Psychiatrist Professor Marco Catani, of Kings College London, reviewed extensive tales and anecdotes about his life and behaviour before he made his conclusion.

When it comes to history and science in the elementary and middle school years, nothing has quite matched the success of unit studies in our homeschool.

Leonardo da Vinci (1452 - 1519), The Virgin and Child with Saint Anne and Saint John the Baptist, drawing, circa 1499 - 1500, National Gallery, London, source

View Leonardo da Vinci's paintings, from his earliest efforts as an apprentice in Verrocchio's workshop to his final painting, St. John the Baptist.

Long praised as one of the finest artists of the Renaissance era and a visionary inventor, da Vinci's work as an anatomist was also well ahead of its time, a new exhibition at Holyrood is to reveal.

Leonardo da Vinci left few finished works at his death in 1519, and some were later lost or destroyed. Those that remain show Leonardo’s innovation and skill. Find out which ones are the most famous.

Vinci’nin, adeta “Monalisa”nın gölgesinde kalan bir önemli başyapıtıdır. “Erminli Kadın”( Lady with Ermine-Dama Con I'ermellino) tablosunun yapım tarihi 1489-1490 olarak kabul ediliyor. 54,8 cm x 40,3 cm boyutlarındaki tablo halen , Kraków, Polonya Czartoryski Museum’da sergileniyor. (Yaptığım Polonya seyahati esnasında tablonun orijinali görme şansım olmuş, ancak orijinal resmin fotoğrafı çektirilmediği için bir kopyasını blogda paylaşmıştım) Mona Lisa‘nın bu dünyadaki en büyük rakibi kabul edilen bu tabloda; resim yapılan kadın, Cecilia Gallerani, Milano dükü Ludovico Sforza’nın 17. Yaşındaki metresi. (Kimi cılız teoriler ise tablodakinin Sforza'nın karısı Beatrice D'Este olduğunu savunmakta) Soylu olmayan bir ailenin, güzel ve eğitimli kızı. Cecilia, küçük yaşta nişanlanıyor ama Milan'ın hükümdarı olan Lodovico Sforza ile tanışınca, nişan atılıyor ve Cecilia, Lodovico 'nun metresi olarak saraya taşınıyor. Cecilia herhangi sıradan bir metres değil, şiirler yazıyor, şarkı söylüyor, enstrüman çalıyor. Bu sebeple de Lodovico'nun gözdesi. Leonardo bu tarihlerde Milano'da yaşadığından, Lodovico herkes gibi Leonardo'nun da patronu. Cecilia için ne büyük şans ki, Leonardo onun bir portresini yapıyor. Resimde Cecilia sadece 17 yaşında. Leonardo ise 30'lu yaşlarında. Kızın kucağındaki “ermin” denilen hayvan Türkçe'de “as” ya da “kakım” olarak bilinen, kürkü çok değerli kabul edilen bir gelincik türü. Bu hayvanın diğer gelinciklerden farkı, kışları tüylerinin tamamen beyaza dönmesi. (İnanca göre, eğer erminin beyaz kış kürkü toprağa değerek kirlenirse, ermin daha fazla yaşayamaz, ölürdü) Bu özelliği ile de saflığı ve temizliği temsil ediyor. Bu hayvan aynı zamanda Lodovico ailesinin de sembolü. (Erminin normal boyutlarından çok daha büyük resmedilmesinin sebebi de Dükü yüceltmek olabilir.) Da Vincinin, erminin Antik Yunancada karşılığı olan "Galee" kelimesi ile Cecilia'nın soyadı "Gallerani" arasında bir bağ kurduğu da düşünülüyor. Cecilia'nın kucağında bu hayvanı tutması hem onun saflığına, hem de sevgilisi Lodovico'ya olan bağlılığına bir gönderme kabul ediliyor. (Ancak Da Vinci bakire olmayan, hatta metreslik gibi erdemsizlik sayılan bir konumda bulunan kadını neden saflık ve temizlikle bağdaştırdığı ise net olarak açıklanamıyor. Bazılarına göre, kucağında temizliğin simgesi erminle Cecilia'nın metresliğinin meşrulaştırılmak istenmesi olabilir mi?) Vücudu tıpkı Mona Lisa gibi sola dönük ama hem hayvanın hem de Cecilia'nın