Italian High Renaissance Painter and Inventor, 1452-1519 Italian High Renaissance Painter and Inventor, 1452-1519 Florentine Renaissance man, genius, artist in all media, architect, military engineer. Possibly the most brilliantly creative man in European history, he advertised himself, first of all, as a military engineer. In a famous letter dated about 1481 to Ludovico Sforza, of which a copy survives in the Codice Atlantico in Milan, Leonardo asks for employment in that capacity. He had plans for bridges, very light and strong, and plans for destroying those of the enemy. He knew how to cut off water to besieged fortifications, and how to construct bridges, mantlets, scaling ladders, and other instruments. He designed cannon, very convenient and easy of transport, designed to fire small stones, almost in the manner of hail??grape- or case-shot (see ammunition, artillery). He offered cannon of very beautiful and useful shapes, quite different from those in common use and, where it is not possible to employ cannon ?? catapults, mangonels and trabocchi and other engines of wonderful efficacy not in general use. And he said he made armoured cars, safe and unassailable, which will enter the serried ranks of the enemy with their artillery ?? and behind them the infantry will be able to follow quite unharmed, and without any opposition. He also offered to design ships which can resist the fire of all the heaviest cannon, and powder and smoke. The large number of surviving drawings and notes on military art show that Leonardo claims were not without foundation, although most date from after the Sforza letter. Most of the drawings, including giant crossbows (see bows), appear to be improvements on existing machines rather than new inventions. One exception is the drawing of a tank dating from 1485-8 now in the British Museum??a flattened cone, propelled from inside by crankshafts, firing guns. Another design in the British Museum, for a machine with scythes revolving in the horizontal plane, dismembering bodies as it goes, is gruesomely fanciful. Most of the other drawings are in the Codice Atlantico in Milan but some are in the Royal Libraries at Windsor and Turin, in Venice, or the Louvre and the École des Beaux Arts in Paris. Two ingenious machines for continuously firing arrows, machine-gun style, powered by a treadmill are shown in the Codice Atlantico. A number of other sketches of bridges, water pumps, and canals could be for military or civil purposes: dual use technology. Leonardo lived at a time when the first artillery fortifications were appearing and the Codice Atlantico contains sketches of ingenious fortifications combining bastions, round towers, and truncated cones. Models constructed from the drawings and photographed in Calvi works reveal forts which would have looked strikingly modern in the 19th century, and might even feature in science fiction films today. On 18 August 1502 Cesare Borgia appointed Leonardo as his Military Engineer General, although no known building by Leonardo exists. Leonardo was also fascinated by flight. Thirteen pages with drawings for man-powered aeroplanes survive and there is one design for a helicoidal helicopter. Leonardo later realized the inadequacy of the power a man could generate and turned his attention to aerofoils. Had his enormous abilities been concentrated on one thing, he might have invented the modern glider.   Related Paintings of LEONARDO da Vinci :. | The Virgin and Child with St Anne | The muscles of arm, shoulder and neck | The Annunciation | Madonna Litta ey | Study fur the adoration of the Konige |
Related Artists:
Andrea Locatelli
was an Italian painter of landscapes (vedute). 1695-1741 Born in Rome, he was the son and pupil of the painter Piero Locatelli, who had studied with the Florentine Ciro Ferri. He next apprenticed under Paolo Anesi, although his style and thematic is akin to that of Claude Lorrain, and depicts small mythologic figures although within a wild environment more similar to those of Salvator Rosa. He is also known as Andrea Lucatelli. Andrea excelled in painting vedute in a style reminiscent of Jan Frans van Bloemen, one of the Bamboccianti. One of his pupils was Joseph Vernet.
Aleksey Antropov
(Russian: 25 March [O.S. 14 March] 1716 - 23 June [O.S. 12 June] 1795) was a Russian barocco painter active primarily in St. Petersburg, where he was born and died. He also worked in Moscow and frescoed churches in Kiev. His preferred medium was oil, but he also painted miniatures and icons. Alexei was born to a family of government official working in Armory and in the Department of Building (kantselyatiya stroeniy). Since 1732 Alexei also working at the same department under his relative A. Matveyev, since 1739 he is a member of the painting team (zhivopisnaja komanda) of the Department under Ivan Vishnyakov. As the member of the team Alexei took part in fresoeing of Summer Palace, Winter Palace, Anichkov Palace and other buildings of Saint Petersburg. He also studied portrait art from the court painter Louis Caravaque of France. In 1749 Alexei received the rank of the Painter's apprentice (zhivopisniy podmasterye) and in the end of 1750ies the rank of the Master Painter (zhivopisniy master). In 1752-1755 he worked on the interiors of the St Andrew's Church of Kiev. He supervised the installation of the iconostasis, frescoed cupolas and walls. The most prominent of his frescoes in the church is the Last Supper in the altar. He started to paint portraits before his Kiev period. The earliest known portraits of his are portraits of Elizabeth of Russia. He did not met his model but based the paintings on the works of his teacher, Louis Caravaque. Unknown lady, 1760iesIn 1755-1757 he worked in Moscow frescoeing the Golovkin palace. Here he met prince Ivan Shuvalov who supported Antropov's works for the rest of his life. In 1757 - 1759 Antropov returned to Saint-Petersburg and learned art from court painter Pietro Rotari of Italy. Historians consider his portrait of A.M. Izmaylova to be a sort of a graduation work. The 1760ies were probably the most productive period of the artist. He painted many good portraits among the Portrait of Ataman Krasnoschekov, Portrait of Rumyantseva. Ivan Shuvalov planned to move him to Moscow, so Antropov could teach art the Moscow University. For some reason this plan was canceled and Antropov instead got the job at the Synod of the Russian Orthodox Church, there he supervised icon painting, decorating of the churches, drew the portraits of church hierarchs and supervised art students. Among his apprentices was Dmitry Levitzky, who actually lived in the house of his teacher. In 1762 Peter III of Russia became the new Emperor. Antropov soon became his favorite painter. For the six month of Peter III rule Antropov painted at least four of his portraits. After the palace revolt the new Emperess, Catherine II was of much lower opinion of the talents of Antropov. At that time the artists appreciated the soft combinations of colors and some sort of a fine flattering on the ceremonial portraits.
Juana Romani
was an Italian painter, student and model of Ferdinand Roybet and Jean-Jacques Henner. Romani was born in Velletri, near Rome in Italy, but moved with her family to France as a child.