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Una de las facetas creativas y tal vez menos conocidas del pintor italiano. Leonardo da Vinci. Itinerario bibliográfico ilustrado nos introduce en el estudio de una de las facetas creativas, y tal vez menos conocidas del pintor italiano que vivió entre 1452 y 1519, en pleno Renacimiento. En este libro vamos a descubrir cómo los dibujos y la escritura en espejo de Leonardo, combinados magistralmente en sus manuscritos, constituyen una forma un tanto peculiar de expresar su tan singular personalidad. Es un trabajo de compilación y de investigación, una guía detallada de los distintos puntos de vista y razonamientos, muchas veces antagónicos, de diversos autores y estudiosos en su intento de explicar y demostrar porqué Leonardo escribía y dibujaba con la mano izquierda y con las letras en espejo, es decir, con las palabras escritas al revés, de modo tan diferente a como estamos acostumbrados en nuestra cultura occidental. Con este modo de escribir y de dibujar de Leonardo, conoceremos la capacidad de síntesis que consigue con sus dibujos y comprobaremos la poca confianza que le merecía la palabra escrita, entendiendo por qué su escritura es considerada «abierta» por...

El 15 de agosto de 1980 el Wiltshire Times publicó por primera vez una fotografía de un círculo en el trigo (crop circle). Desde entonces han pasado muchos años; años llenos de debates, publicaciones, transmisiones televisivas e incluso interpelaciones parlamentarias sobre este misterio. El tema de los círculos tiene una innegable y sustancial dimensión histórica, la cual queda en un segundo plano, sofocada por los medios de comunicación, cubierta por un velo de ambigüedad y enterrada bajo una gruesa capa de mistificación, sensacionalismo, mentiras y leyendas urbanas. Este texto representa un intento para perforar esa capa, revelar los antecedentes y arrojar algo de luz sobre los detalles que siguen desconocidos o en la oscuridad de este misterio, indagando en el bagaje emotivo y social en el que se desarrollaron la historia y los personajes que fueron protagonistas. Es un estudio sistemático y racional que se apoya en un enfoque histórico, metódico y científico y que se ha hecho posible gracias a la recuperación de la documentación original, especializada y cualificada.

In 1764 Giovanni Francesco de' Giudici completed a manuscript, now kept in the State Archives of Pisa, that we can quite properly consider a fundamental text in the history of the Arezzo artistic learning, beginning with the rich information supplied by Giorgio Vasari. This volume proposes the complete publication of the manuscript, a much characteristic document of the cult of the various memories that, after the impulse of Ludovico Antonio Muratori, spread in Italy in the heart of the eighteenth century, and also in the field of the history of art lead to a quick widening of knowledge. The researches have shed light on the figure of Giovanni Francesco de' Giudici, a local erudite that we can follow since his education with father Lagomarsini, a glory of the convent of the Jesuits of Arezzo, in order then to see him collaborating with Lorenzo Guazzasi and Giacinto Fossombroni to look for information about the ancient and medieval Arezzo through the reorder of its city archives. Among the initiatives of this group of cultured people appears also the second edition of the Ragionamenti of Giorgio Vasari and the publication of other unknown reports concerning Arezzo. The De' Giudici...

Profilo biografico e artistico di Leonardo da Vinci.

The works and ideas of Leonardo in the last years of his life.

In una nuova e originale formula, tutto Leonardo: il pittore della Gioconda e lo studioso di anatomia, lo sperimentatore del volo umano e l'inventore di macchine da guerra. Un libro magnificamente illustrato per il pubblico degli appassionati, con testi aggiornatissimi. ENGLISH TEXT. Italian edition available.

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The Notebooks of Leonardo Da Vinci By Leonardo Da Vinci A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third?the picture of the Last Supper at Milan?has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast...

Leonardo was born on April 15, 1452, in the town of Vinci. His father was Ser Piero, a notary; his mother, Caterina, came of a peasant family. They were not married. The boy's uncle Francesco may have had more of a hand in his upbringing than by either of his parents. When Leonardo was about 15, he moved to the nearby city of Florence and became an apprentice to the artist Andrea del Verrocchio. He was already a promising talent. While at the studio, he aided his master with his Baptism of Christ, and eventually painted his own Annunciation. Around the age of 30, Leonardo began his own practice, starting work on the Adoration of the Magi; however, he soon abandoned it and moved to Milan in 1482.

Included in this book are approximately 100 color illustrations with explanatory captions, a concise biography and a detailed chronological summary of Leonardo da Vinci.

Se dovessimo indicare una forma romanzesca capace di rivelare come si compone e come si manifesta quell'impasto vischioso del potere che la politica italiana ha avuto per lunghi anni il funesto privilegio di produrre, basterebbe rimandare alle asciutte pagine di Todo modo, alla scansione crudele dei suoi episodi, che solcano una materia informe, torbida e sinistra, quale nessun altro romanziere italiano aveva saputo affrontare. Non meraviglia dunque che questo libro, pubblicato nel 1974, possa essere letto come una guida alla storia italiana dei decenni successivi.

Leonardo was an apprentice in Verrocchios workshop, where the young artist was fascinated by the lively and updated environment. Verrocchio taught the practice of drawing to the young Leonardo, who learnt how to describe the world around him with meticulous observation. Moreover, the artist made models in plaster or clay to better understand the world around him in order to reproduce it perfectly. This book wants to trace the career of the artist, passing from the first works by Leonardo with Verrocchio, influenced by the fertile background of Florence at the end of the fifteenth century, to the greater masterpieces. The book also contains a section on the lost works. A train of thoughts connects and explains great frescoes, small paintings and prestigious commissions that have influenced so many artists. Through the pages of the book, a sort of School of the world is traced, revealing the myth of Leonardo.

October 1493, the height of the Renaissance. In a rapidly changing world, Milan flourishes under the leadership of Ludovico il Moro. Those wandering the courtyards of the city's castle often encounter a man in his forties dressed in long pink robes, lost in his own thoughts. The man lives above his workshop, with his mother and a mischievous little boy whom he dotes on; he doesn't eat meat, writes from right to left, and struggles to get paid by his employers. His name is Leonardo da Vinci. His fame extends beyond the Alps, to the French court of Charles VIII, whose envoys have been tasked with a secret mission that concerns Leonardo himself, and his most daring designs. When a man is found dead in the Castle's courtyard, il Moro turns to Da Vinci for help. Though the corpse shows no signs of violence, the death is highly suspicious: rumours of a plague or superstitious explanations need to be disproven quickly. Leonardo is in no position to refuse his master's request to investigate.