Cinello Workshop

Total Page：16

File Type：pdf, Size：1020Kb

LEONARDO DA VINCI: MASTERPIECES AND FLYING MACHINES LEONARDO DA VINCI: MASTERPIECES & FLYING MACHINES The exhibition 1/2 The decision to show a selection of artworks by Leonardo Da Vinci was made in order to introduce the visitor of this exhibition to Leonardo’s world with his variety of interests and great ability to represent them through drawing. The consistent use of hand-drawn sketches applied to all his research (anatomy, mathematics, nature and technology), the experimentation with innovative painting techniques and the attention to detail have made Leonardo the definitive protagonist of the golden age called the Renaissance. The dialogue between these masterpieces has been made possible using the DAW® – Digital Art Work – technique by which digital replicas are produced in a limited serie and then authenticated, numbered, and certified in 1:1 scale, identical to the originals. 4 LEONARDO DA VINCI: MASTERPIECES & FLYING MACHINES The exhibition 2/2 In addition to some of the Leonardo’s most popular masterpieces, the focus of this selection is on the flying machines. Leonardo’s desire to reproduce the flight of birds brought the genius to imagine the first flying tools in history, like ornithopters, fixed-wing gliders, rotorcraft and parachutes. His journey in imitating the Nature was only at the beginning… This selection includes artworks from the Pinacoteca Ambrosiana and the Galleria Nazionale di Parma. The focus of this exhibition is on flying machines, but it is entirely customizable since Cinello owns the rights to make DAWs of all the ‘Atlanticus Codex’ by Leonardo. Mechanics, mathematics, astronomy, geography and anatomy are only some of the subjects analyzed in the drawings by the Renaissance master. 5 LEONARDO DA VINCI: MASTERPIECES & FLYING MACHINES The collection 1/4 La Scapigliata, Leonardo da Vinci, Complesso monumentale della Pilotta, 1508 circa Portrait of a Musician, Leonardo da Vinci, Pinacoteca Ambrosiana, 1485 circa Series of drawings of sixty solids for Luca Pacioli treatise «De Divina Proportione», Pinacoteca Masterpieces of Ambrosiana, 1498 circa Leonardo and his School 6 LEONARDO DA VINCI: MASTERPIECES & FLYING MACHINES The collection 2/4 Study of a flapping wing Studies of human dynamics for the flying machine Studies of flapping wings Leonardo and flight Study of a boat-shaped machine with Codex Atlanticus, Leonardo da Vinci, Pinacoteca Ambrosiana, 1478-1519 flapping wings 7 LEONARDO DA VINCI: MASTERPIECES & FLYING MACHINES The collection 3/4 Studies of the flying machine Study of a mechanical Studies of human dynamics for Man with wings and other studies wing flight and parachute Leonardo and flight Codex Atlanticus, Leonardo da Vinci, Pinacoteca Ambrosiana, 1478-1519 8 LEONARDO DA VINCI: MASTERPIECES & FLYING MACHINES The collection 4/4 Studies of wings for the flying machine Studies of a mechanical wing Study of the flight of birds Leonardo and flight Codex Atlanticus, Leonardo da Vinci, Pinacoteca Ambrosiana, 1478-1519 9.

Copy Link

Recommended publications

3 LEONARDO Di Strinati Tancredi ING.Key
THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE THEORETICAL BACKGROUND The Impossible Exhibitions project derives from an instance of cultural democracy that has its precursors in Paul Valéry, Walter Benjamin and André Malraux. The project is also born of the awareness that in the age of the digital reproducibility of the work of art, the concepts of safeguarding and (cultural and economic) evaluation of the artistic patrimony inevitably enter not only the work as itself, but also its reproduction: “For a hundred years here, as soon as the history of art has escaped specialists, it has been the history of what can be photographed” (André Malraux). When one artist's work is spread over various museums, churches and private collections in different continents, it becomes almost impossible to mount monograph exhibitions that give a significant overall vision of the great past artist's work. It is even harder to create great exhibitions due to the museum directors’ growing – and understandable – unwillingness to loan the works, as well as the exorbitant costs of insurance and special security measures, which are inevitable for works of incalculable value. Impossible Exhibitions start from these premises. Chicago, Loyola University Museum of Art, 2005 Naples, San Domenico Maggiore, 2013/2014 THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE PROJECT In a single exhibition space, Impossible Exhibitions present a painter's entire oeuvre in the form of very high definition reproductions, making use of digital technology permitting reproductions that fully correspond to the original works. Utmost detail resolution, the rigorously 1:1 format (Leonardo's Last Supper reproduction occupies around 45 square meters!), the correct print tone – certified by a renowned art scholar – make these reproductions extraordinarily close to the originals.
