its images and the power of its impact. Wall painting of the 15th century did not know such a confident dominance over large spaces, and Leonardo da Vinci in this regard paved the way for the fresco ensembles of such great masters of the Italian High Renaissance as Michelangelo and Raphael.

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Madonna with a Spinning Wheel 1510s. Private collection of the Duke of Baclelew, Drumlanrig Castle, Scotland. High Renaissance. The painting depicts the Madonna sitting against the backdrop of a mountain range. She has the baby Jesus on her lap. According to one of the apocryphal Gospels, the Virgin Mary worked in the house of Joseph to make purple yarn for the temple curtain. Leonardo da Vinci used this plot in his painting. Baby Jesus holds a spinning wheel in the shape of a cross in his hands, symbolizing his acceptance of his destiny. Madonna, according to the plot of the picture, cannot yet accept this with her heart, and therefore her hand is raised in a protective gesture.

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John the Baptist 1513-1516. Louvre Museum, Paris. High Renaissance. In the painting, the artist depicts a long-haired, effeminate young man who holds a cross in one hand and points to the sky with the other; by its very idea, by the nature of the image, it is in conflict with the spirit of the previous art of Leonardo da Vinci. The features of this picture are difficult to consider only as a result of the creative decline of the artist himself - qualities are already emerging in it that are internally related to the crisis phenomena that emerged in Italian Renaissance art in all its strength after one and a half to two decades.

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Annunciation 1472-1475. Uffizi Gallery, Florence. High Renaissance. The painting “The Annunciation” was painted by the artist Leonardo da Vinci at the age of just over 20 years. Painting size 98 x 217 cm, wood, tempera. The painting “The Annunciation” is a rather large, horizontally elongated composition on the scale of the 15th century, the length of which is over two and a half meters, depicting the Virgin Mary sitting at a reading stand at the entrance to the building, the monumentality of which is illustrated by the large rustication of the corners and platbands of the portal . In front of her is a kneeling angel on a lawn strewn with flowers. The background of the picture forms a beautiful landscape with slender cypress trees. The somewhat obsessive detailing in the Quattrocento spirit, with which the folds of clothes, flowers, and ornamental decorations of the music stand are painted, cannot obscure the noble beauty of the appearance and calmness of the movements of Mary and the angel. In combination with the softened color structure of the painting, these qualities, inaccessible to the more angular and rigid Andrea Verrocchio, testify to the hand of a younger artist standing on the threshold of a different vision of the world. This is also supported by the clear orderliness of the compositional structure, which is more clearly expressed than was customary in the 15th century, creating the impression of calm spaciousness - here one can discern a premonition of those methods of artistic organization that would become characteristic of the masters of the High Renaissance.

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Portrait of Ginevra de Benci Around 1476. National Gallery of Art, Washington. High Renaissance. In this bust-length depiction of a young woman, whose face is marked by an expression of thoughtful concentration, one can detect a similar combination of traditional features with a harbinger of the new. The painterly style of the artist Leonardo da Vinci is still distinguished here by somewhat fractional detail, but the image of the model Lady Ginevra de Benci is already surrounded by a peculiar poetic atmosphere, which is facilitated by the landscape background, which is unusual in its interpretation.

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As a scientist and engineer, he enriched almost all areas of science of his time. Leonardo da Vinci paid special attention to mechanics, seeing in it the main key to the secrets of the universe; his brilliant constructive guesses were far ahead of his contemporary era (projects of rolling mills, cars, submarines, aircraft). While studying the structure of the eye, Leonardo da Vinci made correct guesses about the nature of binocular vision. He also studied botany and biology. And in contrast to this creative activity full of the highest tension is the fate of Leonardo, his endless wanderings associated with the impossibility of finding favorable conditions for work in Italy at that time. Therefore, when the French king Francis I offered him a position as a court painter, Leonardo da Vinci accepted the invitation. In France, which during this period was especially actively involved in the culture of the Italian Renaissance, the artist was surrounded by universal veneration at court, which, however, was rather external in nature. His strength was running out, and two years later, on May 2, 1519, he died at Cloux Castle in France. A tireless experimental scientist and brilliant artist, Leonardo da Vinci became a universally recognized symbol of the Renaissance.

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Leonardo da Vinci “Just as a well-spent day gives a peaceful sleep, so a well-lived life gives a peaceful death” Leonardo da Vinci

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Leonardo da Vinci is a great Italian artist, painter, sculptor, architect, scientist, inventor, writer, one of the largest representatives of the art of the High Renaissance. Leonardo had no surname; "da Vinci" simply means "from the town of Vinci." His full name is Leonardo di ser Piero da Vinci, that is, “Leonardo, son of Mr. Piero from Vinci.”