başı tam ters yöne bakıyor. Sanki bir ses gelmiş de ona bakıyorlarmış gibi. Bu, "Serpentine" duruş olarak isimlendirilen duruşudur. Bu pozisyonda, model ne tabloyu izleyene ne de ressama direkt olarak dönmüştür. Onun yerine sanki biri modele seslenmiş, o da sesin geldiği yöne baktığı an resmedilmiştir. Erminin duruşu ile kadının pozisyonu uyum halindedir. Ermin, onu okşayan kadına karşı sevecen, ancak kalkmış pençesiyle de baktıkları yönde bulunduğu varsayılan ikinci kişiye karşı tehditkardır. Kadının dönemin modasına göre traşlanmış kaşları, saçını toplama stili, kaliteli kumaştan elbiseleri ve takıları onun varlık içinde yaşadığını vurgulamakta. Soylu bir aileden gelmeyen genç kızın kıyafetleri, bu gerçeği vurguluyor. Saçları o dönem İtalyan kadınlarının yaptığı biçimde; ‘coazone’ adı verilen bantla saçlar başın iki yanına yapıştırılır ve küçük bir kesede toplanan saçlar sayesinde yüz, tamamen ortaya çıkar. Genç kızın yüz ifadesi, ağzının biçimi, saçların alından ayrımıyla gördüğümüz Da Vinci'nin ustalığı, özellikle figürün elinde net olarak karşımıza çıkar. Buna ek olarak figürün gözbebekleri de yine Da Vinci'nin farklı bir teknikle yaptığı önemli detaylardan. Yüzünün ifadesi (dudaklar kasılarak verilmiş belli belirsiz tebessüm) ve bakışları çokta mutlu olmadığını göstermektedir. Zaman içerisinde Cecilia'nın şansı hep böyle iyi gitmiyor. 1591'de Lodovico'dan bir oğlu oluyor ama Lodovico, onun yerine bir başka soylu kadınla evleniyor. Mecburen bir süre sonra saraydan ayrılıyor. (Tablodaki mutsuzluğun sebebi, tablonun yapıldığı senelerde Dükün doğan erkek çocuklarına rağmen Cecilia terk ederek Beatrice ile evlenmesi olabilir. mi?) Dört çocuk annesi olan Cecilia, 63 yaşında hayatını kaybeder. (Dükten doğan oğlundan sonra doğan diğer üç çocuk için doğrusu araştırma yapamadım) "Erminli Kadın" hakkındaki bir diğer önemli spekülasyon ise, Da Vinci'nin tabloyu kendisinin bitirmediği, onun yerine Ambrogio Da Predis ya da Boltraffio'nun ve hatta kimi başka bilinmeyen ressamların tabloyu tamamladığı üzerinedir. Bu spekülasyonun en önemli sebeplerinden birisi de tablo üzerinde yapılan x ışınları deneylerinde ortaya çıkan ve farklı zamanlarda boyandığı anlaşılan boya katmanlarıdır. Ressam, tablo üzerinde oldukça fazla değişiklik yapmış ve kalın bir boya tabakası ile bu değişiklikleri gerçekleştirmiştir. Örneğin; tablonun background'unda kadının hemen arkasında önceden bir kapı-pencere resmedilmiş, ışık buna göre ayarlanmış, daha sonra ise bu koyu bir zemine dönüştürülmüştür. Aynı şekilde kadının çenesinin altında birleşen saç bandı, tablonun geri kalanı ile bütünlük göstermesi için saçının ve elbisenin ermin ile birleşen bölgesindeki rengi, tablonun son halinde net bir şekilde görünmeyen kadının sol eli ile, sağ el parmakları da sonradan değişikliğe uğramış noktalardır. Tablonun yapılış tarihi kabul edilen 1490'lardan 1800'lerin başına kadar tam olarak nerede saklandığı bilinmiyor. Büyük ihtimalle önce Dükün şatosunda, daha sonra ise Beatrice D'Este'nin gözünden uzak bir yerlerde ömrünü geçirdi, ta ki bir başka asil erkek, Polonya prensi Adam Jerzy Czartoryski ona aşık oluncaya kadar. İtalya'ya yaptığı bir gezi sırasında “Cecilia” ile karşılaşan, onu ülkesine getirmek için hem büyük paralar, hem de bürokratik emekler harcayan prens, rivayete göre Cecilia'sına kavuşur kavuşmaz onu odasının en güzel yerine asmış ve geceleri sabaha kadar onu izlemiş. Prens Czartoryski'nin bu tabloyu çok uzun zamanlar saklaması ve sergilenmesine izin vermemesi ise bilinen bir gerçektir. Bu tabu ancak tablonun 1809'da kraliçenin doğum günü şerefine Krakow sarayında sergilenmesi ile yıkılır. 