[Show full text]
The L3 Exhibitions Catalogue 2010-2014
The L3 Exhibitions Catalogue 2010-2014 Leonardo da Vinci overview Leonardo da Vinci is a universal genius. He What the public knows about Leonardo is bare- was, of course, an Italian, but he belongs to a ly the tip of the iceberg. His manuscripts con- past that is part of the cultural heritage of every tinue to hide secrets and are worthy of inquiry person and every nation. He is a singular exam- and presentation in new, innovative ways. L3 ple throughout history of a man who possessed explores, discovers and reveals the “unknown an enormous talent and excelled not only as a Leonardo” in order to spark the hidden genius scientist, but also as an artist. Most of the inven- that lies within us all. tions and machines that he designed can in fact be considered works of art. On the same note, Leonardo3 (L3) is the world leader in exclu- his artistic works are both the creations of a sive exhibitions and publications on da Vinci’s master artist and the products of a formidable genius. Each of our exhibitions is the result of scientific brain. work carried out by our own team of researchers who investigate and develop never-seen-before Just as his paintings deserve the kind of investi- machines for each event. gation to which only today’s technology can do justice, so the full extent of his scientific work Our exhibitions are “dynamic” rather than “stat- has yet to be revealed to the public. ic”. We make extensive use of 3D animations, physical models and interactive software to of- fer the public a unique level of interaction and a hands-on “edu-tainment” experience.
[Show full text]
Johannes Gutenberg Zim:///A/Johannes Gutenberg.Html
People David Livingstone p2 Henry Morton Stanley p12 Johann Gutenberg p16 Leonardo da Vinci p24 http://cd3wd.com wikipedia-for-schools http://gutenberg.org page no: 1 of 41 David Livingstone zim:///A/David_Livingstone.html David Livingstone 2008/9 Schools Wikipedia Selection. Related subjects: British History 1750-1900; Geographers and explorers David Livingstone ( 19 March 1813 – 1 May 1873) was a British Congregationalist pioneer medical missionary with the London Missionary Society and explorer in central Africa. He was the first European David Livingstone to see Mosi-oa-Tunya (Victoria Falls), to which he gave the English name in honour of his monarch, Queen Victoria. He is the subject of the meeting with H. M. Stanley, which gave rise to the popular quotation, " Dr Livingstone, I presume?" Perhaps one of the most popular national heroes of the late-nineteenth century in Victorian Britain, Livingstone had a mythic status, which operated on a number of interconnected levels: that of Protestant missionary martyr, that of working-class "rags to riches" inspirational story, that of scientific investigator and explorer, that of imperial reformer, anti-slavery crusader and advocate of commercial empire. His fame as an explorer helped drive forward the obsession with discovering the sources of the Nile River that formed the culmination of the classic period of European geographical discovery and colonial penetration of the African continent. At the same time his missionary travels, "disappearance" and death in Africa, and subsequent glorification as posthumous national hero in 1874 led to the founding of several major central African Christian missionary initiatives carried forward in the era of the European "Scramble for Africa." Early life Born 19 March 1813 David Livingstone was born on March 19, 1813 in the mill town of Blantyre, Lanarkshire, Scotland, into Blantyre, United Kingdom a Protestant family believed to be descended from the highland Livingstones, a clan that had been Died 4 May 1873 (aged 60) previously known as the Clan MacLea.