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Childhood The house where Leonardo lived as a child. Born on April 15, 1452 in the city of Vinci, near Florence. Leonardo da Vinci was the illegitimate son of a Florentine notary and a peasant girl; was brought up in his father's house and, being the son of an educated man, received his primary education at home: he learned to read, write, and mastered the basics of mathematics and Latin. His handwriting is amazing, He writes from right to left, the letters are reversed so that the text is easier to read with the help of a mirror.

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Leonardo's youth had good teachers, but most of all he learned from himself. The extraordinary versatility of his nature was revealed in his early youth. Since childhood, he drew, wrote and calculated jokingly. In addition to sciences and arts, in his youth he did a lot of physical exercise, rode excellently, and was excellent at mowing and chopping wood. An excellent friend among young people, Leonardo had many friends, but even more than that he loved the company of beautiful Florentines, with whom he enjoyed great success.

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Leonardo as an artist Already his first canvases - “The Annunciation”, “Benois Madonna”, “Adoration of the Magi” - made it clear that a great artist had appeared in Italy. At the same time, he deeply and thoroughly studies the anatomy of humans and animals. The creator of “The Last Supper” and “La Gioconda” also showed himself as a writer, early realizing the need for theoretical justification of artistic practice. "Annunciation" "Benois Madonna"

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Mona Lisa (La Gioconda) The most famous painting in the world, “Mona Lisa” (1510), the creation of Leonardo da Vinci, is located in the Louvre. It still remains unclear who exactly posed for the great master. The artist received an order for the painting from Francesco del Giocondo, a Florentine silk merchant, and most historians are inclined to believe that the portrait depicts Lisa Gherardini, Giocondo’s wife. The only drawback of the painting is that the Mona Lisa has no eyebrows. Perhaps this is the result of the excessive zeal with which the painting was cleaned in subsequent centuries, and it is also possible that the sitter could have completely plucked them herself, since it was fashionable in those days.

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Some researchers argue that the painting is a self-portrait of Leonardo himself, who gave his appearance feminine features. Indeed, if you remove the hair from the image of the Mona Lisa, you will get a strange sexless face. This hypothesis was confirmed by work done by independent researchers, who confirmed the hypothesis that Leonardo could depict himself in the image of the Mona Lisa. Using special computer programs, the researchers compared the Mona Lisa and a self-portrait of Leonardo, taken when he was already at an advanced age. The result was amazing. “Mona Lisa” turned out to be almost a mirror image of the face of the great master. Almost all facial features matched perfectly, including the tip of the nose, lips and eyes.

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The Last Supper “The Last Supper” is a fresco painted on the wall of the refectory of the monastery of Santa Maria della Grazie in Milan. Even in the era of Leonardo himself, it was considered his best and most famous work. The fresco was created between 1495 and 1497, but already during the first twenty years of its existence, it began to deteriorate. The theme of the picture is the moment when Jesus Christ announces to his disciples that one of them will betray him.

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Leonardo as an inventor The greatest scientist of his time, Leonardo da Vinci enriched almost all areas of knowledge with guesses and observations. But how surprised a genius would be if he found out that many of his inventions are in use even so many years after his birth. He created a design for a diving suit, scuba gear, a device capable of compressing air and driving it through pipes, a lifebuoy, and webbed gloves, which over time turned into the well-known flippers. One of Leonardo's most famous drawings represents the ancient development of the automobile. Researchers have proven that it was Leonardo da Vinci who owned the “copyright” for a parachute, a helicopter, a machine gun and a host of other mechanisms, without which it is impossible to imagine modern civilization.

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Death of a genius On April 23, 1519, Leonardo da Vinci made his will, and on May 2 he died surrounded by his students and his masterpieces. Leonardo da Vinci was buried at Amboise Castle. The inscription was engraved on the tombstone: “Within the walls of this monastery lie the ashes of Leonardo of Vinci, the greatest artist, engineer and architect of the French kingdom.” Leonardo left behind a huge number of drawings, drawings and diary entries. He bequeathed the entire archive to his beloved student Francesco Melzi. Melzi spent his whole life preparing documents for publication, but his early death prevented his plans. The archive of the genius fell into pieces, and the meaning of the records was lost. About seven thousand pages written by Leonardo's hand have survived. It is believed that a third of the archive has not survived to this day. The loss of Leonardo beyond measure saddened everyone who knew him, for never was there a man who brought so much honor to the art of painting. This is a master who truly lived his entire life with great benefit for humanity. Yes, all of his work is full of questions that you can answer all your life, and will remain for future generations.