1830 yılında Rusların Polonya'yı işgali ile birlikte, prens kıymetli Cecilia'sını alır ve Paris'e kaçırır. Resmin sol üst köşesinde “La belle ferronnière” ve alt satırda “Leonard Dawinci” yazıyor. Bu yazı Leonardo tarafından yazılmamış. Resim 1798'de Czartoryski tarafından satın alındığında ve/veya muhtemelen Polonya'ya getirildiğinde bu not eklendi diye düşünülüyor. Resme neden “La belle ferronnière” yazıldığını soracak olursanız, sebebi Leonardo'nun Louvre'da bulunan “La belle ferronnière” isimli portresindeki kadına benzetilmesi. Bu kadar değerli bir tablo üzerine böyle bir yazının yazılması inanılır gibi değil. Resmin arka planında oluşmaya başlayan hasarlar sebebiyle, daha fazla zarar görmemesi için, bir de restorasyon yapılıyor. Kaynaklarda anlatılana göre mavi-gri olan fon, siyah olarak yeniden boyanıyor. Tahminen bu işlemin 1830'larda ünlü ressam Eugène Delacroix tarafından yapıldığı yönünde. Resimde üzerinde yapılan incelemelerde, Leonardo'nun parmak izine rastlanmış. Bu dönemde yağlı boya İtalya'da yeni yeni kullanılıyor ve Leonardo, bir öncü olarak bu yeni boyayı ilk kullanan ve en iyi şekilde uygulamaya çalışanlardan biri kabul ediliyor. Parmaklarını da kullanıp, boyayı en iyi şekilde uygulamış tahmin ediliyor. 46 senelik Paris macerasından sonra, Erminli Kadın Polonya'ya geri döner. 1914-1920 yılları arasında bu kez 1. Dünya Savaşı'ndan kaçırılan Cecilia, Almanya'ya, Dresden'e emin ellere gönderilir. 1920'de tekrar ait olduğu sarayına Varşova'ya döner. 1939, Erminli Kadın için yeni bir flörtün başlangıcıdır. 2. Dünya Savaşı'nda Nazilerin Polonya'yı işgali sırasında Hitler Erminli Kadın'a ilk görüşte aşık olur ve hemen Almanya'ya götürülmesi için emir verir. Cecilia'yı bir süre kendi evinde konuk ettikten sonra, “Kaiser Friedrich Museum”a teslim eder. 1940 yılında Nazi generali Hans Frank, Erminli Kadın'ı güvenlik amacıyla karargahına taşıtır. 1945'te savaşın sona ermesiyle bir Amerikan subayı tarafından Erminli Kadın Hans Frank'ın evinde, şarap mahzeninde saklanmış olarak bulunur ve Polonya'ya geri gönderilir. 9 Kasım 2011-5 Şubat 2012 tarihleri arasında Londra'daki National Gallery'de bir Leonardo sergisi düzenlenir. Amaç Leonardo'nun müzelerde bulunan resimlerini bir arada toplamak ve Leonardo'nun büyüleyici yeteneğini tartışmak, yüceltmek. Söz konusu sergi ile ilgili tüm tanıtım, Mona Lisa ve Lady with an Ermine resimleri arasındaki rekabet öne sürülerek yapılır. İki resmi yan yana görenler için tabii ki zor bir soruydu. Mona Lisa'nın gizemli tebessümü ve fondaki manzaranın büyüleyiciliği ortada ama bir taraftan da Cecilia'nın yüzündeki, elindeki kusursuz detaylar, saflık ve temizlik çok göz alıcı. Polonyalı müze yöneticileri, doğal olarak “Lady with an Ermine"in Leonardo'nun en iyi resmi olduğunu ve gelecekte Mona Lisa'dan daha ünlü olacağını iddia ediyorlar. "Lady with an Ermine" bugün Louvre Müzesi'nde Mona Lisa yerine asılı olsa, o daha ünlü olurdu. Faydalanılan Kaynaklar: http://www.gunde1resim.com/post/18274914631/ressam-leonardo-da-vinci-1452-1519-resmin http://zeyydunyasi.blogspot.com.tr/2015/07/leonardonun-erminli-kadn.html http://resimbiterken.tumblr.com/post/88497192734/leonardo-da-vincinin-lady-with-an-ermine-eseri http://frmsinsi.net/showthread.php?t=41738 Daha Fazla Bilgi: https://line.do/tr/da-vincinin-erminli-kadin-tablosunun-gizemi/eqf/vertical/moment/1