[Show full text]
Gaspar Van Weerbeke New Perspectives on His Life and Music Gaspar Van Weerbeke New Perspectives on His Life and Music
Gaspar van Weerbeke New Perspectives on his Life and Music Gaspar van Weerbeke New Perspectives on his Life and Music edited by Andrea Lindmayr-Brandl and Paul Kolb Centre d’études supérieures de la Renaissance Université de Tours / du Collection « Épitome musical » dirigée par Philippe Vendrix Editorial Committee: Hyacinthe Belliot, Vincent Besson, Camilla Cavicchi, David Fiala, Christian Meyer, Daniel Saulnier, Solveig Serre, Vasco Zara Advisory board: Andrew Kirkman (University of Birmingham), Yolanda Plumley (University of Exeter), Jesse Rodin (Stanford University), Richard Freedman (Haverford College), Massimo Privitera (Università di Palermo), Kate van Orden (Harvard University), Emilio Ros-Fabregas (CSIC-Barcelona), omas Schmidt (University of Hudders eld), Giuseppe Gerbino (Columbia University), Vincenzo Borghetti (Università di Verona), Marie-Alexis Colin (Université Libre de Bruxelles), Laurenz Lütteken (Universität Zürich), Katelijne Schiltz (Universität Regensburg), Pedro Memelsdor¦ (Chercheur associé, Centre d'études supérieures de la Renaissance–Tours), Philippe Canguilhem (Université de Toulouse Le Mirail) Layout: Vincent Besson Research results from: Auª rian Science Fund (FWF): P¬®¯°±. Published with the support of Auª rian Science Fund (FWF): PUB ®°³-G¬®. Cover illu ration: Image ®°³´¬µ°¯ © Giuseppe Anello – Dreamª ime.com Coat of arms of Ludovico Maria Sforza ISBN 978-2-503-58454-6 e-ISBN 978-2-503-58455-3 DOI 10.1484/M.EM-EB.5.117281 ISSN 2565-8166 E-ISSN 2565-9510 D/// Dépôt légal : F © ¸¹º, Brepols Publishers n.v., Turnhout, Belgium – CESR, Tours, France. Open access: Except where otherwise noted, this work is licensed under a Creative Commons Attribution 4.0 Unpor- ted License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ Printed in the E.
[Show full text]
Joint Press Release
JOINT PRESS PELEASE FOR IMMEDIATE DISTRIBUTION LEONARDO OPERA OMNIA EXHIBITION UGANDA MUSEUM, FROM 19TH NOVEMBER 2019 TO 5TH JANUARY 2020 ________________________________________________________________________ Kampala, 24 October 2019 – The Embassy of Italy in Kampala, in partnership with the Ministry of Tourism, Wildlife and Antiquities, the Ministry of Science, Technology and Innovation, the Uganda Tourism Board is proud to announce that the “Leonardo Opera Omnia” exhibition will be held in Kampala from the 19th November 2019 to 5th January 2020. Leonardo Opera Omnia is an innovative and ambitious project, born from a collaboration between the Italian Ministry of Foreign Affairs and International Cooperation and RAI (the Italian Public Television), to commemorate the 500th anniversary of Leonardo Da Vinci’s death. It aims at sharing the Italian Cultural Heritage by displaying seventeen high definition and true-to-scale reproductions of Leonardo Da Vinci’s masterpieces. The original paintings are scattered in various locations and museums all over the world. In Kampala, visitors will see them all in one place, here at the Uganda Museum. A curator from Italy will travel to Uganda to take care of the entire set-up of the exhibition and all the logistic costs of the initiative will be sponsored by the Italian Ministry of Foreign Affairs and International Cooperation. Leonardo Opera Omnia unveils the great master’s life and genius through his pictorial work. The exhibition is at the same time an art exposure and an educational experience, intended to showcase the culture of the Renaissance era through visual information, painted by Leonardo in the 16th century. Moreover, the exhibition brings together the cultural and artistic aspects of Leonardo’s works with the innovation and technology applied for the reproductions on display; this is the final and uppermost tribute to Da Vinci’s passion for inventions and scientific experimentation.
