Storia dell'Arte

Leonardo Da Vinci, i corpi e i paesaggi agganciano agli olii

Leonardo Da Vinci, bodies and landscapes hook into oils

ENGLISH VERSION (by the same author)

Leonardo da Vinci, Madonna col bambino e sant'Anna, 1510 e dopo, Parigi Louvre
Leonardo da Vinci, Madonna col bambino e sant’Anna (more friendly named the Saint Anne), 1510 e dopo, Parigi, Louvre

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.

Leonardo Da Vinci, Monna Lisa (o Gioconda), between 1503 e il 1505, oil on canvas, 77 x 53 cm, France, Paris, Musée du Louvre

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.

Leonardo da Vinci, San Giovanni Battista, 1508-1513, olio su tavola di noce, dim. cm 69 x 57 cm, Paris, Louvre

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.

Leonardo da Vinci, Vergine delle rocce, between 1483 and 1486, oil on canvas, dim. 199 x 122 cm, France, Paris, Musée du Louvre

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.


Coming soon.

Articolo in aggiornamento.

di Elettra Nicodemi

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