View Leonardo da Vinci's paintings, from his earliest efforts as an apprentice in Verrocchio's workshop to his final painting, St. John the Baptist.

Renaissance Art - Characteristics, Definition & Style - Famous Paintings of the Renaissance - The Role of Linear Perspective in Renaissance

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Available Now: Leonardo da Vinci - Sketch Art and Study Illustrations - 40-Trading Cards Set Condition: NEW! Includes Glossy Trading Card Size cards with blank white matte back - Shipped to protect in collectible card sleeves - FREE! Featuring The Sketch Art and Study Illustrations of artist, Leonardo da Vinci NO Duplicates. Complete Set. The cards are 2.5 x 3.5 in size to fit the card sleeves we send with purchase ~~~Notice about copyrights~~~ This item does not infringe any copyright, trade mark, or other rights or any of Etsy's listing policies or intellectual policies. Extensive research, modifications and restoration works to the original Public Domain material itself has ensured that we created a new work and own the intellectual property rights, license and the legality to market the products. We are the creators of this content or are authorized distributors; the seller holds all the legal rights to this specific collection as described in Title 17 of the United States Code 101. These images may be used for crafts and for personal use. This product is copyrighted 2017, All rights reserved and may not be reproduced, or copied to be resold.

Here you can find a collection of Anatomy References by Leonardo da Vinci in High resolution. Human anatomy from a series of anatomical drawings made Leonardo Da Vinci. Human body image study comprises a head, neck, trunk (which includes the thorax and abdomen), arms and hands, legs and feet. Leonardo di ser Piero da Vinci, (15 April 1452 – 2 May 1519), more commonly Leonardo da Vinci or simply Leonardo, was an Italian Renaissance polymath whose areas of interest included […]

We can learn a great deal from analyzing Leonardo da Vinci drawings. Here are five lessons from this Renaissance master.

Leonardo da Vinci didn’t really have hobbies; he had passionate, unpaid obsessions that filled whole notebooks with puzzles scientists are still trying to solve.

Leonard da Vinci's collection of notebooks, which date between 1452 and 1519, are filled with sketches of the human body which resemble today's scans to an 'astonishing degree'.

Un grupo de especialistas de la Universidad de Cornell ha estudiado un misterioso detalle que destaca en una de las obras más famosas del gran Leonardo da Vinci, el Salvator Mundi .

Explore petrus.agricola's 26217 photos on Flickr!

Leonardo da Vinci studiert die Natur und den menschlichen Körper, ersinnt Flug- und Kriegsmaschinen: Beim Malen schöpft er aus seinem universalen Wissen W...

La scultura non è scienza ma arte meccanicissima, perché genera sudore e fatica corporale al suo operatore e solo bastano a tale artista le semplici misure dei membri e la natura de' movimenti e posati, e cosí in sé finisce dimostrando all'occhio quel che quello è, e non dà di sé alcuna ammirazione al suo contemplante, come fa la pittura, che in una piana superficie per forza di scienza dimostra le grandissime campagne co' lontani orizzonti.

'Lost' Leonardo Da Vinci Mural Found After 500 Years (PICTURES)

Have you ever wanted to be good at everything? Well, you're not alone. We talk about what we can learn from archetypal renaissance man Leonardo da Vinci.

