On Painting Illustrated edition by Leonardo da Vinci Arts Photography eBooks
Download As PDF : On Painting Illustrated edition by Leonardo da Vinci Arts Photography eBooks 
- Translated from the Italian, with sixty illustrations
For anyone who wants to unlock their inner potential as an artist, this book is the REAL Da Vinci Code.
There are lots of books that promise to teach you how to paint like an Old Master, but only this one was written by the Old Master himself. In this lively and practical guide, which has been used for centuries as a basic textbook in the finest art schools, Leonardo da Vinci, one of the greatest painters who ever lived, reveals the secrets of his art. The most practical and down-to-earth of the great Masters, Da Vinci provides usable advice on a wide variety of topics, from constructing perspective to mixing paints, as well as reflecting on the nature of art itself. The text is designed to be useful to beginners and experienced painters alike, and is enlivened with sixty illustrations, prepared by Nicole Poussin and Alberti based on da Vinci’s own specifications. Like his paintings themselves, da Vinci’s advice to artists is every bit as valuable now as when it was composed centuries ago.
Da Vinci’s Treatise On Painting is here presented in an authoritative and fluid English translation, meticulously edited and formatted for . The lavish illustrations render beautifully on both black-and-white s and color tablets such as the Fire and iPad.
“Those who become enamoured of the practice of art, without having previously applied to the diligent study of the scientific part of it, may be compared to mariners, who put to sea in a ship without rudder or compass, and therefore cannot be certain of arriving at the wished-for port. Practice must always be founded on good theory.” Leonardo da Vinci, from On Painting
On Painting Illustrated edition by Leonardo da Vinci Arts Photography eBooks
Originally titled De pictura in Tuscan and published in 1435. This edition is a reprint of an edition published by Phaidon Press in 1972, translated by Cecil Grayson, with an introduction and notes by Martin Kemp. Reprinted with copious bibliographic notes with a revised further reading in 2004. I had this book for a Renaissance Florence history class, along with many other works on art, architecture, politics, commerce, and so forth. Though a short important book, I don't find it all that memorable. While I appreciate it as a seminal book in the historiography of literature, as a book that changed the world, it is not a subject of interest. One needs a comprehension of geometry to understand this book, something I lack. It is not a book I would have picked out myself. He occasionally uses mathematical terms that I don't know, such as Superbipartiens, for example. This book is described by Martin Kemp as embodying the twin aspirations of retrospective emulation and progression innovation (p. 19). It has three sections: rudiments, practice, and ends. Alberti used Classical Roman references in his work to support his arguments, especially Pliny's Natural History. So. like all the Humanists of his time, he relied on Classical writers and artists as models to emulate. The present edition includes comments on the translation by Grayson, as well as two dedications by Alberti. One to Filippo Brunelleschi, the other to Giovan Francesco, Prince of Mantua. Alberti says he divided the work into three parts. Part one is entirely mathematical, showing how art arises from roots with Nature itself. The second part puts art in the hands of artists, distinguishes its parts and explains them all. The third part instructs the artist on how he may and should attain complete mastery and understanding of the art of painting. Alberti wants the painter to be learned in the liberal arts, but above all to have a good knowledge of geometry. Then the painter should pleasure in poets and orators, for these have many ornaments in common with painters (p. 88).So what is Alberti's thesis? What is he arguing? He is merely giving advice on how to paint, not just the technique of painting, but on being a well-rounded educated person in the humanist perspective. He advises a moderate diligence, friends should be consulted, opinions from spectators should be heard. The painter's work is intended to please the public (p. 95). In his conclusion he boasts he was the first to write about this most subtle subject, as he puts it. It is an early work on painting, but perhaps not the first. However, it was highly influential with Renaissance artists.
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On Painting Illustrated edition by Leonardo da Vinci Arts Photography eBooks Reviews
The historical relevance is significant in art history and the introduction by the translator makes it a great read. do not skip the introduction.
This book is a little difficult to read seeing as how it was written a few centuries ago but good info if you can get through the language of the book. It was translated from old Italian.
Great
Thanks, important resource book
Great!
a classic edition of a classic.
I am glad that this book is available on and in print! Leon Battista Alberti was definitely the da Vinci of his lifetime! Many of his architectural and other works are still in existence in Italy. This treatise has been consulted by many great artists over the centuries, and Leonardo commented on it in his own writings. The diagrams are especially well done! If anybody wants to learn about the rediscovery of perspective in Western art, this is the book to get!
Originally titled De pictura in Tuscan and published in 1435. This edition is a reprint of an edition published by Phaidon Press in 1972, translated by Cecil Grayson, with an introduction and notes by Martin Kemp. Reprinted with copious bibliographic notes with a revised further reading in 2004. I had this book for a Renaissance Florence history class, along with many other works on art, architecture, politics, commerce, and so forth. Though a short important book, I don't find it all that memorable. While I appreciate it as a seminal book in the historiography of literature, as a book that changed the world, it is not a subject of interest. One needs a comprehension of geometry to understand this book, something I lack. It is not a book I would have picked out myself. He occasionally uses mathematical terms that I don't know, such as Superbipartiens, for example. This book is described by Martin Kemp as embodying the twin aspirations of retrospective emulation and progression innovation (p. 19). It has three sections rudiments, practice, and ends. Alberti used Classical Roman references in his work to support his arguments, especially Pliny's Natural History. So. like all the Humanists of his time, he relied on Classical writers and artists as models to emulate. The present edition includes comments on the translation by Grayson, as well as two dedications by Alberti. One to Filippo Brunelleschi, the other to Giovan Francesco, Prince of Mantua. Alberti says he divided the work into three parts. Part one is entirely mathematical, showing how art arises from roots with Nature itself. The second part puts art in the hands of artists, distinguishes its parts and explains them all. The third part instructs the artist on how he may and should attain complete mastery and understanding of the art of painting. Alberti wants the painter to be learned in the liberal arts, but above all to have a good knowledge of geometry. Then the painter should pleasure in poets and orators, for these have many ornaments in common with painters (p. 88).
So what is Alberti's thesis? What is he arguing? He is merely giving advice on how to paint, not just the technique of painting, but on being a well-rounded educated person in the humanist perspective. He advises a moderate diligence, friends should be consulted, opinions from spectators should be heard. The painter's work is intended to please the public (p. 95). In his conclusion he boasts he was the first to write about this most subtle subject, as he puts it. It is an early work on painting, but perhaps not the first. However, it was highly influential with Renaissance artists.
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