[Show full text]
Celebriamo Leonardo 500 WE CELEBRATE LEONARDO DA VINCI 500 YEARS AFTER HIS DEATH
Celebriamo Leonardo 500 WE CELEBRATE LEONARDO DA VINCI 500 YEARS AFTER HIS DEATH EVENT OFFICIAL INTRODUCTION 2019 - ITALY ORGANIZED BY THE PARTNER: PROMOTED BY: Lomonen Group SE WORLD DIGITAL FOUNDATION (Member of “Discovery Kepler “) (A Scientific Foundation for the International Organisation) HQ. Adress: Corso Principe Oddone nr.18 - 10121 TORINO (ITALY) General Secretary Contacts + 39 334 2177239 Press Office: + 39 333 4509653 - E-mail: [email protected] CELEBRIAMO LEONARDO 500 (WE CELEBRATE LEONARDO DA VINCI 500 YEARS AFTER HIS DEATH) 1519-2019 THE NATIONAL INSTITUTIONAL EVENT FOR 500 YEARS CELEBRATIONS FROM THE ITALIAN GENIUS LEONARDO DA VINCI’S DEATH “Once you have tasted flight, you will forever walk the earth with your eyes turned skyward, for there you have been, and there you will always long to return” Leonardo Da Vinci (The Atlantic Code ) _________________________________________________________________________________________ 29 NOVEMBER – 1st DECEMBER 2019 ROYAL CASTLE OF MONCALIERI TURIN - ITALY Castello di Moncalieri (Torino) ( ITALIA) THE EVENT’S LOCATION PROFILE The castle of Moncalieri is a Palace in the town of Moncalieri in the province of Turin (Italian Piedmont region). Along with other Royal residences of the Savoy dynasty in 1997, the year inscribed in the UNESCO world Cultural Heritage site by UNESCO. The first building on this site was a fortress built on a hill approximately 1,100 th year on the orders of Tom Zavoiskogo. The main task of the fortress was controlling the southern approach to Turin. In the mid-17th century Yolanda of Valois, wife of Duke Amadeus IX, turned the building into a charming country residence. By the architect Carlo di Castellamonte, the fortress was expanded considerably, and the interiors redesigned by local artists.
[Show full text]
Antonín Kammell - a Bohemian Composer in 18Th Century England
Antonín Kammell - A Bohemian Composer in 18th Century England Andrew Baker [email protected] 1 Thomas Gainsborough Portrait of a Musician, probably a portrait of Antonín Kammel (1730–84), c. 1768 Oil on canvas, 76 x 64 cm (30 x 25 in) (Private Collection) 2 INTRODUCTION I first came across the 18th century composer and violinist Antonín Kammell in 1983. I was investigating Thomas Anson, the developer of Shugborough Hall, Staffordshire - a landscape, which was, in his time, decorated with a mixture of exotic, mysterious, and authentically classical monuments. Anson seems to have gone out of his way to avoid leaving any evidence of his private life. Almost no personal documents have survived in the Staffordshire Archives. One very revealing relic is a poem by his friend Sir William Bagot, dated 25th April 1772. This was sent from Staffordshire to Thomas Anson in London just before Easter, when the London season ended and those who were able to escaped the city for the country. Bagot exhorts Anson to bring his closest friends with him when he returns to his country estate: Bring Attic Stuart, Indian Orme, Kammell unruffled by a storm Shall tune his softest strain… “Attic Stuart” was James “Athenian” Stuart, the architect who had built Thomas Anson’s London House at 15 St James Square, extended the house at Shugborough, and designed the various authentically Greek monuments in the landscape. “Indian Orme” was Robert Orme, historian of the East India Company. In 1983 I failed to identify “Kammell”, though I was intrigued that he was obviously a musician – someone who would “tune his softest strain” - simply because I misread the name as “Hammell.” It never struck me that the first letter could be a K.
