davinci-leonardo.de | ENG
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Fond. Gottfried Matthaes |
Leonardo da Vinci in Milan Two great permanent exhibitions at the Museo d'Arte e Scienza |
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Museo d'Arte e Scienza |
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Milano, Via Quintino Sella 4 - Piazza Castello |
The outstanding importance
of Leonardo for human art
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The two permanent exhibitions
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In 1483 Leonardo presented himself to the Duke of Milan, offering his services as an expert in military and industrial machines, engineer of navigable canals, painter, architect, sculptor and master of revels. This promise obliged him, during his twenty years at court, to undertake intense activity and exploit all his talent.
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Some examples of the exhibition
"Leonardo Citizen of Milan"
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A city map of the period shows all the places where Leonardo carried out the activities connected to his various roles. |
LEONARDO MILITARY ENGINEER |
MASTER OF REVELS, creator of stage sets and mechanical musical instruments. |
Leonardo was an ARTISTIC GENIUS |
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The other fields of research to which Leonardo applied his efforts during the years in Milan were optics and perspective. His optical projector and perspective frame, a model of which built here, are examples of his work. |
THE MONA LISA’S MYSTERIOUS SMILE.
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In 1950, for the fifth centenary of Leonardo’s birth, the Louvre Museum, owner of 7 of his 15 paintings, organized a study of his singular painting technique. The Milanese museum, on re-examining this and other materials, came to some interesting conclusions. |
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(All the X-ray photographs: Louvre Museum) |
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A clear demonstration of the lack of outlines is given by this enlarged photograph of the Mona Lisa’s lips. The lips with the famous smile do not exist, they are only nuances of colour. |
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A copyist, unable to copy this technique, can only reproduce the colours and outlines as they appear to him. The examples chosen here are the eyes and mouth of a well-executed recent copy compared with the same features of the Mona Lisa. |
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Recent copy by F. Pari Leonardo’s Mona Lisa |
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Leonardo’s most significant work |
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This extraordinary and unique exhibition is intended for art lovers who, after visiting the rooms of an exhibition of old master paintings or modern art, certainly come away convinced that they have seen a beautiful collection of paintings, but often disappointed that they are unable to distinguish between a true work of art and an attractive painting or understand the choice of colours of an avant-garde artist. What better guide and teacher could there be than Leonardo da Vinci who, in his Treatise on Painting, laid down the rules which every good painter should follow? The purpose of this exhibition at the Museo d’Arte e Scienza is, in fact, to provide a key to understanding painting with the help of Leonardo’s own theories and principles. |
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The Treatise on Painting,which should be a best-seller, is, instead little understood and consulted because of its poor readability.
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Some samples from the exhibition on
the Treatise on Painting
presented by the Museum under the title:
"Appreciating Art through the Eyes of Leonardo"
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Art. 406 * The first intention... is to make a flat surface display a body as if modelled and separated from the plane, and he who most surpasses others in this skill deserves most praise... |
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Art. 43 The second principle of the science of painting is the shadow of bodies, by which they can be represented… |
* = All the numbers of the articles were taken from the edition: "Leonardo Trattato della Pittura"- TEA 1995 (reprint 1999)
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Art. 322 The attitudes and all the members are to be disposed in such a manner that by them the intentions of the mind may be easily discovered. |
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Art. 6 ...the painter… penetrates within these bodies, considering what comprises their distinctive essences... |
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Art. 36 Painting shows transparent objects… …also the mists… also the rains, behind which can be discerned the cloudy mountains and valleys… and also innumerable other effects… |
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Art. 9 The painter is master of all the things that can befall the mind of man, and therefore if he wishes to see beauties that would enrapture him, he is master of their production... |
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Art. 9 …and if he wishes to see monstrous things which might terrify, or which would be buffoonish and laughable or truly pitiable, he is their lord and god...
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Art. 9 ...whatever there is in the universe through... presence or imagination, he has it first in his mind, and then in his hands..., which can generate aproportional harmony in the time equivalent to a single glance, just as real things. |
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Art. 254 ...The air between the eye and the object seen will change the colour of that object into its own, so will the azure of the air change the distant mountains into blue masses... |
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Art. 186 ...apply that rule which can be seen in the rays of the sun in the composition of thecelestial rainbow... |
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Art. 36 Painting involves greater mental deliberation and is of greater artifice and wonder than sculpture, in that necessity requires the mind of the painter to transmute itself into nature’s own mind and to become the interpreter between art and nature... |
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Art. 500 To execute a figure in marble, you must first make a model of it in clay … when it is finished and dried place it in a square case … have some peg-like sticks pass through holes made in the sides and all around the case. Push them in till every stick touches different parts of the model… |
Thoughts of Leonardo applicable (with reserve) to modern art
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Art. 63 ...there is no harm... in pausing to look into stains... or clouds... where you will find extraordinary inventions... But first you must gain a knowledge of how to make well all the parts of those things you wish to represent... |
The integral version of the Treatise, the importance of which should make it a best-seller, is little understood and consulted because of its scant readability and extremely repetitive nature. This abridged edition presents a selection of the most significant articles and important concepts for the evaluation of works of art, set out in a few clear lines in the Master’s own words and illustrated with his drawings, his paintings and other suitable art objects serving to explain his precepts. |
This book is on sale at the Museum at the price of €20 and is available in English and Italian.
The German and French editions are available online
To purchase on line
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