Leonardo da Vinci (1452-1519) is the Italian painter, draftsman, sculptor, architect, and engineer whose genius, perhaps more than that of any figure, epitomized the Renaissance humanist ideal. His Last Supper (1495-97) and Mona Lisa (1503-06) are among the most widely popular and influential paintings of the Renaissance, while his notebooks ...
Leonardo da Vinci (1452-1519) is the Italian painter, draftsman, sculptor, architect, and engineer whose genius, perhaps more than that of any figure, epitomized the Renaissance humanist ideal. His Last Supper (1495-97) and Mona Lisa (1503-06) are among the most widely popular and influential paintings of the Renaissance, while his notebooks reveal a spirit of scientific inquiry and a mechanical inventiveness that were centuries ahead of their time. In his interpretation of the life and work of Leonardo da Vinci, Sherwin Nuland completes a twenty year quest to understand this unlettered man who became the greatest genius of his time: what was it that propelled Leonardo's insatiable curiosity? How could the same person, in the same moment, appear to be as naive as a child yet as profound as a sage? What was it that was truly 'modern' about this mind and work? Nuland finds clues in Leonardo's art, his scientific research, his famous notebooks and in his relationships with his family, patrons and lovers. He detects the siren voice that always brought the great artist back to science - his fascination with anatomy as the basis for his paintings and as a crucial component in his aim to systemize all knowledge of nature. Sherwin Nuland describes this staggeringly full life with authority, elegance and charm. His biography is an excellent primer on one of the greatest of all European lives.
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Publishers Weekly, 2000-09-15 Say what one will about Edna O'Brien's ravishing clip job of Joyce, Peter Gay's moderate Mozart or Edmund White's microcosmic Proust, the editors at Penguin Lives have a knack for matching up free-thinking meditators and their subjects. A surgeon and a writer about medicine, Nuland (How We Die) uses much of his brief bookÄlimited in size and scope to the series's quick-take, authorially inflected formatÄto explain the prodigal da Vinci as pioneering anatomist. The first 11 pages detail Nuland's personal obsession with da Vinci; the later pages describe da Vinci's concern with human and animal anatomy, and review the bibliographical jumble of his surviving notebooks and papers. Nuland's da Vinci is tireless, perhaps sublimated, in his intellectual and artistic activity, finishing few canvases (one the Mona Lisa, another The Last Supper) and almost nothing else during a long life largely financed, sometimes erratically, by patrons who indirectly supported an expensive retinue of friends, assistants and servants. He emerges as a compulsive investigatorÄof geometry, optics, hydraulics, architecture, sculpture, painting, botany, biology, military mechanics and the flight of birdsÄmoving from city-state to city-state in Italy, encountering ruler after ruler who sought to harness his gifts. Yet perhaps unforgivably, given the series's promise of New Yorker profile-like effervescence, da Vinci as personality slips away; what we get is a clean condensation of the facts. Only the final chapter, "Matters of the Heart and Other Matters," injects some of Leonardo's own fervor, in an in-depth look at one of his abiding obsessions, the structure and function of the human heart. Nuland's account is solid, but lacks enough of the flourish that its subject so effortlessly achieved and, that, on a much smaller scale, the Lives series seems to strive for. 4 illus. BOMC, QPB, History Book Club selections. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved
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