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Leonardo
Artist and scientist, draughtsman and inventor, these were the varied occupations of Leonardo. Carlo Pedretti concentrates on the paintings and drawings and tackles the problem of their complexity by tracing chronologically a number of the themes that run through Leonardo's work.--[book jacket].
Leonardo ́s Lost Robots
This book reinterprets Leonardo da Vinci's mechanical design work, revealing a new level of sophistication not recognized by art historians or engineers. The book reinterprets Leonardo's legacy of notes, showing that apparently unconnected fragments from dispersed manuscripts actually comprise cohesive designs for functioning automata. Using the rough sketches scattered throughout almost all of Leonardo's notebooks, the author has reconstructed Leonardo's programmable cart, which was the platform for other automata. Through a readable, lively narrative, the author explains how he reconstructed da Vinci's designs.
Leonardo Da Vinci Master Draftsman
This handsome book offers a unified and fascinating portrait of Leonardo as draftsman, integrating his roles as artist, scientist, inventor, theorist, and teacher. 250 illustrations.
Carlo Pedretti
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More Than (2) Leonardo in Anti-Theory
South African art historian Susan Grundy introduces a detailed survey of what she calls Leonardo anti-theory.
The lost papers of Zoroastro زَرَادُشْت
Relevant. Challenging. A paradigm shift. Little considered by insiders who control Leonardo’s modern biography, Zoroastro Masino was an Italian man with a Persian name ( زَرَادُشْت ). He was an actual historical person – recorded as a magician, a metallurgist, a discoverer, an alchemist, and a prophet. Marginalized by xenophobic forces even before he passed away, Zoroastro was mocked for a name common people could not pronounce. Zoroastro's epitaph called him a man of probity, a natural philosopher who was outstandingly generous. He was friends with high ranking Italians, and his bones were preserved in a tomb in Rome wedged between a well-known Italian poet and a Greek scholar...
The Geometry of an Art
Key Issues ver since the late 1970s when Pia Holdt, a student of mine at the time, and Jed Buchwald, a colleague normally working in another field, made E me aware of how fascinating the history of perspective constructions is, I have wanted to know more. My studies have resulted in the present book, in which I am mainly concerned with describing how the understanding of the geometry behind perspective developed and how, and to what extent, new insights within the mathematical theoryof perspective influenced the way the discipline was presented in textbooks. In order to throw light on these aspects of the history of perspective, I have chosen to focus upon a number of key questions that I have divided into two groups. Questions Concerning the History of Geometrical Perspective • How did geometrical constructions of perspective images emerge? • How were they understood mathematically? • How did the geometrical constructions give rise to a mathematical theory of perspective? • How did this theory evolve? Inconnectionwith the last question it is natural to takeup the following themes.
The Stolen Notebooks
Art Historian Susan Grundy delves into reasons biographers assume a Tuscan painter Leonardo da Vinci wrote the Notebooks. It was only in the nineteenth century that European scholars began to access these Notebooks in more depth, transcribing the arcane backwards Italian and translating them into English. Yet, they discovered a man who did not seem to be Tuscan Leonardo da Vinci, as he seemed to be a man from the East. Yet, this reality was closed down by researchers, who seemed determined to continue with the myth of the self-educated genius from a farm in Tuscany.