[Show full text]
New Original Masterpieces on Display at Da Vinci Shaping the Future
FOR IMMEDIATE RELEASE Drawing of Two Compasses, Circa 1490-94 (left) and Giant Crossbow, Circa 1485–92 (right) © Veneranda Biblioteca Ambrosiana, Milan New original masterpieces on display at Da Vinci: Shaping the Future Never-before-seen page from the Codex Atlanticus and the visually arresting Portrait of a Lady on exhibit Singapore (11 February 2015) – ArtScience Museum today unveiled its eagerly-anticipated renewal of the original masterpieces showcased at Da Vinci: Shaping the Future, as the exhibition approaches the second half of its run. The refreshed displays include a new collection of 13 original pages of the Codex Atlanticus, da Vinci’s largest notebook, and three new paintings from the School of da Vinci. As part of the renewed collection, visitors will have the rare opportunity to view a never- before-seen original Codex Atlanticus page, Drawings of Two Compasses. This folio features two drawings of intricately decorated compasses, which were important tools employed by da Vinci to determine the proportions of his machines and to mark designs on paper before he applied ink to his drawings. Another beautifully illustrated page in the renewed collection is the Giant Crossbow, one of da Vinci’s most striking and celebrated folios from the Codex Atlanticus. Drawn with elaborate details and technical skill, the folio includes precise measurements of the machine’s components and a figure atop the machine to provide an indication of the scale. The Giant Crossbow is a prime example of how da Vinci used his artistic skills to illustrate complex technical concepts. “More than any other figure in history, Leonardo da Vinci represents the unity of art and science.
[Show full text]
Salvator Mundi Steven J. Frank ([email protected])
A Neural Network Looks at Leonardo’s(?) Salvator Mundi Steven J. Frank ([email protected]) and Andrea M. Frank ([email protected])1 Abstract: We use convolutional neural networks (CNNs) to analyze authorship questions surrounding the works of Leonardo da Vinci in particular, Salvator Mundi, the world’s most expensive painting and among the most controversial. Trained on the works of an artist under study and visually comparable works of other artists, our system can identify likely forgeries and shed light on attribution controversies. Leonardo’s few extant paintings test the limits of our system and require corroborative techniques of testing and analysis. Introduction The paintings of Leonardo da Vinci (1452-1519) represent a particularly challenging body of work for any attribution effort, human or computational. Exalted as the canonical Renaissance genius and polymath, Leonardo’s imagination and drafting skills brought extraordinary success to his many endeavors from painting, sculpture, and drawing to astronomy, botany, and engineering. His pursuit of perfection ensured the great quality, but also the small quantity, of his finished paintings. Experts have identified fewer than 20 attributable in whole or in large part to him. For the connoisseur or scholar, this narrow body of work severely restricts analysis based on signature stylistic expressions or working methods (Berenson, 1952). For automated analysis using data-hungry convolutional neural networks (CNNs), this paucity of images tests the limits of a “deep learning” methodology. Our approach to analysis is based on the concept of image entropy, which corresponds roughly to visual diversity. While simple geometric shapes have low image entropy, that of a typical painting is dramatically higher.
[Show full text]
Fellowship of Makers and Restorers of Historical Instruments Bulletin and Communications
FELLOWSHIP OF MAKERS AND RESTORERS OF HISTORICAL INSTRUMENTS BULLETIN AND COMMUNICATIONS. JANUARY 197s CONTENTS Page Bulletin no. 10 2 List of Members: 3rd Supplement 12 Communications: 93 Report on the 16th Century Seminar. Jeremy Montagu . Footnotes 17 by Eph Segerman. 94 Some Thoughts on Gut String History before 1600 Eph Segerman 22 95 A Correction to Comm. 50 on Jerome of Moravia's Second Fiddle Tuning Eph Segerman 24 96 A Hypothesis on the Symphony. Jeremy Montagu 25 97 Cetra et Cetera. Christopher Allworth 26 98 Lead in Harpsichord Keyboards. John Rawson 27 99 Seasoning your own Timber. John Rawson 27 100 Early Musical Instruments for School Construction. Bryan Tolley, with notes on construction by Suzanne Roscow and Janet Allison 30 101 On Com. 76 and Woodwind Crack Repair. Cary Karp 36 102 Overspun Strings. Cary Karp. Comments by Djilda Abbott 37 103 The Interaction between Gut String Technology and Instrument Ranges and Sizes up to the 18th Century. Eph Segerman 41 104 A Description of the Early "Irish Harp". Tim Hobrough 43 105 About Old Music Wire. Remy Gug. Comments by Eph Segerman 49 106 Review: Cary Karp, Basic Keyboard Tuning Technique. J.M. 57 44e Detailed Comments on 'The World of Medieval and Renaissance Musical Instruments" by Jeremy Montagu. Part III. E.S. 58 107 Review: Varquain Hurdy-Gurdy Drawing, B.T. 64 108 Review: W. Scheurwater and R van Acht, Old Harpsichords. Their Construe*'on and Restoration. J.B. 65 109 Review: Gerhard Stradner, Die Musikinstrumente im Steiermarkischen Landeszeughaus in Graz. J.M. 69 110 P.A.
