The Science of Leonardo: Inside the Mind of the Great Genius of the Renaissance - Couverture rigide

Capra, Fritjof

Couverture rigide

ISBN 10 : 0385513909 ISBN 13 : 9780385513906

Editeur : Doubleday, 2007

Synopsis

Book by Capra Fritjof

A propos du livre

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One
Infinite Grace
The earliest literary portrait of Leonardo da Vinci, and to me still the most moving, is that by the Tuscan painter and architect Giorgio Vasari in his classic book Lives of the Artists, published in 1550. (1) Vasari was only eight years old when Leonardo died, but he gathered information about the master from many artists who had known him and remembered him well, most notably Leonardo’s close friend and disciple Francesco Melzi. An acquaintance of Leonardo, the surgeon and art collector Paolo Giovio, wrote a short eulogy, but it is unfinished and merely a page long. (2) Vasari’s chapter, “Life of Leonardo da Vinci,” therefore, is as close as we can come to a contemporary account.

Besides being an accomplished painter and architect, Vasari was a keen collector of drawings by famous masters and of stories about them. The idea of writing a book on the history of Italian art from the thirteenth to the sixteenth centuries was suggested to him by Giovio during a dinner party in Rome. (3) The book became a bestseller when it was first published, and its wide popular appeal has endured over the centuries due to the author’s lively and colorful portraits, replete with charming anecdotes. Through a series of engaging stories about the lives of its greatest artists, Vasari’s Lives conveyed the revolutionary nature of the Italian Renaissance. In spite of many inaccuracies and a tendency toward referring to legends and idolizing, Vasari’s work remains the principal source for anyone interested in that period of European art and culture.
QUALITIES AND APPEARANCE

The opening paragraphs of Vasari’s chapter on Leonardo are an emphatic declaration of the master’s exceptional qualities and appearance:
In the normal course of events many men and women are born with various remarkable qualities and talents; but occasionally, in a way that transcends nature, a single person is marvelously endowed by heaven with beauty, grace, and talent in such abundance that he leaves other men far behind, all his actions seem inspired, and indeed everything he does clearly comes from God rather than from human art.

Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty who displayed infinite grace in everything he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. He possessed great strength and dexterity; he was a man of regal spirit and tremendous breadth of mind; and his name became so famous that not only was he esteemed during his lifetime but his reputation endured and became even greater after his death.
Vasari’s effusive portrait of Leonardo may seem exaggerated, but his description is echoed in many contemporary accounts and references, in which Leonardo was often compared to the classical geniuses and sages of antiquity—Archimedes, Pythagoras, and most frequently Plato. (4) Indeed, when Raphael, another great master of the Italian Renaissance, painted his fresco The School of Athens in the Vatican, he gave Plato the features of Leonardo, dressing him in a rose–colored toga (a color favored by Leonardo), with his index finger raised in a characteristic gesture well known from Leonardo's paintings.

Leonardo’s physical beauty in his youth and middle–aged years must have been exceptional, as it is mentioned by all his contemporary commentators, even though this was not customary at the time. An anonymous writer called the Anonimo Gaddiano exclaimed, “He was so unusual and many–sided that nature seemed to have produced a miracle in him, not only in the beauty of his person, but in the many gifts with which she endowed him and which he fully mastered.” (5) Others marveled at the unique combination of physical strength and grace he seemed to embody. Many authors, including Vasari, referred to him with the ultimate epithet—il divino.

As a youth, Leonardo liked to dress flamboyantly. “He wore a rose–colored cloak,” the Anonimo Gaddiano tells us, “which came only to his knees, although at the time long vestments were the custom. His beard came to the middle of his breast and was well–combed and curled.”

As he grew older, Leonardo apparently dressed more conventionally, but his appearance was always elegant and refined. Paolo Giovio described him as “the arbiter of all questions relating to beauty and elegance, especially pageantry.” Leonardo’s own description of the painter's inherent refinement is revealing as well:
The painter sits in front of his work at great ease, well-dressed, and wielding a very light brush with delicate colors. He adorns himself with the clothes he fancies; his home is clean and filled with delightful pictures, and he is often accompanied by music or readers of various beautiful works. (6)
There exists no confirmed portrait of Leonardo as a young man, but legend has it that he was the model for several angels and other youthful figures portrayed by Renaissance artists. The most credible of them is the lovely adolescent David sculpted by Andrea del Verrocchio during the time Leonardo was his student (see Fig. 1-1). The slender figure, wavy hair, and strikingly handsome face certainly match the contemporary descriptions of the young Leonardo, and art historians have pointed out that several of the statue's facial characteristics seem to foreshadow those in the well–known portraits of the old master. (7)

There are quite a few portraits of Leonardo as an older man, most of them idealizing him as a venerable sage. (8) The most authentic is that which is considered the artist's only existing self–portrait, a captivating, highly detailed drawing in red chalk that he made when he was about sixty, although he appears older than his age (see Fig. P–1 on p. xxii). The drawing is housed in the Biblioteca Reale in Turin and is known as the Turin self–portrait. Unfortunately, it has been severely affected by centuries of exposure to air and light. The paper is now covered with “fox marks” (rusty–brown spots caused by excessive moisture and subsequent accumulation of iron salts), and the drawing is rarely exhibited in public.

