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Solari, Ernesto (2016). Leonardo da Vinci: Horse and rider: il "monumento" a Charles d'Amboise. Leonardo, da Vinci, 1452–1519,, Palazzo delle Stelline (Prima edizioneed.). Paderno Dugnano (Mi). ISBN 9788897206330. OCLC 962823523. {{ cite book}}: CS1 maint: location missing publisher ( link) Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. [88] [87] [89] Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." [90] Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. [‡ 4] Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact. [s] [t] In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. [50] [u] Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. [92] His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. [93] Drawing of the Château d'Amboise ( c. 1518) attributed to Francesco Melzi

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Covi, Dario A. (2005). Andrea del Verrocchio: Life and Work. Arte e archeologia: Studi e documenti. Florence, Italy: Leo S. Olschki Editore. ISBN 978-8822254207. Paris Manuscript K". Universal Leonardo. University of the Arts, London . Retrieved 3 November 2012. These drawings were pasted into an album by Pompeo Leoni, probably entered the English royal collection in the reign of Charles II, and were removed from their binding in the 19th century. [42] In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of Saint Bernard in the Palazzo Vecchio, [47] an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met. [14] [l] In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. [48] Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. [37] [49] He brought with him a silver string instrument—either a lute or lyre—in the form of a horse's head. [49]This portrait attributed to Francesco Melzi, c. 1515–1518, is the only certain contemporary depiction of Leonardo. [1] [2]

Leonardo da Vinci - Wikipedia

Delieuvin, Vincent, ed. (2012). Saint Anne: Leonardo da Vinci's Ultimate Masterpiece. Milan, Italy: Officina Libraria. ISBN 978-8897737025. Described in great detail by Giorgio Vasari and the Anonimo Gaddiano. Painted for the King of Portugal, it was in the collection of Ottaviano de' Medici in Vasari's lifetime. The composition might have inspired a drawing by Francesco di Giorgio Martini in the Christ Church Picture Gallery, Oxford. [61] Leonardo da Vinci: The Marvellous Works of Nature and Man. Oxford, England: Oxford University Press. ISBN 978-0-19-920778-7. Many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination", and he is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote". Marco Rosci notes that while there is much speculation regarding his life and personality, his view of the world was logical rather than mysterious, and that the empirical methods he employed were unorthodox for his time.

What do you think is the defining trait of Leonardo’s genius? And what can he teach us?

Da Vinci, Leonardo (1971). Taylor, Pamela (ed.). The Notebooks of Leonardo da Vinci. New American Library. If so, the people who leapt on this obscure work and acclaimed it as a Leonardo were not naive, let alone dodgy. They were right. Syson, now director of the Fitzwilliam Museum in Cambridge, tells me the story he fails to get across in The Lost Leonardo: how, as a young Renaissance expert at the National Gallery, he made what seemed the discovery of a lifetime. It started, he remembers, with an old-fashioned slide shown to him by his boss. “You get sent stuff as an art historian at a big institution,” he says. “More often than not, the theory that this is by X – especially if it’s Leonardo or Raphael or Michelangelo – is going to be pretty mad.” Why did experts fall head over heels for this painting in 2008? Were they really just elitist monsters? Gilbert, Creighton and Michelangelo Merisi da Caravaggio (1995). Caravaggio and His Two Cardinals. Penn State Press. ISBN 0-271-01312-5. Horse and Rider' Discovered Leonardo Da Vinci Sculpture". Huffington Post. 14 August 2012 . Retrieved 16 January 2014. Cesare da Sesto, Leda and the Swan ( pictured). Oil on wood, 69.5cm ×73.7cm (27.4in ×29.0in). Wilton House, Wiltshire

Leonardo da Vinci (1452 - 1519) | National Gallery, London Leonardo da Vinci (1452 - 1519) | National Gallery, London

It really is a tragedy’ … restorer Dianne Modestini in a scene from The Lost Leonardo. Photograph: Adam Jandrup/APWhite, Michael (2000). Leonardo, the first scientist. London: Little, Brown. p.95. ISBN 0-316-64846-9.

Leonardo da Vinci - 205 artworks - painting - WikiArt.org Leonardo da Vinci - 205 artworks - painting - WikiArt.org

Wittkower, Rudolph and Margaret Wittkower (2006). Born Under Saturn: The Character and Conduct of Artists: A Documented History from Antiquity to the French Revolution. New York, New York Review of Books. ISBN 1-59017-213-2. It seemed a clear enough collective verdict for Syson to go with his instincts, put it in the show and write a passionate catalogue entry declaring Salvator Mundi to be a rediscovered Leonardo. Portable audio control surface includes 12 premium touch sensitive flying faders, channel LCDs for advanced processing, automation and transport controls plus HDMI for an external graphicsdisplay. a b Friedman, David M (2003). A Mind of Its Own: A Cultural History of the Penis. Penguin. p.48. ISBN 0-14-200259-3.Gatti, Chiara (19 October 2016). "Arriva l'uomo a cavallo di Leonardo Da Vinci che divide i critici". la Repubblica (in Italian) . Retrieved 22 February 2017. Presentata come una rivelazione esclusiva, è contestata da molti esperti. [...] Vittorio Sgarbi non nasconde i suoi dubbi sull'attribuzione al maestro toscano [...] Pietro Marani: Non ci sono evidenze, né si possono fare confronti poiché non esistono dati d'appoggio, esemplari sicuri. White, Michael (2000). Leonardo, the first scientist. London: Little, Brown. p.70. ISBN 0-316-64846-9. Marani 2003, p.340: "Although the painting's condition is poor, it should be considered a very damaged original by Leonardo." Workshop of Verrocchio, with a possible contribution by Leonardo [h] Martin Kemp suggests that Leonardo may have painted some part of this work, most likely the fish. David Alan Brown, of the National Gallery in Washington, attributes the painting of the dog to him as well. The Forster Codices: Leonardo da Vinci's Notebooks at the V&A". Victoria and Albert Museum . Retrieved 4 November 2012.