Portrait of Salai (Gian Giacomo Caprotti) as Saint Sebastian Gian Giacomo Caprotti da Oreno (nicknamed Salai (Little Devil). Gian entered Leonardo's household around 1490 at the age of 10. Leonardo himself has recorded in MS. C the precise date of this event. "Giacomo came to live with me on St Mary Magdalene's day (22 July) 1490, aged ten years. The second day I had two shirts cut out for him, a pair of hose and a jerkin, and when I put aside some money to pay for these things he stole the money (4 lire) out of the purse; and I could never make him confess although I was quite certain of it. The day after I went to sup with Giacomo Andrea, and the said Giacomo supped for two and did mischief for four, for he broke three cruets and spilled the wine." And then in the margin, ladro, bugiardo, ostinato, ghiotto--thief, liar, obstinate, glutton. Self portrait of Salai as Saint John the Baptist Salai played the role of adoptive son, protégé, friend, helper, student and quite possibly, lover to Leonardo da Vinci." He was described by Vasari as "a graceful and beautiful youth with fine curly hair, in which Leonardo greatly delighted." The relationship was not an easy one. A year later Leonardo made a list of the boy¹s misdemeanors, calling him "a thief, a liar, stubborn, and a glutton." The "Little Devil" had made off with money and valuables on at least five occasions, and spent a fortune on apparel, among which twenty four pairs of shoes. Nevertheless, il Salaino remained his companion, servant and assistant for the next twenty nine years until the artist death, and Leonardo's notebooks during their early years contain pictures of a handsome, curly-haired adolescent. Salai as Saint John the Baptist Salai as Bacchus Leonardo da Vinci "Bacchus" 1510 - 1515 Leonardo da Vinci (Salai) as "St. John the Baptist" 1513 - 1516 Leonardo used the scheming, ambitious and selfish Salai as a model for his St John the Baptist. Every critic has laboriously pointed out that this is not a conventional presentation of the Baptist, and we must try to answer the question why Leonardo, who attached so much importance to the interpretation of a subject, has created an image almost blasphemously unlike the fiery ascetic of the Gospels. The exotic Salai with his feminine face and ringlet curls has a mysterious smile and points up and over his shoulder. It is believed that the portrait had the cross and fur pelts painted latter. So Salai as St John the Baptist would have been originally nude. Also this portrait was painted for Leonardo and was not a commissioned piece of artwork. It is believed to be the last painting Leonardo painted and keep with him at all times. It is said the portrait was hung along side of the more famous Mona Lisa in Leonardo's bedroom in France. Salai as Saint John the Baptist is perhaps most famous for the enigmatic look and smile on Salai's face. Hes expression and the meaning behind it have survived for 500 years as one of the greatest mysteries in art history. Leonardo da Vinci, Drawing of Salai Leonardo da Vinci, Drawing of Salai Leonardo da Vinci, Drawing of Salai Who was the bad adolescent boy with beautiful feminine face that anyone else would have cast out into the streets? He was a muse for Leonardo. Salai in the Life of Leonardo is a subject that few critics & biographers would dare wright about. Today it is still a topic of Don't ask, don't tell, or the relationship is completely looked over. Salai was too important in the life of Leonardo to be looked over. Salai's face appears in Leonardo's paintings, numerous drawings including erotic drawings. Salai traveled everywhere Leonardo went. Leonardo spent a fortune on Salai. Salai inherited half of Leonardo's estate. During Leonardo's life time critics said Salai's work looked like Leonardo's work. Art critics today say he was not a good artist. Leonardo was said to have seen Salai drawing in a field and then approached his father to train Salai as his assistant and apprentice. Salai would have only been a peasant whose family was not too dissimilar to Leonardo’s mothers side. Leonardo saw some potential in the boy and wanted to give Salai the opportunity to do something with his life. Salai was also like Da Vinci himself said to be incredibly attractive. What was the extent of the relationship with Salai and Leonardo? No definite proof exists of Leonardo's homosexuality, there are plenty of indications, in his male erotic drawings as well as in his writings, that he was attracted to males. When he was twenty-four years old, Leonardo was arrested, along with several young companions, on the charge of sodomy. Homosexuality was common in Florence. The Office of the Night (Ufficiali di notte) which was active in Florence from 1432 to 1502, which contains documents about more than 16,000 men implicated in sodomy, of whom nearly 3,000 were convicted. Thus, in a city of only 40,000 inhabitants, the majority of men were incriminated for engaging in homosexual relations at least once during their lifetimes. Several things indicate that Leonardo was probably gay. He never married or showed any interest in women; indeed, he wrote in his notebooks that male-female intercourse disgusted him. His anatomical drawings naturally include the sexual organs of both genders, but those of the male exhibit much more extensive attention. Finally, Leonardo surrounded himself with beautiful young male assistants, such as Salai and Melzi. Leonardo's