DOCSLIB.ORG

Leonardo Da Vinci: the Artist in 2019 the World Is Celebrating the 500Th Birthday of One of the Greatest Geniuses of All Time: Leonardo Da Vinci

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leonardo Da Vinci: the Artist in 2019 the World Is Celebrating the 500Th Birthday of One of the Greatest Geniuses of All Time: Leonardo Da Vinci 491: Leonardo da Vinci: The Artist In 2019 the world is celebrating the 500th birthday of one of the greatest geniuses of all time: Leonardo da Vinci. This seminar will look behind the myth in order to gain a better understanding of his art (his scientific projects will be discussed as well, but mostly in relation to his art). In order to study his innovative (as well as his conventional) aspects, we will situate Leonardo in his historical context, investigate his art theoretical writings, contribution to the history of portraiture and, in particular, his revolutionary approach to the depiction of women. We will also discuss his rivalry with Michelangelo, his architectural projects and the meaning of his highly innovative painting technique (sfumato). There will be a field trip to the Metropolitan Museum of Art where we will look at drawings by Leonardo. Requirements will include several short oral reports on specified readings and the object of the student’s research, as well as a written research paper. N.B. This Syllabus is a draft only and as such subject to change Textbooks: Leonardo on Painting, ed. Martin Kemp (New Haven, 1989). Leon Battista Alberti, On Painting, trans. Cecil Grayson (London, 1991) Martin Kemp, Leonardo da Vinci: The Marvellous Works of Nature and Man, rev. ed. (Oxford, 2006). 1. Sept. 9 Introduction 2. Sept. 16 Early Leonardo: The Formation in Verrocchio’s studio (The Annunciation, Baptism of Christ) Kemp, 43-65; Lawrence Kantor, “Leonardo da Vinci, Pupil of Andrea del Verrocchio,” in Leonardo: Discoveries from Verrocchio’s Studio, Early Paintings and New Attributions (New Haven, 2018), 9-103 (with lots of illustrations). 3. Sept. 23 Adoration of the Magi and the Invention of the Narrative Altarpiece Kemp, 66-78; Frank Zöllner, Leonardo da Vinci. The Complete Paintings and Drawings, vol. 1 (Cologne, 2015), 22-60 (contains many illustrations). 4. Sept. 30 Leonardo’s sfumato: Madonna of the Rocks and Saint Anne Cartoon Kemp, 91-99, 218-27; Alexander Nagel, “Leonardo and Sfumato,“ in Res. Anthropology and Aesthetics 24 (1993), 7-20; John Shearman, “Leonardo's Colour and Chiaroscuro,” in Zeitschrift für Kunstgeschichte 25 (1962), 13-47. 5. Oct. 7 Portraits of Women I: Ginevra de Benci and Cecilia Gallerani (n.b. the reading is also for week 6) Leonardo on Painting, 47–88; Alberti, On Painting, 60–96 (Book 2 and 3); Mary D. Garrard, “Leonardo da Vinci: Female Portraits, Female Nature,” in The Expanding Discourse (New York, 1992), 58–85; Patricia Rubin, “Understanding Renaissance Portraiture,” in The Renaissance Portrait from Donatello to Bellini, eds. K. Christiansen and S. Weppelmann (New Haven, 2011), 2–25; John Shearman, “Portraits and Poets,” in Only Connect…Art and the Spectator in the Italian Renaissance (Princeton, 1992), 108-48. 6. Oct. 14 Portraits of Women II: Mona Lisa (same reading as in week 5) 7. Oct. 21 Last Supper: Expression & Balance Kemp, 189-99, Leo Steinberg, Leonardo’s Incessant ‘Last Supper’, Cambridge, MA, 2001 (pages/sections to be determined). 8. Oct. 28 Architecture: Leonardo, Bramante, and the Universal Man Kemp, 107-20; Ludwig Heydenreich, “Leonardo and Bramante. Genius in Architecture,” in Charles O’Malley (ed.), Leonardo’s Legacy. An International Symposium (Berkeley, 1969), 124-48. 9. Nov. 4 Rivalry with Michelangelo: Battle of Anghiari Kemp, 234-47; Claire J. Farago, “Leonardo’s Battle of Anghiari: A Study in the Exchange between Theory and Artistic Practice,” in Art Bulletin 76 (1994), 301–30. 10. Nov. 11 Mysterious Late Style: Saint John the Baptist Kemp, 337-49; Paul Barolsky, “The Mysterious Meaning of Leonardo’s Saint John the Baptist,” in Source. Notes in the History of Art 8,3 (1989), 11-15. 11. Nov. 18 no class in compensation for field trip 12. Thanksgiving break 13. Dec. 2 Student Presentations 14. Dec. 9 Student Presentations .
