Pardo on Leonardo's composition

“painting’s crucial stage, where the artist endowed his image’s body with a principle of unity (a soul) — and hence a movement.”

Kemp on the processing of words vs images

“an image described in words must be reconstituted by the imagination whereas a visual image requires no such processing”

De Mambro Santos on images and knowledge

“dilates the human faculties of apprehension and perception”

Geddes on his drawings expanding on science

“Leonardo’s artistic imaginings heighten or dramatize scientific knowledge rather than record meticulous observations”

Lugli on the perfection of the Vitruviun Man

“Perché si vuole vedere il disegno di Leonardo come perfetto anche se non lo è?”

Intellectuals "are full of information about many subjects and will be of great assistance in preparing the composition of a historia"

“the emphasis was on accumulated knowledge, not individual authorship.”

Farago on painting figures

“He focuses on the painting’s formal qualities—how to represent the figures rather than what the figures represent”

Farago on accurate representation

“Given human fallibility, what guarantees the truth of an artistic representation made by human hands?”

De Mambro Santos on vitality of his painting

“A stunning immediacy and concreteness”

“prodigious command of detail”

Kemp on the vitality of his images

“his sense of the vital energy of inner processes and external forces in the natural world”

Lugli on the search for perfection

“il disegno leonardiano è animato da una riflessione su quanto sia arduo e labile il raggiungimento della perfezione”

Lugli on his references

"cerca parametri di riferimento sia in autori classici elitari che in devozioni popolari”

Pardo on Leonardo's externalisation

"the power of sight, artificially enhanced (through disegno) by the power of painting, gave access to a higher order of reality than the senses could normally convey to the mind”

Geddes on his Deluge drawings

"fundamentally about the limits of representation” - undermines his stance on Paragone

Geddes on drawing and time

“The medium of drawing serves as a place to collapse time”

Geddes on Leonardo's modes of creation

“Leonardo combined empirical discovery and formal play”

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Leonardo

Secondary reading

Question	Answer
Pardo on Leonardo's composition	“painting’s crucial stage, where the artist endowed his image’s body with a principle of unity (a soul) — and hence a movement.”
Kemp on the processing of words vs images	“an image described in words must be reconstituted by the imagination whereas a visual image requires no such processing”
De Mambro Santos on images and knowledge	“dilates the human faculties of apprehension and perception”
Geddes on the Star of Bethlehem	“blossoming and growth"
Geddes on his drawings expanding on science	“Leonardo’s artistic imaginings heighten or dramatize scientific knowledge rather than record meticulous observations”
Geddes on water currents	“stylized curls”
Lugli on the perfection of the Vitruviun Man	“Perché si vuole vedere il disegno di Leonardo come perfetto anche se non lo è?”
Alberti on invent	Intellectuals "are full of information about many subjects and will be of great assistance in preparing the composition of a historia"
Farago on authorship	“the emphasis was on accumulated knowledge, not individual authorship.”
Farago on painting figures	“He focuses on the painting’s formal qualities—how to represent the figures rather than what the figures represent”
Farago on accurate representation	“Given human fallibility, what guarantees the truth of an artistic representation made by human hands?”
De Mambro Santos on vitality of his painting	“A stunning immediacy and concreteness”
Kemp on detail	“prodigious command of detail”
Kemp on the vitality of his images	“his sense of the vital energy of inner processes and external forces in the natural world”
Lugli on the search for perfection	“il disegno leonardiano è animato da una riflessione su quanto sia arduo e labile il raggiungimento della perfezione”
Lugli on his references	"cerca parametri di riferimento sia in autori classici elitari che in devozioni popolari”
Pardo on Leonardo's externalisation	"the power of sight, artificially enhanced (through disegno) by the power of painting, gave access to a higher order of reality than the senses could normally convey to the mind”
Geddes on his Deluge drawings	"fundamentally about the limits of representation” - undermines his stance on Paragone
Geddes on drawing and time	“The medium of drawing serves as a place to collapse time”
Geddes on Leonardo's modes of creation	“Leonardo combined empirical discovery and formal play”

Created by: izzirowell

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