Leonardo Da Vinci, bodies and landscapes hook into oils

ENGLISH VERSION (by the same author)

The Da Vinci’s, the oils by Leonardo da Vinci, but also drawnings of course, show heavy figures.

It has a weight any part of the body and so anyone has a lightness.

Few parts are more heavy rather than few others, i.e. we should consider that when we stand up, starting from a sitted position, we move the weight of the body from some parts to some others.

Consideration that allows to focus the Da Vinci’s, to see his paintings under the right light, the one thar shows Da Vinci’s completely unmistakable and unforgettable.

In example the Holy Mary with Child and saint Anne of 1510, painting in which the vergin Mary stays sitted on the legs of the mother saint Anne.

Saint Anne seems to have just moved her legs freezing her feet, as she has moved knees from right to left to keep the daughter with her, while the adult daughter, Mary, holds his own child that keeps between legs a lamb.

The composition is a spiral referring to each of the four elements of the scene in wich anyone is in torsion as well, it has on the background a mountain landscape, one of the most beautiful of the master, standing out against a transparent grey-lightblue sky.

The extreme swetness of the scene is usually ascribed to the softness of the abandon of Mary in the hug of the mother that cradle Mary to herself, the head of Mary is the most heavy part of the figure; the head is painted in the superior half part and exactly at the middle of the painting, it hooks the viewer of the canvas that, as it were, is posed in condition to leave all his previous occupations, was that to ride a lamb or anything else, fascinated and pull by the holded up hug of Mary; now he is abandoning on saint Anne knees.

The place where the sceene happens is in an upper position referring to a valley, a place where the time is stoppable, but not as long. In the foreground precipitous rocks signs for short period disposed.

As commonly considered, Da Vinci’s portraits are described trought the preposition “by shoulder” infact it is the Genius from Touscany to introduce in paintings the three quarter view, freezing on canvases people while they are moving.

Coloured paintings show a sort of what we have been named “awareness to be observed” in Raphael Santi’s article “Portrait and meltings“, but that something is missed in drafts.

Leonardo’s paintings, good to remember, are numerable only concerning papers, studies, codes. As it is estimated, of his production just one on five is survived nowadays!

Coloured paintings instead are in a small number, as little as he is better considered as an engineer than as a painter.

Codes, as well known, refined by little drawings showing the same content the master describes in text, in some cases are proof of his engineering production, while for many other cases papers show studies of anatomy.

From numerous preparatory paintings we can view Leonardo’s projects, sometimes we find the masterpiece, some other times, we do not.

Docu-film

Coming soon.

Articolo in aggiornamento.

di Elettra Nicodemi