art reflects an appreciation of androgynous beauty. It has, therefore, been assumed that he was a homosexual. Leonardo da Vinci, Drawing of Salai Leonardo da Vinci, Drawing of Old and Young "Salai" A drawing of Salai in fancy-dress costume by Leonardo da Vinci Allegory of Pleasure and Pain / Androgyn corpus with two heads, Leonardo de Vinci and Salai As a young man Leonardo was very attractive and one of his first biographers Vasari writes "there is something supernatural in the accumulation in one individual of so much beauty, grace, and might. With his right hand he could twist an iron horseshoe as if it were made of lead. In his liberality, he welcomed and gave food to any friend, rich or poor." His kindness, his sweet nature, his eloquence ("his speech could bend in any direction the most obdurate of wills") his regal magnanimity, his sense of humor, his love of wild creatures, his "terrible strength in argument, sustained by intelligence and memory," the subtlety of his mind "which never ceased to devise inventions," his aptitude for mathematics, science, music, poetry. What's more, Leonardo was a man of "physical beauty beyond compare." In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio whose workshop was "one of the finest in Florence". Leonardo himself may have been the model for two works by Verrocchio, including the bronze statue of David in the Bargello, and the Archangel Michael in Tobias and the Angel. Young Leonardo is said to have model for this Statue of David by Verrocchio Young Leonardo is said to have model as Archangel Michael for this painting by Verrocchio with his white dog by his feet It is believed that Leonardo Da Vinci painted himself as a young man in his: Adoration of the Magi (unfinished) - 1481 - 1482. Lower right corner looking away. Francesco Botticini: Tóbiás and the three Archangels with Leonardo da Vinci painted as the first angel and his white dog by his feet, Galleria degli Uffizi, Florence Tempera on wood 1470 Young Leonardo 1468 The new self portrait of Leonardo da Vinci, which was painted between 1475 and 1480 and can be found in Washington, The National Gallery of Art, Note white dog In all of Da Vinci's journals, the name 'Salai' was used most. Salaì's name also appears (crossed out) on the back of an erotic drawing (ca. 1513) by the artist, The Incarnate Angel, at one time in the collection of Queen Victoria. It is seen as a humorous and revealing take on his major work, St. John the Baptist, also a work and a theme imbued with homoerotic overtones by a number of art critics. Another erotic work, found on the verso of a foglio in the Atlantic Codex, depicts il Salaino's behind, towards which march several penises on two legs (Augusto Marinoni, in "Io Leonardo", Mondadori, Milano 1974, pp.288, 310). Salai stole things, broke things, lied, and was generally a devil; if he were a mere student or servant he would have been fired. Instead of punishing him Leonardo showered him with finest of clothes–this would have been unusual behavior toward a servant or pupil. It's not hard to see how this bad boy would be attractive to Leonardo. Modern critics contend that Leonardo's love of boys was well-known even in the sixteenth century. Rocke reports that in a fictional dialogue on l'amore masculino (male love) written by the contemporary art critic and theorist Gian Paolo Lomazzo, Leonardo appears as one of the protagonists and declares, "Know that male love is exclusively the product of virtue which, joining men together with the diverse affections of friendship, makes it so that from a tender age they would enter into the manly one as more stalwart friends." In the dialogue, the interlocutor inquires of Leonardo about his relations with his assistant, Salai, "Did you play the game from behind which the Florentines love so much?" In 1499 he accompanied him to Mantua, Venice and Florence. By 1505 he had achieved some fame as a painter; Alvise Ciocha, an agent of Isabella d'Este, Marchioness of Mantua, described him as 'very able for his years' and invited him to advise Pietro Perugino who was working for her. He accompanied Leonardo to Rome in 1513 and three years later to France, with Francesco Melzi. In 1519, following his master's death, Salai settled in Milan on property that Leonardo had bequeathed him. He died a violent death. An inventory of his possessions shows that he inherited many works by Leonardo, including the Mona Lisa and the Infant St John the Baptist (both Paris, Louvre). No signed works by Caprotti are known; documents mention two paintings of the Penitent St Jerome (untraced) in the monastery of S Gerolamo in Milan. It is assumed that his work adheres closely to that of Leonardo. According to this hypothesis, the Virgin and Child with St Anne (Los Angeles, UCLA, Wight A. G.) and St John the Baptist (Milan, Ambrosiana), copies of paintings by Leonardo (both Paris, Louvre), have been attributed to him. The Incarnate Angel Il Salaino's name also appears (crossed out) on the back of an erotic drawing (ca. 1513) by the artist, The Incarnate Angel, at one time in the collection of Queen Victoria. It is seen as a humorous and revealing take on his major work, St. John the Baptist, also a work and a theme imbued with homoerotic overtones by a number of art critics such as Martin Kemp and James Saslow (Saslow, 1986, passim). Drawn late in Leonardo's life, probably between circa 1513 and circa 1515 when he was living at the