In spite of its poor condition, the Turin self–portrait, which has been reproduced in countless posters and books, exerts a powerful effect on the viewer. This is even more true if one is fortunate enough to spend some time with the original, viewing it from different angles and distances, revealing the portrait’s complex and subtle expressions. Leonardo drew this portrait at a time of personal uncertainty and discontent. He was well aware that the greater part of his life was behind him; his eyes had weakened and his health was failing. He was living in Rome at the time, where he was revered. But already he was beginning to become out of fashion as an artist, eclipsed by younger rivals like Raphael and Michelangelo, who were in their prime and were the favorites of the papal court.

In Leonardo’s self–portrait, this unhappy time is reflected in a line of disillusionment, or perhaps contempt, around the mouth. Yet, under the bushy brows and majestic forehead, his eyes—the “windows of the soul”—have preserved the quiet intensity of his gaze as well as a deep serenity. The resulting expression, to me, is that of a powerful, critical intellect, tempered by wisdom and compassion.

Over the years, the Turin self–portrait has become not only the iconic image of Leonardo, but the model for the archetypal portrait of the old sage in the centuries after him. “This great furrowed mountain of a face,” wrote art historian Kenneth Clark, “with its noble brow, cavernous eyes, and undulating foothills of beard is like the faces of all the great men of the nineteenth century as the camera has preserved them for us—Darwin, Tolstoy, Walt Whitman.” (9)

A quality that is not visible in Leonardo’s self–portrait but was always mentioned by his contemporaries was his kind and gentle nature, in the words of the duchess Isabella d’Este, “this air of sweetness and gentleness that is so characteristic of him.” “Leonardo’s disposition was so lovable that he commanded everyone's affection,” Vasari writes. “He was so generous that he sheltered and fed all his friends, rich or poor.” He was also eloquent and charming in conversation. In fact, Vasari claimed he was so persuasive that he could “bend other people to his own will.”

Leonardo combined this gentle and charming disposition with great physical strength. In his younger years he was apparently quite an athlete, “most skillful in lifting weights,” as the Anonimo Gaddiano tells us, and an excellent horseman. According to Vasari, “he was physically so strong that he could withstand any violence; with his right hand he would bend the iron ring of a doorbell or a horseshoe as if they were lead.” Vasari may have exaggerated Leonardo's strength (and we know that Leonardo was left–handed), but his athletic prowess seems to have been well known.

During his years in Milan, he entertained the court with fables, songs, and charming conversation. “He sang beautifully to his own accompaniment on the lira to the delight of the entire court,” we are told by Paolo Giovio. But Leonardo also pursued his scientific research with intense concentration and needed to escape frequently to spend long periods of time alone. “The painter or draftsman must be solitary,” he wrote in the Treatise on Painting, “and most of all when he is intent on those speculations and considerations which, continually appearing before the eyes, give material to the memory to be well stored.” (10) These frequent ...

Revue de presse :

Advance Praise for The Science of Leonardo

"Minutely researched, vividly written, and endlessly fascinating, The Science of Leonardo opens up a realm which has never been adequately appreciated. It makes one wonder, as Capra does, whether the history of science might have been quite different had a full publication of Leonardo's notebooks not had to wait until four centuries after his death."
--Dr. Oliver Sacks

“The Science of Leonardo is a fascinating glimpse of the road not taken by Western Science. Capra makes a compelling case that the science of the future may look a lot more like Leonardo's than Bacon's or Descartes -- a science of systems, non-reductive and akin to an art.
--Michael Pollan, author of The Botany of Desire and The Omnivore’s Dilemma.
"A brilliant and sound assessment of Leonardo's approach to science, viewed in the cultural context of his time, and through the development of scientific thought in the succeeding centuries. Both deep and new, it is a bold and successful exploration of the working of Leonardo's mind."

--Carlo Pedretti, Armand Hammer Chair of Leonardo Studies, UCLA

“Fritjof Capra paints a vivid and compelling picture of one of the greatest geniuses in history, Leonardo da Vinci, by skillfully weaving together all the different strands of Leonardo's master works and finally revealing the true power and breathtaking scope of his life. Leonardo himself would have nodded in approval of this book, because for the first time it crystallizes the entire body of his work into a coherent, unified whole.”
--Michio Kaku, Henry Semat Professor of Theoretical Physics at the Graduate Center of the City University of New York, and bestselling author of HYPERSPACE.

Praise for Tao of Physics
 
"A brilliant best-seller."— New York Magazine
 
"A pioneering book of real value and wide appeal."— Washington Post
 
“I have been reading the book with amazement and the greatest interest, recommending it to everyone I meet. . . .[Capra has] done a magnificent and extremely important job.” —Joseph Campbell
 
Praise for The Web of Life

“[Capra] has reassembled the fragments of modern science into something that at last we can understand . . . a wonderful book we all need to read.” —James Lovelock, author of Healing Gaia
 
“This book, a rare blending of the heart and the head, should be required reading.” —Theodore Roszak, Director, Ecopsychology Institute, California State University, Hayward, and author of The Memoirs of Elizabeth Frankenstein

À propos de cette édition

• Éditeur: Doubleday
• Date d'édition: 2007
• ISBN 10: 0385513909
• ISBN 13: 9780385513906
• Reliure: Relié
• Nombre de pages: 329