Load more

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]
  • Destructive Pigment Characterization
    Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle.
    [Show full text]
  • Leonardo in Verrocchio's Workshop
    National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master National Gallery Company London Distributed by Yale University Press TB32 prelims exLP 10.8.indd 1 12/08/2011 14:40 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2011 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including BRISTOL photocopy, recording, or any storage and retrieval system, without © Photo The National Gallery, London / By Permission of Bristol City prior permission in writing from the publisher. Museum & Art Gallery: fig. 1, p. 79. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria degli Uffizi, Florence © Galleria deg li Uffizi, Florence / The Bridgeman Art Library: fig. 29, First published in Great Britain in 2011 by p. 100; fig. 32, p. 102. © Soprintendenza Speciale per il Polo Museale National Gallery Company Limited Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività St Vincent House, 30 Orange Street Culturali: fig. 1, p. 5; fig. 10, p. 11; fig. 13, p. 12; fig. 19, p. 14. © London WC2H 7HH Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali / Photo Scala, www.nationalgallery. org.uk Florence: fig. 7, p.
    [Show full text]
  • Tobias and the Angel by Verrocchio's Workshop
    USING THE PICTURE ACROSS • If you could ask one of the people one question, what THE CURRICULUM would it be? TAKE ONE PICTURE • What do you want to know or find out? Why? Since 1995, the National Gallery has been promoting the use of a single image for cross-curricular work in primary schools Another episode from the same story is depicted in the through the Take One Picture scheme. The scheme enables painting Anna and the Blind Tobit (about 1630) by the Dutch teachers to share good teaching and learning practice and artist Rembrandt. This painting is also in the National Gallery’s the principles of cultural enrichment using a holistic approach collection. Consider both of these works, their techniques, that highlights how subject areas support and inform their social and historical contexts, and their narratives. each other. This way of working gives pupils considerable Art/History/Literacy opportunities for engaging with arts and culture within and The artist used egg tempera to paint the picture. Research outside the school day. Further information on the scheme different recipes for making egg tempera and use these as a can be found at www.takeonepicture.org.uk. starting point for your own investigations and artwork. What happens when you use egg tempera on different surfaces, RESOURCES e.g. paper, wood, cardboard? A digital image of the painting is available at Art/Science www.takeonepicture.org.uk. This can be used in the classroom on an interactive whiteboard or by individuals Verrocchio and his workshop were located in Florence, Italy. on PCs.
    [Show full text]
  • Janson. History of Art. Chapter 16: The
    16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists.