Vatican in Rome (he died in France in 1519 at age 67), the black chalk or charcoal rendering shows an angelic adolescent with deep-set doe eyes, pouty collagen lips and a cascade of fluffy hair. The feminine boy, vaguely tipsy, looks like he might have just rolled out of bed -- which, given the crude rendering of an erect phallus in the torso's sketchier lower extremities, is entirely possible. (Leonardo's student and reputed boyfriend, Salai, may have been the drawing's model.) A poorly foreshortened -- and unfinished -- right arm is raised to point toward heaven, a gesture that adds a funny homoerotic twist to Leonardo's lascivious depiction. Another erotic work, found on the verso of a foglio in the Atlantic Codex, depicts il Salaino's behind, towards which march several penises on two legs (Augusto Marinoni, in "Io Leonardo", Mondadori, Milano 1974, pp.288, 310). Some of Leonardo's other works on erotic topics, his drawings of heterosexual human sexual intercourse, were destroyed by a priest who found them after his death. Salaì as Narcissus School of Leonardo Portrait of Salai School of Leonardo The Mona Lisa nude. The naked portrait – titled the Monna Vanna, and complete with the model’s famous enigmatic smile – was painted in 1515 by Leonardo da Vinci’s pupil, Andrea Salai. Art historians say that it was not only inspired by Leonardo, but is almost certainly based on a lost original by the artist himself. Looking at the Monna Vanna you can clearly see a connection between Salai's face and the face in the portraits. The Monna Vanna has Salai's eyes, distinctive nose, lips, the shape of his face as well as his ringlet curls. When you look at the anatomy of the portrait it is the anatomy of a man except the breast. The neck is large. The arms are males arms. I believe this portrait is actually a 'self portrait' but he depicted himself as a woman! Copied from a new lost Leonardo. Some people say that the Mona Lisa, is a disguised self-portrait of Leonardo. The Monna Lisa was bequeathed to Salaì by Leonardo. King François I bought the painting for 4,000 écus and kept it at Château Fontainebleau, Nude Mona Lisa Attributed to Salai after the lost original of Leonardo? This painting was supposed to originate from Leonardo's workshop. Some experts claim that this picture was painted after Leonardo's original Nude Mona Lisa Attributed to Salai after the lost original of Leonardo? This painting was supposed to originate from Leonardo's workshop. Some experts claim that this picture was painted after Leonardo's original Nude Mona Lisa Attributed to Salai after the lost original of Leonardo? This painting was supposed to originate from Leonardo's workshop. Some experts claim that this picture was painted after Leonardo's original This naked portrait once belonged to Napoleon's uncle, Cardinal Joseph Fesch (1763-1839) and was ensconced within the wood walls of Fesch's private library for nearly a century, before trading more hands within the Napoleon family. NUDE GIOCONDA: There were more than 60 alleged Mona Lisas, as is known, and here,a seminude portrait of "La Belle Gabrielle," which is currently in the collection of Lord Spencerof Northamptonshire, England, and is "attributed to the school of Da Vinci." Monna Vanna Attributed to Salai about 1515 Cartoon, 72.4 x 54 cm Chantilly, Musee Conde Copy of the Mona Lisa said to be by Salai shows how vibrant the Mona Lisa supposedly was at the time it was painted Copy of the Mona Lisa School of Leonardo Vasari considered Salaì to be Leonardo’s most faithful follower and he even went so far as to say that some of their works were confused. Unlike the other Leonardeschi - such as Giovanni Antonio Boltraffio, Marco d’Oggiono, Andrea Solario, Cesare da Sesto - Salaì did not embark upon an independent artistic career but seemed content in copying and interpreting his master’s works, thus disseminating Leonardo’s inventions throughout the first quarter of the 16th century. As Shell and Sironi have observed, ‘Salaì represents another kind of Leonardesco; the faithful replicator of Leonardo’s models and, by his own lights, executor of Leonardo’s intentions’.In 1516 Salaì went on a journey once again with Melzi but this time to France, as part of Leonardo’s household. Salaì continued to work for Leonardo until the latter’s death and in his master’s will of April 23, 1519, Salaì is named as joint heir to half of Leonardo’s vineyard, where Salaì built his home and lived extremely comfortably (considering he was a painter who had worked as a shop assistant for thirty years). In June 1523 Salaì married Bianca Coldiroli d’Annono but six months later, on January 19, 1524, his life came to an abrupt end after a shooting. An inventory of Salaì’s property and household goods drawn up on April 2, 1525, lists numerous paintings including a Leda and ‘Joconda’ . The inventory of his possessions shows that he inherited many works by Leonardo, including the Mona Lisa and the Infant St John the Baptist (both Paris, Louvre). The high values assigned to some of the works would suggest that they were Leonardo’s originals Gian Giacomo Caprotti Head of Christ, 1511 This is the only singed painting by Gian Giacomo Caprotti "Salai". It sold in New York city for $650,000. The head of Christ looks like the head of Salai The Virgin and Child with Saint. Peter and Paul; Gian Giacomo Caprotti Madonna and Child with St Anne by Gian Giacomo Caprotti. Oil on board, 72x99 cm.

