Traditional Culture Encyclopedia - Photography major - What was Leonardo da Vinci’s last work?
What was Leonardo da Vinci’s last work?
Introduction to Leonardo da Vinci's major works
"Self-Portrait"
"Virgin of the Rocks"
"Mona Lisa"
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"Self-Portrait" is a fine sketch by Italian painting master Leonardo da Vinci. The artistic level of his sketches has reached an extremely high level, and he is known as a model of sketch art. His creations of architecture, sculpture and painting are based on a large number of sketches as the basis for conception and research. From the structure to each character and even each gesture, he has prepared sufficient sketch exercises and sketches. His sketches have played an equal or even greater role than modern The role of photography. In this "Self-Portrait", the artist is very good at depicting himself. He observes the details, uses rich and varied lines, and combines hardness and softness. He is especially good at using diagonal lines with different thicknesses to express subtle changes in light and darkness. These sketching artistic techniques make later sketches Many painters have benefited greatly from it, and it can be called a masterpiece of sketch art. The lines used in this painting are vivid and flexible, and have strong generalization. A few simple strokes contain many turns, decent relationships, hair lines represent faces, and the three-dimensional effect is very strong. In addition, the expressions of the characters are also very expressive. Therefore, although this painting is a small sketch, its artistic beauty and formal beauty are no less than those of Leonardo da Vinci's magnificent paintings. Over the years, it has continued to attract the appreciation and praise of later generations of art lovers with its timeless charm.
"Madonna of the Rocks" Leonardo da Vinci Altarpiece (189.5X119.5 cm) is now in the National Gallery, London. This painting was commissioned by a religious group for San Francesco in Milan. An altarpiece for a church chapel. In this painting, the Virgin sits in the center of the picture. She holds the infant Saint John in her right hand, and the infant Jesus sits under her left hand. An angel is behind Jesus, forming a triangular composition, and they respond to each other with gestures. The background is a deep cave, dotted with flowers and plants. The cave pass reveals light. Although this painting has a traditional theme, its expression techniques and compositional layout all show the profound artistic level of Leonardo da Vinci. The subtle depiction of characters and backgrounds, the use of smoke-like brushwork, scientific realism, and the adoption of technical methods such as perspective and reduction show that he has reached a new level in dealing with the dialectical relationship between realistic realism and artistic processing. This painting marks the beginning of Da Fenqi's creative period.
"Mona Lisa" Leonardo da Vinci oil painting 1503--1506 77X53 cm, now in the Louvre Museum, is a prestigious portrait masterpiece, which represents expression. Leonardo da Vinci's highest artistic achievement is the masterpiece that Leonardo da Vinci painstakingly worked on for several years (1503--1506). Mona Lisa was the wife of Florentine businessman F. del Giocondo, who was about 24 years old at the time. When Leonardo da Vinci created this painting, he was diligent in his artistic pursuits. He devoted all his typical aesthetic ideals for portraits to this painting. The characters in the painting have elegant sitting postures, subtle smiles, and deep and vast mountains and rivers in the background. It can be said that they were fully developed. His peculiar smoke-like brushwork. Moreover, he strives to achieve a clever combination of the characters' rich inner emotions and beautiful appearance. He also pays special attention to mastering the dialectical relationship between precision and implicitness in the key parts of the portrait's face that express emotions, such as the corners of the eyes and lips, to achieve a state of verve. As a result, Mona Lisa's smile has endless meanings and a mysterious and eternal charm. The dream-like and charming smile makes the viewer feel as if they are falling into the clouds and marvel at the indescribable beauty; this kind of perfection The vivid portraits are indeed the glorious embodiment of humanism's lofty ideals about human beings.
"The Last Supper" - Leonardo da Vinci
"The Last Supper" was painted by the Italian painter Leonardo da Vinci for three years from 1495 to 1497 for the dining room of a monastery. mural. This painting focuses on depicting the different psychological reactions of Jesus' disciples when they heard the Lord say, "One of you is going to betray me."
