Leonardo, Virgin and Child with St Anne and St John the Baptist (Burlington House Cartoon)발음듣기
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Leonardo, Virgin and Child with St Anne and St John the Baptist (Burlington House Cartoon)
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Leonardo, Virgin and Child with St Anne and St John the Baptist (Burlington House Cartoon)
[music] Even in the Renaissance, drawings were sometimes works of art unto themselves.
They weren't always preparatory.
And we think that's the case with a large-scale drawing by Leonardo that is usually given the title "The Virgin and Child with St. Anne and St. John," and that's because it's not perforated.
Right. Although it's unfinished, so its status is a little bit unclear, and it would have had tiny dots, or perforations, in it, so that that would have allowed Leonardo to trace the outlines of the figures. so that he could transfer a drawing to a panel or a wall to paint on.
Although using Leonardo's technique is so different from traditional, much more linear Renaissance painting that that would be more problematic.
You could get the basic contours, but his construction of a figure is so often simply using chiaroscuro, using light and shadow - sfumato- well, that's because it's so soft, and because it's so smoky.
The idea of the line that would be traced by the perforations seems sort of absurd.
Right. yeah. He's much more interested in these very slow gradiations [sic] from dark into light and then moving back into dark again,
so that there's such a sense of three-dimensionality and monumentality to these figures.
And also an integration of the figures into a whole.
The figures form a kind of pyramid.
They're so stable.
And that's one of the characteristics of the High Renaissance.
That stability that suggests a kind of eternity that is appropriate for the subject of this divine figure.
So go ahead, do you want to say something?
Well, I just wanted to say that there's such an interesting contrast, because on the one hand you've got this sense of an ideal perfection, this sort of - this notion of the eternal and, sort of, the eternally spiritual.
On the other hand, there's such a kind of intimacy between the figures, between Anne and Mary, and between John and Christ.
That's very human.
That's incredibly human, and seems incredibly precious, and so sort of at odds with the notion of the eternal.
Mm-hmmm, yeah. It's both.
That's what Leonardo does, right?
He combines the human and the divine. That's the definition to me of what Leonardo accomplished in the High Renaissance.
There are all these marvelous passages here.
I mean, I just love the way that Anne turns to Mary who sits on her lap.
There's this kind of rhythm of knees of the two women, right?
Down and up, and down and up again.
It's almost musical as it moves across.
It makes me feel that Leonardo was certainly looking at classical sculpture. because that so much looks to me like drapery on ancient Greek and Roman figures.
There is a sense of the varied age of the figures, and a real sense of Leonardo's process, especially when you look at the contrast between Anne's face and her hand, which is so much less finished, and still so much more linear.
And Anne is pointing up, to communicate this idea that this is part of God's plan, that Christ and his future sacrifice is part of God's plan for the salvation of mankind.
Look at the way in which Christ's arm bends around and his fingers up in blessing John actually is continued upward by Anne's fingers, so that's one continuous movement.
In a sense, Christ is literally drawn up in Anne's gesture.
Well, and that begins with the line from Mary's shoulder up through Christ, and then pointing up to God.
In fact, you could actually begin that movement with Anne's glance at Mary, continuing down her shoulder, as you said, around her elbow, and then up through Christ's arm.
And actually, what we just did is a really good example of what was so important to Leonardo, which is that unification.
Like, you can start linking things together the longer you look at the image.
And we can look at St. John's glance up at Christ and then move up there to Mary's looking at the Christ Child, and then go back to Anne, who's looking at Mary . . .
That's right.
And it really does create a pathway for our eyes, but all of which lead toward heaven, which is of course the very point of the drawing. [music]
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And we think that's the case with a large-scale drawing by Leonardo that is usually given the title "The Virgin and Child with St. Anne and St. John," and that's because it's not perforated.발음듣기
대기중
Right. Although it's unfinished, so its status is a little bit unclear, and it would have had tiny dots, or perforations, in it, so that that would have allowed Leonardo to trace the outlines of the figures. so that he could transfer a drawing to a panel or a wall to paint on.발음듣기
대기중
Although using Leonardo's technique is so different from traditional, much more linear Renaissance painting that that would be more problematic.발음듣기
대기중
You could get the basic contours, but his construction of a figure is so often simply using chiaroscuro, using light and shadow - sfumato- well, that's because it's so soft, and because it's so smoky.발음듣기
대기중
Right. yeah. He's much more interested in these very slow gradiations [sic] from dark into light and then moving back into dark again,발음듣기
대기중
That stability that suggests a kind of eternity that is appropriate for the subject of this divine figure.발음듣기
대기중
Well, I just wanted to say that there's such an interesting contrast, because on the one hand you've got this sense of an ideal perfection, this sort of - this notion of the eternal and, sort of, the eternally spiritual.발음듣기
대기중
On the other hand, there's such a kind of intimacy between the figures, between Anne and Mary, and between John and Christ.발음듣기
대기중
That's incredibly human, and seems incredibly precious, and so sort of at odds with the notion of the eternal.발음듣기
대기중
He combines the human and the divine. That's the definition to me of what Leonardo accomplished in the High Renaissance.발음듣기
대기중
It makes me feel that Leonardo was certainly looking at classical sculpture. because that so much looks to me like drapery on ancient Greek and Roman figures.발음듣기
대기중
There is a sense of the varied age of the figures, and a real sense of Leonardo's process, especially when you look at the contrast between Anne's face and her hand, which is so much less finished, and still so much more linear.발음듣기
대기중
And Anne is pointing up, to communicate this idea that this is part of God's plan, that Christ and his future sacrifice is part of God's plan for the salvation of mankind.발음듣기
대기중
Look at the way in which Christ's arm bends around and his fingers up in blessing John actually is continued upward by Anne's fingers, so that's one continuous movement.발음듣기
대기중
Well, and that begins with the line from Mary's shoulder up through Christ, and then pointing up to God.발음듣기
대기중
In fact, you could actually begin that movement with Anne's glance at Mary, continuing down her shoulder, as you said, around her elbow, and then up through Christ's arm.발음듣기
대기중
And actually, what we just did is a really good example of what was so important to Leonardo, which is that unification.발음듣기
대기중
And we can look at St. John's glance up at Christ and then move up there to Mary's looking at the Christ Child, and then go back to Anne, who's looking at Mary . . .발음듣기
대기중
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