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Kunsthistorisches Institut in Florenz Max-Planck-Institut Studi E Ricerche 10 KUNSTHISTORISCHES INSTITUT IN FLORENZ MAX-PLANCK-INSTITUT Studi e Ricerche 10 kunsthistorisches institut in florenz kunsthistorisches institut in florenz max-planck-institut max-planck-institut Direttori leonardo da vinci and optics Alessandro Nova e Gerhard Wolf Theory and pictorial practice edited by Francesca Fiorani and Alessandro Nova Marsilio This publication is kindly supported CONTENTS by the Lindner Center for Art History, McIntire Department of Art, University of Virginia Editorial coordinator Francesca Fiorani Editing Tracy Cosgriff Elizabeth Dwyer leonardo da vinci and optics theory and pictorial practice Plates Ricarda Fürnrohr Mandy Richter 9 Introduction Index of names Francesca Fiorani, Alessandro Nova Rodolfo Maffeis Linda Olenburg 29 Chiaroscuro, or the rhetoric of realism Mandy Richter David Summers 55 Technical images and painting technique In copertina in Leonardo’s portrait of Ginevra de’ Benci Leonardo da Vinci, Manuscript C, 1490 circa, Elizabeth Walmsley Paris, Bibliothèque de l’Institut de France (Manuscript 2174), fol. 19r 79 Leonardo’s prospettiva delle ombre. Another branch of non-linear perspective Graphic designer Janis Bell Tapiro, Venice 113 «Come calamita il ferro»: ©2013 by marsilio editori® s.p.a. in venice Leonardo da Vinci dalla magia alla prospettiva (1487-1492) Fabio Frosini First edition: November 2013 www.marsilio.it 155 Il fratello del nulla. isbn 978-88-317-1494-5 Il «punto» nell’ottica di Leonardo Up to 15% of this book may be photocopied for personal Frank Fehrenbach use by readers provided they pay the siae the fee established by art. 68, clauses 4 and 5 of Law no. 633 of 22 April 1941. 185 Leonardo’s painting technique in the Virgin and Child with St. Anne Photocopies for professional, economic or commercial purposes or in any way different from personal use may be Cinzia Pasquali made, but only after obtaining specific authorization from the Centro Licenze e Autorizzazioni per le Riproduzioni Editoriali 195 Il primato dell’occhio e della pittura: (cleardi), Corso di Porta Romana 108, 20122 Milan e-mail [email protected] i ritratti milanesi di Leonardo e il Paragone delle arti and web site www.clearedi.org. Pietro C. Marani 217 Luce e ritratto nel Trattato della pittura di Lionardo Da Vinci LEONARDO DA VINCI AND OPTICS Romano Nanni THEORY AND PICTORIAL PRACTICE 247 L’«underdrawing» dell’Annunciazione e la prospettiva di Leonardo Roberto Bellucci 265 Leonardo’s optics in the 1470s Francesca Fiorani 293 Leonardo, optics and ophthalmology Dominique Raynaud 315 The measure of sight, the measure of darkness. Leonardo da Vinci and the history of blurriness Frank Zöllner 333 L’Adorazione dei Magi di Leonardo da Vinci e le prime indagini diagnostiche presso l'Opificio delle Pietre Dure. Oltre il visibile Cecilia Frosinini 353 Index of names Linda Olenburg, Mandy Richter 356 Index of works and manuscripts Rodolfo Maffeis, Linda Olenburg 358 Credits roberto bellucci allineati) appare sproporzionata, non solo in relazione all’edificio ma anche francesca fiorani per il rapporto interno tra chioma e fusto, così come appaiono spropor- zionati sotto questo aspetto anche tutti gli altri alberi. Tutti elementi che LEONARDO’S OPTICS IN THE 1470s potevano avere un senso ed una loro coerenza ottica e dimensionale se non relazionati gli uni agli altri, in una fase, cioè, in cui sono stati studiati sepa- ratamente e poi, attraverso un pensiero ancora parcellizzato, riportati sulla tavola a comporre una raffigurazione unica. Sembrerebbe essere la loro giu- stapposizione a renderli incoerenti l’uno con l’altro e quindi a richiedere da parte dell’artista una correzione sostanziale. Il momento di trasformazione dell’impianto prospettico originario, dun- que, parrebbe essere avvenuto al momento finale della realizzazione dell’im- pianto generale della scena e comunque prima dell’inserimento delle figure Leonardo’s early drawings and paintings display stunning optical ef- (che come già detto, erano però previste e il cui ingombro era forse somma- fects that far exceed traditional artistic practices north and south of the riamente definito). Per quanto potessero essere state studiate in precedenza, Alps, especially in their treatment of the atmosphere (fig. 1). Such exam- attraverso schizzi e disegni preparatori su carta, le figure poterono sembrare ples are generally explained in light of Leonardo’s preoccupation with the a Leonardo stesso per così dire «sproporzionate» nel momento in cui furono effects of the atmosphere on colors, details, outlines; likewise, it is typi- disegnate sulla tavola, in relazione allo spazio definito dall’architettura dell’edi- cally understood that contrasts of light and shadow in Leonardo’s early ficio. L’ipotesi che finora era stata invece presa in considerazione per spiegare works emerged from artistic practice and from his acute observation of queste modifiche e le apparenti incongruenze che