First look at the group of three people on the left side of Christ: Philip jumped up uncontrollably and turned to Christ with unpredictable questions, trying to figure out what was going on. He covered his head with his hands. On the chest, I want to express my sincerity and purity. Old Jacob was extremely indignant. He spread his hands and leaned back because he lost his center of gravity, as if to express: This is simply incredible. Standing behind them was Thomas. He tried to keep his temper and raised his index finger to Christ and said how could this be possible? Among the group of three people on the right side of Christ, one is Judas. He hurriedly twisted his body with a guilty conscience, trying to get away from the Master in fear, and hurriedly grasped the money bag obtained by informing, and squinted at Christ with trembling fear. . John lowered his head sadly to one side and folded his hands. He was anxious, not knowing what to do, and was listening to Peter's words. Peter stood up angrily, bent forward and leaned towards John, put his left hand on his shoulder, close to his ear, as if asking: Do you know who it is? He was still holding a knife tightly in his right hand, as if to show: If I know who it is, I must kill him. Among the group of three people on the far right, the one closest to Peter is Bartholomew. He spreads his hands, looking shocked but calm, as if to tell everyone not to panic. He himself stared at Christ seriously and calmly, wanting to save the Master. Holding Bartholomew's arms was little James, who looked nervously at Christ helplessly. Standing at the top was the strong Andrew. He leaned forward and seemed to be rushing forward.
In the group on the far left, Matthew reaches out to Christ with both hands, but his face turns to Thaddaeus on the left, as if asking an experienced old man, who is the Master just talking about? Tatta spread his hands to show that he was also wondering. Simon was also thinking hard, but to no avail.
The composition of this painting is not complicated. It basically intersperses and changes in a straight line, but there is richness in the simplicity. The painter organically combined the thirteen characters, which are both different and closely related. It not only highlights the main image of Christ, but also clearly depicts the appearance and personality characteristics of each person. The painter placed Jesus in the center of the picture and the visual center. He used the light from the door in the background to more clearly highlight the image of Jesus. The dining table, walls, doors, windows, and ceiling were treated in parallel perspective, and they all disappeared in a concentrated way. Regarding the image of Christ, all of this naturally draws the audience’s attention to Christ first. And consciously separated the disciples on both sides from Jesus. At first glance, Jesus seemed to be isolated. In fact, the inner emotions and feelings and the entire incident closely connected them. The twelve disciples are evenly distributed in groups of three on both sides, connecting and echoing Christ with their respective movements and expressions. The entire environment and props are relatively simple, in order to highlight the excited characters more, and then through the characters of these characters Movements and expressions lead the center of the painting to Christ.
The painter was extremely cautious when creating this painting. Sometimes he stood in front of the painting and hesitated for a long time without being able to finish writing. The abbot of the monastery was very angry and accused him of deliberately slowing down work and delaying time. The painter was worried that he could not find a model for the head of Judas. He felt that the head of this annoying, rough and ignorant dean was just right, so he used it as the image of Judas. The Judas we see in the painting is gloomy, ugly, and particularly rude. It is in sharp contrast to John and Peter next to him, which is disgusting.
Comparison of Two "Last Suppers"
"The Last Supper"-Tintoretto
In different eras, Leonardo da Vinci (Leonardo Da Vinci) da Vinci) and Tintoretto (Tintoretto) created "The Last Supper" respectively. In order to better appreciate Leonardo da Vinci's "The Last Supper", let us compare the two.
The two paintings are also based on the Bible. The difference is that Leonardo da Vinci’s painting was created between 1495 and 1498, which was the Renaissance period, while Tintoretto’s painting was produced between 1592 and 1594. The year was a turning point in history, when the Renaissance was about to give way to the Baroque.