    [Show full text]
  • Meet the Masters February Program Grade 3 How Artists Portray Women
    Meet the Masters February Program Grade 3 How Artists Portray Women Mary Cassatt "The Child's Bath" Leonardo Da Vinci "Ginevra De' Bend" About the Artist: (See the following pages.) About the Artwork: "The Child's Bath" by Mary Cassatt was painted in 1893. This is one of Cassatt's most famous works, it is typical of her art due to it's emphasis on the figure and the common theme of woman and child. This was painted over one hundred years ago, when homes did not have running water and separate rooms for bathing. Unlike Renaissance painters who tried to create an illusion of reality and depth by using scientific perspective, Cassatt's composition tilt's toward us as if we were looking down from above. Our attention is drawn to the tenderness displayed between the woman and her child. The stripes of the woman's dress and the diamond patterns in the carpet provide an almost flat background on which the figures appear to be three dimensional. Both figures are totally absorbed in the bathing ritual. "Ginevra De' Benci" by Leonardo Da Vinci was painted around 1474. During the time of Leonardo it was customary for young women to have their portraits painted just before their weddings. This was probably Ginevra's wedding portrait as she was married in 1474 at the age of seventeen. In this portrait of Ginevra De' Benci the light floods her face and hair to reveal a glowing the tiny curls of her hair and the rounded shape of her face. The soft fabric of her clothing can be seen in the lower part of the painting.
    [Show full text]
  • Leonardo and Sfumato Author(S): Alexander Nagel Source: RES: Anthropology and Aesthetics, No
    The President and Fellows of Harvard College Peabody Museum of Archaeology and Ethnology Leonardo and sfumato Author(s): Alexander Nagel Source: RES: Anthropology and Aesthetics, No. 24 (Autumn, 1993), pp. 7-20 Published by: The President and Fellows of Harvard College acting through the Peabody Museum of Archaeology and Ethnology Stable URL: http://www.jstor.org/stable/20166875 . Accessed: 06/12/2014 22:26 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The President and Fellows of Harvard College, Peabody Museum of Archaeology and Ethnology, J. Paul Getty Trust are collaborating with JSTOR to digitize, preserve and extend access to RES: Anthropology and Aesthetics. http://www.jstor.org This content downloaded from 128.95.104.66 on Sat, 6 Dec 2014 22:26:32 PM All use subject to JSTOR Terms and Conditions Leonardo and sfumato ALEXANDERNAGEL Le cas particulier de L?onard de Vinci nous propose une de used, it almost always appears as an adjectival past ces co?ncidences remarquables qui exigent de nous un participle of the verb. Thus, Vasari describes the softer retour sur nos habitudes et comme un r?veil de d'esprit style made possible by oil painting as a "sfumata notre attention au milieu des id?es nous furent qui maniera," the humanist Daniele Barbaro speaks of transmises.
    [Show full text]
  • Newsletter Nov 2015
    Leonardo da Vinci Society Newsletter Editor: Matthew Landrus Issue 42, November 2015 Recent and forthcoming events did this affect the science of anatomy? This talk discusses the work of Leonardo da Vinci, The Annual General Meeting and Annual Vesalius and Fabricius and looks at how the Lecture 2016 nature of the new art inspired and shaped a new wave of research into the structure of the Professor Andrew Gregory (University College, human body and how such knowledge was London), will offer the Annual Lecture on Friday, transmitted in visual form. This ultimately 13 May at 6 pm. The lecture, entitled, ‘Art and led to a revolution in our under-standing of Anatomy in the 15th & 16th Centuries’ will be anatomy in the late 16th and early 17th centu- at the Kenneth Clark Lecture Theatre of the ries. Courtauld Institute of Art (Somerset House, The Strand). Before the lecture, at 5:30 pm, the annual Lectures and Conference Proceedings general meeting will address matters arising with the Society. Leonardo in Britain: Collections and Reception Venue: Birkbeck College, The National Gallery, The Warburg Institute, London Date: 25-27 May 2016 Organisers: Juliana Barone (Birkbeck, London) and Susanna Avery-Quash (National Gallery) Tickets: Available via the National Gallery’s website: http://www.nationalgallery.org.uk/whats- on/calendar/leonardo-in-britain-collections-and- reception With a focus on the reception of Leonardo in Britain, this conference will explore the important role and impact of Leonardo’s paintings and drawings in key British private and public collec- tions; and also look at the broader British context of the reception of his art and science by address- ing selected manuscripts and the first English editions of his Treatise on Painting, as well as historiographical approaches to Leonardo.