Creation Leonardo da Vinci

Presentation on MHC

Teachers of OGKOU “Sanatorium boarding school” Kokareva S.Yu.

Leonardo da Vinci

Italian painter, sculptor, architect, scientist, engineer.

He made numerous discoveries and conducted experimental research in the fields of mathematics, natural sciences, and mechanics.

Leonardo da Vinci. "Self-Portrait" (circa 1510-1513). Library, Turin.

In the refectory of the monastery of Santa Maria delle Grazie, Leonardo creates the painting “The Last Supper” (1495-97; due to the risky experiment that the master undertook, using oil mixed with tempera for the fresco, the work has reached us in a very damaged form).

The clear stage logic of facial expressions and gestures, as well as the combination of strict rationality with an inexplicable mystery, made The Last Supper one of the most significant works in the history of world art.

In Leonardo's most famous painting, the portrait of Mona Lisa (the so-called "La Gioconda", circa 1503, Louvre), the image of a wealthy city dweller appears as a mysterious personification of nature as such, without losing its purely feminine guile.

The internal significance of the composition is given by the cosmically majestic and at the same time alarmingly alienated landscape, melting in a cold haze.

Leonardo da Vinci. "Mona Lisa". Louvre, Paris.

The humanistic ideal of female beauty is embodied in the portrait of Mona Lisa

("La Gioconda", circa 1503).

Reddish paper pasted onto canvas; coal; whitewash

The complex grouping of figures is typical of the compositional searches of the early 16th century.

Leonardo da Vinci. "Saint Anne with Mary, the Christ Child and John the Baptist"

The most important source for studying the views of Leonardo da Vinci are his notebooks and manuscripts. The master did not leave a systematic presentation of his thoughts.

"Treatise on Painting", prepared after Leonardo's death by his student

F. Melzi, who had a huge influence on the theory of art, consists of excerpts arbitrarily extracted from the context of his notes.

"Vincent van Gogh" - Died at 1:30 a.m. on July 29, 1890. Self-portrait of Vincent van Gogh. Vincent Willem van Gogh. Vincent, although he was born second, became the eldest of the children... On October 1, 1864, van Gogh went to boarding school in Zevenbergen, 20 km from his home. Becoming an artist. Childhood and youth. On September 15, 1866, Vincent began studying at another boarding school - Willem II College in Tilburg.

“Paintings of Rembrandt” - “The Prodigal Son” is Rembrandt’s last painting, his swan song. In the fall of 1669, the greatest of the masters of the Dutch school died quietly and unnoticed. Danae. Rembrandt Harmens van Rijn (1606-1669). Everything modest, needy, forgotten by everyone is close and dear to him. Rembrandt is a poet of suffering and compassion.

“Leonardo da Vinci biography” - Where did Leonardo receive his first lessons in craftsmanship? In what year was Leonardo da Vinci born? Which of the paintings on the next slide is called "Mona Lisa"? Madonna Benois, Madonna Litta. What is one of Leonardo's paintings called after the customer's name? When did Leonardo da Vinci die? At the table in the upper room, where the Teacher and his disciples eat, Christ sits...

"Michelangelo Buonarroti" - Prophet Isaiah. Delphic Sibyl. Vasari and his assistants sculpted a spectacular marble tombstone. In March 1505, Michelangelo was summoned to Rome by Pope Julius II. Church of St. Peter, Omsk. Prophet Jeremiah. The Fall and Expulsion from Paradise. Separation of solid from water. The Renaissance period made contributions of enormous importance to world artistic culture.

"Bartholomew Rastrelli" - Bartholomew Rastrelli. Francesco Borromini. Baroque architecture (continued). In the frosty dawns I saw the blush of roses, Baroque architecture. And he grew palaces in the snow. Materials for the MHC lesson in 11th grade.

“Leonardo da Vinci Mona Lisa” - In all this, Leonardo demonstrates his ability to create according to the laws of rhythm and harmony. Da Vinci had a special affection for this portrait. The very contrast between a gaze and a half-smile on the lips gives the concept of inconsistency. The appearance and mental structure of a particular person are conveyed by him with unprecedented syntheticity.

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