姓名：達.芬奇（Leonardo da Vinci，1452-1519）

：意大利文藝復新時期最負盛名的藝術大師,科學家。他生于佛羅倫薩郊區(qū)的芬奇鎮(zhèn),卒于法國。其父為律師兼公證人,母為農(nóng)婦,他15歲來到佛羅倫薩,學藝于韋羅基奧的作坊,1472年入畫家行會。70年代中期個人風格已趨成熟。1482--1499年間一直工作于米蘭,主要為米蘭公爵服務,進行了廣泛的藝術和科學活動,《巖間圣母》是他在這段時期創(chuàng)作的最有名的代表作。

達.芬奇,(LeonardodaVinci1452--1519),意大利文藝復新時期最負盛名的藝術大師,科學家。他生于佛羅倫薩郊區(qū)的芬奇鎮(zhèn),卒于法國。其父為律師兼公證人,母為農(nóng)婦,他15羅來到佛羅倫薩,學藝于韋羅基奧的作坊,1472年入畫家行會,70年代中期個人風格已趨成熟。1482--1499年間一直工作于米蘭,主要為米蘭公爵服務,進行了廣泛的藝術和科學活動,《巖間圣母》是他在這段時期創(chuàng)作的最有名的代表作。

1452年4月15日意大利佛羅倫斯共和國的文西村近郊，賽爾·皮耶洛·達芬奇與卡特莉娜所生

1465年進入韋羅基奧的工作室成為入門弟子（13～14歲）

1473年創(chuàng)作《圣告圖》

1476年被告密與韋羅基奧的其他弟子犯了同性戀之罪，由于他矢口否認，最后被釋放（24歲）

1482年繪《三賢王的膜拜》，返往米蘭（30歲）

1483年接受圣佛郎西斯克，格蘭德教會訂作《巖石上的圣母》（31歲）

1495年開始繪制《最后的晚餐》（43歲）

1502～03年回到佛羅倫斯，開始繪制《蒙娜麗莎》（50歲）

1516年應法王之邀，赴法國安伯瓦茲（64歲）

1519年5月2日去世于安伯瓦茲（67歲）

他是一位天才，他一面熱心于藝術創(chuàng)作和理論研究，他研究如何用線條與立體造型去表現(xiàn)形體的各種問題；另一方面他也同時研究自然科學。

《自畫像》意大利繪畫大師達.芬奇的素描精品。他的素描作品的藝術水平已達極高的境地,被譽為素描藝術的典范。他對建筑,雕刻和繪畫的創(chuàng)作都以大量素描為構思和研究的基礎,從構到每個人物 甚至每個手勢都準備了充分的素描習作及寫生,他的素描起了相當于甚或超過現(xiàn)代攝影術的作用。在這幅《自畫像》中,畫家描繪起自己來可謂得心應手,他觀察入微,用的線條豐富多變,剛柔相濟 尤其善用濃密程度不同斜線表現(xiàn)光暗的微妙變化,這些素描藝術手法使后來的不少畫家得益菲淺,堪稱素描藝術的精典。此畫用線生動靈活,概括性強,簡單的寥寥數(shù)筆卻包含許多轉折,體面關系,發(fā)線代面,立體感很強,還有,人物的表情也很傳神。因此,此畫雖為素描小作,其藝術美,形式美卻絲毫不亞于達.芬奇的那些恢宏巨制,諸多年來,繼續(xù)以其雋永的魅力吸引后世 美術愛好者的贊賞和推崇。

LEONARDO: RENAISSANCE POLYMATH

"There has never been an artist who was more fittingly, and without qualification, described as a genius. Like Shakespeare, Leonardo came from an insignificant background and rose to universal acclaim. Leonardo was the illegitimate son of a local lawyer in the small town of Vinci in the Tuscan region. His father acknowledged him and paid for his training, but we may wonder whether the strangely self-sufficient tone of Leonardo’s mind was not perhaps affected by his early ambiguity of status. The definitive polymath, he had almost too many gifts, including superlative male beauty, a splendid singing voice, magnificent physique, mathematical excellence, scientific daring ... the list is endless. This overabundance of talents caused him to treat his artistry lightly, seldom finishing a picture, and sometimes making rash technical experiments. The Last Supper, in the church of Santa Maria delle Grazie in Milan, for example, has almost vanished, so inadequate were his innovations in fresco preparation.

"Yet the works that we have salvaged remain the most dazzlingly poetic pictures ever created. The Mona Lisa has the innocent disadvantage of being too famous. It can only be seen behind thick glass in a heaving crowd of awe-struck sightseers. It has been reproduced in every conceivable medium; it remains intact in its magic, forever defying the human insistence on comprehending. It is a work that we can only gaze at in silence.

"Leonardo's three great portraits of women all have a secret wistfulness. This quality is at its most appealing in Cecilia Gallarani, at its most enigmatic in the Mona Lisa, and at its most confrontational in Ginevra de' Benci. It is hard to gaze at the Mona Lisa because we have so many expectations of it. Perhaps we can look more truly at a less famous portrait, Ginevra de' Benci. It has that haunting, almost unearthly beauty peculiar to Leonardo da Vinci.

A WITHHELD IDENTITY

"The subject of Ginevra de' Benci has nothing of the Mona Lisa's inward amusement, and also nothing of Cecilia's gentle submissiveness. The young woman looks past us with a wonderful luminous sulkiness. Her mouth is set in an unforgiving line of sensitive disgruntlement, her proud and perfect head is taut above the unyielding column of her neck, and her eyes seem to narrow as she endures the painter and his art. Her ringlets, infinitely subtle, cascade down from the breadth of her gleaming forehead (the forehead, incidentally, of one of the most gifted intellectuals of her time). These delicate ripples are repeated in the spikes of the juniper bush.

"The desolate waters, the mists, the dark trees, the reflected gleams of still waters - all these surround and illuminate the sitter. She is totally fleshly and totally impermeable to the artist. He observes, held rapt by her perfection of form, and shows us the thin veil of her upper bodice and the delicate flushing of her throat. What she is truly like she conceals; what Leonardo reveals to us is precisely this concealment, a self-absorption that spares no outward glance.

INTERIOR DEPTH

"We can always tell a Leonardo work by his treatment of hair, angelic in its fineness, and by the lack of any rigidity of contour. One form glides imperceptibly into another (the Italian term is sfumato), a wonder of glazes creating the most subtle of transitions between tones and shapes. The angel's face in the painting known as the Virgin of the Rocks in the National Gallery, London, or the Virgin's face in the Paris version of the same picture, have an interior wisdom, an artistic wisdom that has no pictorial rival.

"This unrivaled quality meant that few artists actually show Leonardo's influence: it is as if he seemed to be in a world apart from them. Indeed he did move apart, accepting the French King Francis I's summons to live in France. Those who did imitate him, like Bernardini Luini of Milan (c. 1485-1532), caught only the outer manner, the half-smile, the mistiness.

"The shadow of a great genius is a peculiar thing. Under Rembrandt’s shadow, painters flourished to the extent that we can no longer distinguish their work from his own. But Leonardo’s was a chilling shadow, too deep, too dark, too overpowering." h