    [Show full text]
  • Mona Lisa: a Comparative Evaluation of the Different Versions S
    ONA LISA: A COMPARATIVE EVALUATION OF THE MDIFFERENT VERSIONS AND THEIR COPIES Salvatore Lorusso* Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Andrea Natali Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Keywords: “Mona Lisa”, versions, copies 1. Introduction In a previous study [1], which included stylistic and diagnostic analyses, it was found that the oil painting on canvas “Mona Lisa with columns”, part of a private collection in a museum in St. Petersburg (Figure 1), is a copy of the “Mona Lisa” by Leonardo (Figure 2) dating to a period between 1590 and 1660. Noteworthy features include the good quality, readability and expressiveness emanating from the work, which presum- ably is of Nordic influence, specifically German-Flemish. Figure 1. Photograph in the visible of the painting “Mona Lisa with Columns”, St. Petersburg (oil on canvas 63.2 x 85.2 cm ) CONSERVATION SCIENCE IN CULTURAL HERITAGE * Corresponding author: [email protected] 57 Figure 2. The Louvre “Mona Lisa” More specifically, given the importance of the subject, which includes Leonardo’s well-known masterpiece, the conclusion that was reached in defining the above paint- ing a copy of the original, involved examining, from a methodological point of view, investigations carried out in 2004 on the Louvre “Mona Lisa” by the “Center for Re- search and Restoration of the Museums of France”, and published in “Au coeur de La Joconde – Léonard de Vinci Décodé”. This sequence of investigations – which were certainly not aimed at authentication – were examined together with those of the Na- tional Gallery in London, thus enabling comparisons to be made with other works by Leonardo [2-3].
    [Show full text]
  • Benjamin Proust Fine Art Limited
    benjamin proust fine art limited london benjamin proust fine art limited london THE ANNUNCIATION Documented in Genoa and Carrara from 1448 to 1484 TWO LOW RELIEFS DEPICTING THE ANNUNCIATION Circa 1460–1465 Carrara Marble (Apuan Alps) Angel 52.5 × 52 × 12 cm (finial modern restoration) Virgin 63.5 × 52 × 11.5 cm Collection of the Villa Torre de’ Picenardi, Cremona, Italy, since at least 1816 C. Fassati Biglioni, Reminiscenza della Villa Picenardi: lettera di una colta giovane dama, che puòservire di guida, a chi bramasse visitarla, Cremona 1819, p. 24. Francesco Malaguzzi Valeri, Giovanni Antonio Amadeo, scultore e architetto lombardo, Bergamo 1904, p. 86. Diego Sant’Ambrogio, ‘Di due bassorilievi dell’Omodeo a Torre de’ Picenardi’, Lega lombarda, , n. 224, 1904. Guido Sommi-Picenardi, Le Torri de’ Picenardi, Modena 1909, p. 59. Isidoro Bianchi, Marmi cremonesi, ossia ragguaglio delle antiche iscrizioni che si conservano nella villa delle Torri de’ Picenardi, Milan 1791, pp. –. Giovan Carlo Tiraboschi, La famiglia Picenardi, Cremona 1815, pp. 242–275. Camilla Fassati Biglioni, Reminiscenza della villa Picenardi, Cremona 1819. Federigo Alizeri, ‘Notizie dei Professori del disegno’, in Liguria dalle origini al secolo XVI, , 1876, pp. 152–158. Notizie sul Museo Patrio Archeologico in Milano, Milan 1881, p. 11, n. 4 . Giuliana Algeri, ‘La scultura a Genova tra il 1450 e il 1470: Leonardo Riccomanno, Giovanni Gagini, Michele D’Aria’, Studi di storia delle arti, I, 1977, pp. 65–78. Paolo Carpeggiani, Giardini cremonesi fra ‘700 e ‘800: Torre de’ Picenardi – San Giovanni in Croce, Cremona 1990. Caterina Rapetti, Storie di marmo. Sculture del Rinascimento fra Liguria e Toscana, Milano 1998, pp.