[Show full text]
Leonardo Da Vinci Art 485: Senior Seminar in Art History Wednesday Evenings 6:30-9:00
Prof. Victor Coonin Office Hours: M-F 10:45-11:30 412 Clough, x3824 and by appointment [email protected] Leonardo da Vinci Art 485: Senior Seminar in Art History Wednesday Evenings 6:30-9:00 Art 485 is a senior seminar designed for senior art history majors to examine the discipline of art history by concentrating on a focused topic. Emphasis is placed on critical reading and writing, analysis of art and critical methodology through class discussion, formal presentations, and a substantial research paper. Course Objectives and Description This course will introduce students to advanced critical methods of art history through an extensive examination of Leonardo da Vinci. Students will be introduced to the artist, and consider current debates, scholarly issues, and even the effect of the artist on popular culture. Students will fully engage with an extensive bibliography, intensive critical debates, and critical issues of iconography, connoisseurship, patronage, interpretation, and the contextualization of works of art. A crucial aspect of the course is to learn how art historians select objects and subjects for research, how they investigate works of art, and how they employ different methodologies in the course of critical analysis. Grading: Several Informal Presentations to be assigned weekly or bi-weekly (with brief summaries) Participation in discussions of readings and topics 1 Formal Presentation (20 minute PowerPoint presentation, followed by discussion with a critical audience) 1 research paper with full notes and bibliography based on the above Required Readings: Charles Nicholl, Leonardo da Vinci: Flights of the Mind, 2004 Kenneth Clark, Leonardo da Vinci, revised edition, 1989 Martin Kemp, Leonardo da Vinci: The Marvellous Works of Nature and Man, revised, 2006 Martin Kemp, Leonardo, 2004 Dan Brown, The Da Vinci Code, 2009 (Don’t confuse this with an academic reading) Other readings as assigned Schedule of Classes, Wednesdays: 6:30-9:00p.m.
[Show full text]
Unique Keyboard-Bowed Instrument Constructed on the Basis of Leonardo Da Vinci’S Sketches
UNIQUE KEYBOARD-BOWED INSTRUMENT CONSTRUCTED ON THE BASIS OF LEONARDO DA VINCI’S SKETCHES READY TO CONCERT “…BEAUTIFUL COLOURS AND SURPRISING TONES…” VIOLA ORGANISTA It is a unique design in musical world. The premiere recital of viola organista took place At first, no one believes that the sound he hears on 18 October 2013 in Cracow, during the International Royal Cracow Piano Festival. It was a spectacular artistic comes from the instrument he sees. success and received a lot of publicity in the international Based on Leonardo da Vinci’s original idea, media. the instrument was constructed by the Polish pianist and craftsman Sławomir Zubrzycki in 2009-2012. Da Vinci combined together two separate types of instruments: keyboard and bowed strings. He made many sketches of it, which are preserved in Codice Atlantico, but he never built it. Through the centuries many took up the challenge of bringing da Vinci’s idea to life, but no one fully succeeded. Viola organista became forgotten instrument until 21st century. The video report of the first-ever viola organista recital is available here: youtu.be/sv3py3Ap8_Y SŁAWOMIR ZUBRZYCKI – pianist, clavichordist, claviolinist, composer, and constructor of musical instruments, born and living in Cracow. He graduated from the Academy of Music in Cracow, (1988 – Professor Tadeusz Żmudziński’s piano class, and Professor Adam Kaczyński’s modern music class). Having received a grant from The Fulbright Program, he continued to study piano at The Boston Conservatory of Music under the supervision of Janice Weber in 1990–91. He has been giving concerts both as a soloist, and as a chamber musician in Poland, Germany, Great Britain, Spain, Ukraine, and USA.
[Show full text]