ne derivano è stata quella nature. Further, it is usually believed that Leonardo sought an optical ex- di un adattamento da parte dell’artista alla collocazione originaria dell’opera, planation of the phenomena he had painted only later in his career, from forse in posizione fortemente scorciata e non fatta per una percezione fron- the mid 1480s onward. Indeed, few surviving writings from the 1470s tale, così che le modifiche fossero utili ad accentuarne la vista privilegiata26. suggest that he had any foundation in optics. And yet, if one keeps in L’ipotesi resta difficile da suffragare ulteriormente, data l’incertezza su questa mind the general rule that one sees what one knows, it is conceivable that destinazione originaria dell’opera. Nel riproporre, quindi, il dubbio se si sia behind Leonardo’s early works lies a greater awareness of optics than has trattato delle conseguenze di un errore o di un vero artificio, di un espediente been acknowledged. o di incongruenza, è particolarmente suggestivo concludere con una citazione The matter of Leonardo’s early knowledge of optics is not just a chrono- dagli scritti di Leonardo, in cui l’artista sembra quasi descrivere ad un allievo logical one, although chronology has its significance. It is also methodo- la possibilità che a lui stesso si è presentata nella elaborazione di questa com- logical and necessitates reconsideration of the nature of Leonardo’s writ- posizione: «Onde, avendo tu bene a mente i precetti delle mie regole, potrai ings, as well as of the influence of the Arab philosopher Ibn Al-Haytham, solamente col racconcio giudizio, giudicare e conoscere ogni sproporzionata known in the west as Alhazen (or Alhacen), whose writings have always opera, così in prospettiva, come in figure o altre cose»27. been regarded as fundamental to Leonardo’s art theory, but understood as less important to his painting of blurred edges and reflected colors. 26 Degl’Innocenti, 1978 (vedi n. 5), pp. 276-278; A. Natali, «Dubbi, difficoltà e disguidi nell’Annunciazione di Leonardo», in: L’Annunciazione di Leonardo (vedi n. 5), pp. 37-59. leonardo’s early writings 27 Leonardo da Vinci, Il Codice Atlantico della Biblioteca Ambrosiana di Milano, tra- scrizione diplomatica e critica di A. Marinoni, Firenze 1975-1980, f. 218v (cit. in E. Solmi, Leonardo da Vinci. Frammenti letterari e filosofici. Favole, allegorie, pensieri, paesi, figure, Among thousands of Leonardo’s surviving notes, only a few date from profezie, facezie, Firenze 1925, pp. 78-79). the 1470s—either Leonardo did not write much, or he discarded later what 264 265 francesca fiorani leonardo’s optics in the 1470s he had written then. Restricted to a handful of loose sheets and a few folios from the Codex Atlanticus, these early notes pertain mainly to water and lifting machines, and only a limited number of them deals with optical matters. Generally, these early and sparse optical writings are concerned with the concave and burning mirrors that were used to build the palla crowning the dome of Florence cathedral, a complex operation that Ver- rocchio masterminded between 1468 and 1471, when Leonardo was an ap- prentice in his workshop1. In one of these early sheets on concave mirrors (Codex Atlanticus, fol. 801r, datable 1478-1480), Leonardo added a note referring to «libri incat- enati» or chained books—the books that were chained to desks in public Florentine libraries, most notably in the library of San Marco. Given that this note appears among sketches of concave mirrors and that many opti- cal texts that we know Leonardo read later in life were actually kept in public libraries, it is possible that Leonardo is referring here to optical texts, but there is no way to be certain about it. More compelling evidence of Leonardo’s possible exposure to optics in the 1470s is suggested by another folio from the Codex Atlanticus, fol. 847r, dating from the same period and similarly related to the palla operation (fig. 2). This folio is well known to scholars, but detailed reexamination is worthwhile since the page contains a drawing by Leonardo that often goes unnoticed but which may suggest that Leonardo was familiar with De aspec- tibus, Alhazen’s monumental work that was at the origin of medieval optics. leonardo’s first diagram of the eye Folio 847r of the Codex Atlanticus is famous for a drawing in the up- per part of the sheet, where Leonardo sketched one of the machines Brunelleschi had invented to erect the dome of Florence cathedral (fig. 1 On Leonardo’s early drawings relating to Florence cathedral see: P. Galluzzi, Mechan- ical marvels. Invention in the age of Leonardo, Florence 1996, pp. 93-115; S. Dupré, «Optics, pictures and evidence: Leonardo’s drawings of mirrors and machinery», in: Early Science 1. Leonardo da Vinci, and Medicine, x, 2005, pp. 211-236; on the palla operation see D. Covi, «Verrocchio and Baptism of Christ, 1478 the palla of the Duomo», in: Art the ape of nature. Studies in honor of H. W. Janson, ed.
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