    [Show full text]
  • Leonardo Da Vinci: the Experience of Art
    2019-2020 SEASON LOUVRE AUDITORIUM LEONARDO DA VINCI: THE EXPERIENCE OF ART FRIDAY 25 OCTOBER 2019 LEONARDO DA VINCI: THE EXPERIENCE OF ART SYMPOSIUM ORGANISED TO COINCIDE WITH THe “LEONARDO DA VINCI” EXHIBITION (IN THE HAll NAPOLÉON UNTIL 24 FEBRUARY 2020) In collaboration with the C2RMF, the CNRS, the E-RIHS and IPERION-CH Scientific and organising committee: Vincent Delieuvin, Musée du Louvre Louis Frank, Musée du Louvre Michel Menu, C2RMF Bruno Mottin, C2RMF Élisabeth Ravaud, C2RMF The Louvre’s Leonardo exhibition and recent unveiling of IPERION CH (Integrated Platform for the European Research Infrastructure On Cultural Heritage) provide the perfect opportunity to present the public with the latest findings of studies on Leonardo’s oeuvre. The fruit of ten years of research carried out across various institutions, these new discoveries will allow greater insight into Leonardo’s unparalleled technique. PROGRAMME 10 a.m. Introduction by Isabelle Pallot-Frossard, C2RMF, and Dominique de Font-Réaulx, Musée du Louvre Morning Chair: Vincent Delieuvin, Musée du Louvre 10:15 a.m. Leonardo’s science and encyclopedic models of his time by Carmen C. Bambach, Metropolitan Museum of Art, New York 10:45 a.m. Recent investigations into the Windsor Leonardos by Martin Clayton, Royal Collection Trust, Windsor Castle 2 11:15 a.m. Three “preparatory cartoons” attributed to Leonardo: the “Portrait of Isabella d’Este”, the “Nude Mona Lisa” and “Head of a Child in Three-Quarter View” by Bruno Mottin, C2RMF 11:45 a.m. Conservation techniques and the shortcomings of literary texts: Giorgio Vasari, a case study by Louis Frank, Musée du Louvre, and Leticia Leratti, painter and sculptor 12 p.m.
    [Show full text]
  • Verrocchio: Sculptor and Painter of Renaissance Florencei
    Jordan S. Sly, Exhibit Review, 4/12/2019 National Gallery of Art | Verrocchio: Sculptor and Painter of Renaissance Florencei Andrea del Verrocchio (birth name Andrea di Michele di Francesco) is a figure of immense importance to Renaissance art. To many visitors to Washington, D.C's National Gallery of Art, however, his name may lack the recognition of his more famous students such as Sandro Botticelli and Leonardo Da Vinci. As Andrew Butterfield, the curator of the recent Verrocchio exhibit discusses in the exhibit's introductory video, Verrocchio was a member of the urbanized artisan guilds, an artist and craftsman to the powerful Medici, and a teacher to many of the era's most famous artists. But, as the exhibit argues, Verrocchio was an amazing artist in his own right and this exhibit, the first to focus primarily on Verrocchio in the United States, emphasizes this fact to indicate his lasting is influence; which can be gleaned, in part from the fact that the collection assembled for this exhibit contains art from museums from around the world.ii Giorgio Vasari, in his Lives of the Artists notes Verrocchio as a studied artist of immense talent, though lacking true artistic gifts. Vasari's central notion is that Verrocchio was a craftsman and keen observer who could accurately reproduce moments from life but did so without artist flair or an artists' eye for story, movement, or emotion. As Vasari notes, Verrocchio’s work was “hard and crude, since it was the product of unremitting study rather than of any natural gift or facility."iii This being said, however, Vasari places him amongst the period's most famous artists primarily, perhaps, because of his association with the Medici and for his influence on the likes Botticelli and Da Vinci; who he notes directly surpassing the master's craft.
    [Show full text]