If you look at the subject matter alone, Leonardo da Vinci's paintings can barely be regarded as religious. In terms of spirit, Tintoretto's paintings exude a strong Christian atmosphere. It becomes worldly. Tintoretto and Leonardo da Vinci chose two completely different moments to depict the Last Supper between Jesus and his disciples. The moment condensed in Tintoretto's painting is when Jesus laid out the Holy Communion and said to his disciples: "Eat , this is my body.” as the disciples were familiar with; and the moment Leonardo focused on was the disciples’ reaction to Jesus’ words: One of you has betrayed me. The moment chosen by Tintoretto is unique and could not have happened anywhere else. The moments in Leonardo da Vinci's paintings are actually played out in real time in the world. Tintoretto's paintings are like a "spiritual drama". Fincher's is a "human drama".
Below we compare the two paintings in more detail.
1. Composition: Take the position of the dining table as an example. Leonardo da Vinci placed the table directly in front of the picture. The table is not just a table, but also forms a dividing line, like the edge of the stage, the audience Over here, on the other side of the table, a drama is taking place. Tintoretto moved the dining table so that the characters in the painting are no longer far away from the audience. The irregular cutting of the edges of the painting has the effect of extending the picture and inviting the audience into the painting.
2. Use of space: Both Leonardo da Vinci and Tintoretto used "perspective" to create space. The so-called "perspective" is an effect produced by the gradual convergence of two railroad tracks or roads in the distance. . Leonardo da Vinci drew perspective lines through the ceiling, tapestry, and floor. All lines converged on Christ's head, which is the center of the picture. The lines were bright and clear, forming a kind of symmetry and coordination. Tintoretto did not focus on the center of the picture, but made the lines extend steeply toward the upper right corner until they meet under the angel's wings. Because the intersection point is dark and ambiguous, the entire picture appears chaotic and the texture is unclear.
3. Character description: Da Vinci’s characters are lined up in a row, and each person’s reaction is unique and distinctive, which is vivid in his mind. After listening to Jesus’ words, the disciples reacted differently, so they showed Personality and psychology of the individual. On the contrary, Tintoretto makes the characters shrouded in shadows, vaguely indistinguishable. They are all wrapped up in the atmosphere. They do not act as independent individuals, but the whole they add up to. The meaning can be seen as an overwhelming religious experience.
4. Reality: Both paintings can be said to be both realistic and unrealistic. Da Vinci’s realism is reflected in his emphasis on details, so it is clear and accurate, but the house is abstract. , and the characters are packed together in an unimaginable way. Tintoretto's paintings fictionalize unrealistic houses, with mysterious light and darkness, and are full of phantoms and haze. However, the depictions of characters and objects are very solid, full, and lively.
5. Drama: The essence of drama is the conflict between characters at critical moments. From this point of view, both paintings are dramatic, with continuous actions interrupted in an instant, like a pendulum suddenly suspended at the top of its swing. , but the way the two set up this moment is different. Da Vinci's character posture fully expresses his inner world at the critical moment, and he uses drama to reveal meaningful "character". Tintoretto focuses on the progress of movement and the passage of time. Watching Tintoretto's paintings will produce a visual sense of turmoil and cannot slow down. It can be said that Tintoretto uses drama to unfold meaningful "events". The end point and the starting point are equally important and are both part of the whole.
Although Leonardo da Vinci's "The Last Supper" is considered the most widely circulated religious painting, it is not religious at all in essence, but a description of human psychology. Tintoretto's paintings reflect religious experience.
What kind of "human essence" do the two paintings convey? As far as Leonardo da Vinci is concerned, he regarded people as completely separate individuals. When events hit, individuals responded in unique ways. On the surface, he did believe in the Protestant principle of valuing individuals, but he also emphasized that individuals only A whole can be formed by adding together. Unlike Tintoretto's "super-individual" empathy, Tintoretto basically regards people as part of a grand whole. If we consider the difference between the two from the perspective of "church life" and follow Leonardo da Vinci's understanding of human nature, there is no real church in reality. Perhaps a club is a more acceptable form because individuals can be allowed to come and go at will. According to Tintoretto's belief, the church is not nothingness, but everything. People only have reality as part of the church.
Even if you don’t agree with a painting’s interpretation of human nature, you can still admit that it is a great work. This is art!
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