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| 2009/08/01 02:03:42瀏覽864｜回應1｜推薦3 | |
by Leonardo da Vinci, metalpoint, pen and brown ink, with brush and brown wash highlighted with white gouache, 11 x 7h,. Collection Uffizi Gallery, Florence, Italy. "He's teasing you with a little part of the eye," comments Rubenstein. "He could have given you a full profile, but he didn't. Leonardo isolated some parts and hit them and let the other parts go. This isn't a portrait of a particular person; it's an idealized form. As Kenneth Clark said, classically speaking, the nude does not refer to a specific person. It's not a portrait, it's a design." Leonardo da Vinci (1452~1519) was art's first undeniable superstar, and his genius is indisputable. But Ephraim Rubenstein, an artist who teaches at the Art Students League of New York, in Manhattan, mixes his admiration for Leonardo with the point that even this Renaissance great did not emerge from a vacuum. "Leonardo got so much from Andrea del Verrocchio, who was a tremendous teacher," says Rubenstein. "Everyone comes out of a tradition; nobody comes from nowhere. Leonardo learned the beginnings of sfumato from him, among many other things."
Born the illegitimate son of a lawyer in the Tuscan town of Vinci, Leonardo was a scientist, an inventor, a pioneer in the study of anatomy, and the painter of the masterpieces The Last Supper and Mona Lisaóthe prototypical Renaissance man. Rubenstein refers to his lines as "mellifluous, delicate, and graceful. He doesn't do anything that doesn't have the most beautiful curves." But his sketchbooks are what make Leonardo an innovator. "He was one of the first guys who talked about taking a notebook out into the streets," says Rubenstein. "Leonardo said you must have direct contact with life and observe men's actions." Resources Leonardo da Vinci Master Draftsman, by Carmen C. Bambach (Metropolitan Museum of Art, New York, New York) Leonardo da Vinci: The Complete Paintings and Drawings, by Frank Zollner and Johannes Nathan (Taschen, Cologne, Germany)
by Leonardo da Vinci, ca. 1502, red chalk with traces of pen and brown ink reworking, 6H5 x 535. Collection Royal Library, Windsor Castle, London, England. "How many legs are there? Where is his head?" asks Ephraim Rubenstein, emphasizing the searching and gestural quality of this sketch, which was obviously done from life. "You can see the rider moving with the horse, struggling to control it." |
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