(Clarification/update: Some have read this post and missed the fact that it is a joke. It is, indeed, a joke.) Michelle Legro in Lapham's Quarterly on the culinary-themed writings, sketches,…

Leonardo da Vinci fue un pintor florentino. Notable polímata del Renacimiento italiano (a la vez anatomista, arquitecto, artista, botánico, científico, escritor, escultor, filósofo, ingeniero, inventor, músico, poeta y urbanista) nació en Vinci el 15 de abril de 1452 y falleció en Amboise el 2 de mayo de 1519, a los 67 años, acompañado de su fiel Francesco Melzi, a quien legó sus proyectos, diseños y pinturas. Tras pasar su infancia en su ciudad natal, Leonardo estudió con el célebre pintor florentino Andrea de Verrocchio. Sus primeros trabajos de importancia fueron creados en Milán al servicio del duque Ludovico Sforza. Trabajó a continuación en Roma, Bolonia y Venecia, y pasó los últimos años de su vida en Francia, por invitación del rey Francisco I. Frecuentemente descrito como un arquetipo y símbolo del hombre del Renacimiento, genio universal, además de filósofo humanista cuya curiosidad infinita solo puede ser equiparable a su capacidad inventiva, Leonardo da Vinci es considerado como uno de los más grandes pintores de todos los tiempos y, probablemente, es la persona con el mayor número de talentos en múltiples disciplinas que jamás ha existido. Como ingeniero e inventor, Leonardo desarrolló ideas muy adelantadas a su tiempo, tales como el helicóptero, el carro de combate, el submarino y el automóvil. Muy pocos de sus proyectos llegaron a construirse puesto que la mayoría no eran realizables durante esa época. Como científico, Leonardo da Vinci hizo progresar mucho el conocimiento en las áreas de anatomía, la ingeniería civil, la óptica y la hidrodinámica. Su asociación histórica más famosa es la pintura, siendo dos de sus obras más célebres, La Gioconda y La Última Cena, copiadas y parodiadas en varias ocasiones, al igual que su dibujo del Hombre de Vitruvio, que llegaría a ser retomado en numerosos trabajos derivados. No obstante, únicamente se conocen unas veinte de sus obras, debido principalmente a sus constantes (y a veces desastrosos) experimentos con nuevas técnicas y a su inconstancia crónica. Este reducido número de creaciones, junto con sus cuadernos que contienen dibujos, diagramas científicos y reflexiones sobre la naturaleza de la pintura, constituyen un legado para las sucesivas generaciones de artistas, llegando a ser igualado únicamente por Miguel Ángel.

Leonardo da Vinci - Head of Madonna (drawing) [1510-15] aka Study head of Saint Anne Windsor Castle - Royal Collection

We can learn a great deal from analyzing Leonardo da Vinci drawings. Here are five lessons from this Renaissance master.