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Leonardo Da Vinci Broché – 18 octobre 2018

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Détails sur le produit

  • Éditeur ‏ : ‎ Simon & Schuster Ltd; 1er édition (18 octobre 2018)
  • Langue ‏ : ‎ Anglais
  • Broché ‏ : ‎ 624 pages
  • ISBN-10 ‏ : ‎ 1471166783
  • ISBN-13 ‏ : ‎ 978-1471166785
  • Poids de l'article ‏ : ‎ 1.26 kg
  • Dimensions ‏ : ‎ 23.4 x 4.4 x 15.9 cm
  • Classement des meilleures ventes d'Amazon : 504 en
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    • 3,911 en
  • Commentaires client :
    4,6 sur 5 étoiles 4 637 évaluations

5 review for Leonardo Da Vinci Broché – 18 octobre 2018

  1. 4 out of 5

    J. A. Hoogenboezem

    Isaacson's biography is a good read. It is well written, informative, and the stories about the paintings make one long for much more, especially about the technical research that has been done on the paintings and the restorations, about which there is some information - but not enough for this reader (I have just bought "The Three Mona Lisas by Rab Hatfield" to learn more about the technical aspects of the Mona Lisa, and I'm contemplating buying "Leonardo, The Last Supper" by Pinin Barcilon on the decades-long restauration of The Last Supper, but at 95 pounds that's more of an investment - eventually I will give in of course...). Yet, this is not the final biography.The problem is that Isaacson is too much in love with Leonardo. Leonardo is a genius in his eyes, and nothing Leonardo does will diminish that. This leads to contorted logic at some points. If Leonardo does not finish a painting - which happens quite a lot - it is because his sharp powers of observation and his wish to get it right on canvas (or wood, Leonardo painted on wood quite often) stood in the way of finishing a painting. There was always one more detail that could be adjusted, one more stroke of a brush that could be added. I'm not sure that is a convincing sign of genius, and I could think of many less flattering things it could also be a sign of, but Isaacson does not argue - he has declared Leonardo a genius, and that will suffice as explanation.I'm willing to follow Isaacson that Leonardo was a brilliant painter. Maybe even a genius. But his other exploits are less convincing as signs of genius. We have of course the many notebooks in which Leonardo designs things that were to become reality only centuries after his first drawing. The first tank, the first airplane, the first whatever, they can all be found in the famous notebooks. The problem is that quite often they were drawings of theatrical props (Leonardo was also what we would now call a theater producer) . When they were intended as real machines, like the giant crossbow, they didn't work. A replica of the giant crossbow has been made for a television series, but it simply didn't work. Leonardo may have been a little more than pretentious when he declared himself a military engineer without having studied the subject, or without having produced any military technologies that worked. Isaacson is often enthusiastic about the 'scientist-painter",but many of his scientific projects Re simply failures. That is, with the exception of his anatomical drawings and his anatomical ideas - here he was brilliant and ahead of his time, but in anatomical drawing his strengths - an eye for detail and the propensity to study his objects more than thoroughly - were the source of his brilliance.But even in painting he had his limitations. The Last Super is a fresco, but Leonardo did not use the fresco-technique because his indeed brilliant painting with oil based paint could not repeated with the fresco-technique. So he painted with oil on chalk walls, and The Last Supper already became faint and started to crumble during his lifetime. Even in the last restauration it could not be completely restored and it is unlikely that the painting will make it to the end of times. The composition is brilliant - and Isaacson tells us in much and interesting detail why - but he sort of glosses over the technical shortcomings of Leonardo.Isaacson did not convince me that Leonardo was a scientist and a painter. A brilliant painter yes, but his scientific contributions are - apart from his anatomical drawings - questionable. There was, in Leonardo's time, already an academic world, in which specialists would publish on their own theme, criticize each other, and bring science further. Leonardo did not belong to this world, nor did he want to belong to it. He may have occasionally hit on a smart idea and made a note of it, but without publishing it is meaningless. Many more people have smart ideas, and some of them may even make a note of them in a notebook, but that does not make one a scientist - not even in Italy in the late 14th and early 15th Century. Leonardo lived during the early modern period, which was a period of growth and productivity of universities, and the period in which the modern university system emerged. Leonardo was not a part of that world.I'm not sure why Isaacson (and other specialists on Leonardo) are so bent on making him the universal genius he clearly wasn't. One would think that being a brilliant painter would suffice. Luckily that is also what Isaacson focuses most on. En lire plus

  2. 5 out of 5

    edmond

    Very interesting book, quit heavy to read with so many details and description. On Kindle it's maybe not a good reading as the original book is plainly of copy of paintings and documents, very difficult to appreciate on the screen of a Kindle. En lire plus

  3. 5 out of 5

    Ariane Laubscher

    Pour connaître le peintre et homme de génie.Ce gros livre est un peu touffu, l'autre petit livre a plus d'informations concernant sa vie. En lire plus

  4. 4 out of 5

    Lightman

    Cet ouvrage qui vous immerge dans la vie de Léonard au beau milieu de la Renaissance italienne. On a l’impression d’être dans son atelier à Florence puis à Milan, de croiser ses contemporains, amis, mécènes, ou rivaux : le tourmenté Michel-Ange, Raphaël qui fut son élève, son ami Machiavel, mais aussi la famille Médicis, le cruel César Borgia, les rois de France Louis XII et François Ier, le pape Léon X…De Léonard, on connaît tous l’incontournable Joconde, la Cène ou l’homme de Vitruve, mais pas forcément sa curiosité insatiable, sa créativité débordante, sa capacité à être à la fois un artiste de génie, un ingénieur, inventeur, architecte, hydraulicien, anatomiste, géographe… Et puis, on découvre que Léonard a un défaut majeur : la procrastination ! Ce qui du coup rend le génie plus accessible, plus humain.Au final, une lecture époustouflante, immersive, exhaustive, passionnante, parfois un passage un brin rébarbatif puis juste après enthousiasmant. En lire plus

  5. 4 out of 5

    Aubry Pierre

    Well researched and nicely illustrated. Useful,introduction to Leonardo and overview of his work. Repetitive but reads well. Heavily plagiarises other biographies for whole pages. I am not sure eg Taschen will be very pleased with the description of the Last Supper En lire plus

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