Download PDF by Kenneth Clark: Leonardo Da Vinci Folio Society

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All these studies sug gest that the scene was conceived in a traditional spirit, rustic, homely, realistic. In some of the shepherds we recognise motifs which reappear in the Uffizi ‘Adoration’ – young men with similar gestures of wonder, and an old man in meditation. Yet, as a whole, the lost ‘Adoration’, in contrast to the Uffizi pic* For example, in the Villa Albani triptych and the fresco of the ‘Adoration’ in the Cambio at Perugia. .  {} ture, must have come from the surface of Leonardo’s imagination.

Natural objects do not need to be analysed or recreated with a suggestion of their vital complexity, but reduced to their simplest and most measurable elements, and arranged in harmonious relationship with one another. But Euclidean order could not satisfy Leonardo for long, for it conflicted with his sense of life. He was more in sympat hy with that other aim which had occupied Florentine artists in the preceding fifty years, the rendering of movement through style; and like them, he felt that movement, to be perpetuated in art, must be of a special kind.

Meyer Schapiro in Journal of the History of Ideas, vol. , no.  (April ), pp. –. workings of a powerful and complex mind cannot be deduced from a single sentence nor explained by a rather one-sided system of psychology. Freud’s study, though it contains some passages of fine intuition, is perhaps as over-simplified as that of Vasari. Yet it helps our conception of Leonardo’s character by insisting that he was abnormal. We must remember this undercurrent when examining the surface of his early work.

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Leonardo Da Vinci Folio Society by Kenneth Clark

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