Leonardo, Adoration of the Magi

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Leonardo, Adoration of the Magi발음듣기

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We're standing in front of an unfinished painting by Leonardo da Vinci.발음듣기

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It's a big painting, and interestingly almost a perfect square.발음듣기

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It's really unfinished, not just some parts.발음듣기

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It's really just the underpainting.발음듣기

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This is the Adoration of the Magi.발음듣기

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A moment in Christian story when Christ has just been born and three kings from the east, guided by the star of Bethlehem, come to Mary and offer Christ three gifts: frankincense, myrrh, and gold.발음듣기

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Which revealed to us here, is Leonardo's working method Not only his brilliant drawing, but the way which he constructs figures.발음듣기

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Remember, that Leonardo is first and foremost not a painter, he's really a scientist, an engineer.발음듣기

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Somebody who looks and understands nature.발음듣기

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We sense Leonardo's deep understanding of human anatomy.발음듣기

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When he paints clothed figures, he's understanding the skeletal structures, the musculature of the body.발음듣기

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If you look to the group of figures to the right, about midlevel you see a figure that almost looks like a skull, as if literally Leonardo reconstructs the bones, before he put flesh on them, before he put clothes on them, before he adds colors.발음듣기

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That's a group of figures that often referred to as the philosophers.발음듣기

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But may be we should discuss the central group first.발음듣기

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We have Mary and the Christ child, front and center, forming a pyramid shape together with the Magi in front.발음듣기

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That's the shape that we see very often in paintings of the high Renaissance that provides a stable form.발음듣기

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You see that here in the foreground with Mary and Christ.발음듣기

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It is essentially important in this painting which is so chaotic, with so much going on.발음듣기

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At the upper right, there is a battle of 2 horses rearing up at the upper left, a fragment of a classical architecture. the wonderful steps and perfect linear perspective.발음듣기

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Leonardo did a brilliant drawing in preparation of this painting.발음듣기

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But let's look more closely to define the pyramid lines.발음듣기

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Start with the Virgin Mary and look at her face.발음듣기

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She's glancing across the top of her son's head down his arms, he 'picks up' her glance and brings her eye down until it is met by the Magi who's offering a gift.발음듣기

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Run the line down, past his toes, to the corner of the painting.발음듣기

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Or we can pick up from Mary and go the other way.발음듣기

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From the bridge of her nose, across her shoulders, picked up by the kneeling figure at the left.발음듣기

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Interestingly, it is not simply a triangle, but a pyramid that comes forward as it moves down.발음듣기

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In the existing space, I'm struck by Leonardo's attention to all of the human reactions to the situation.발음듣기

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A lot of faces, half hidden in the darkness, and a lot of gestures.발음듣기

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It reminds me to the Leonardo's Last Supper, Christ in the middle forming the pyramid with his outstretched arms, the chaos and reactions of the apostles.발음듣기

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It brings a stability in the center.발음듣기

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It is a characteristic of the High Renaissance: a notion of balance, perfection, eternal.. and also how we as human reacts.발음듣기

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There is another important element here, a characteristic of Leonardo.발음듣기

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Even as an underpainting, we can identify it.발음듣기

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It is a technique of Sfumato, in Italian is "smoke".발음듣기

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A visual glue that creates harmony between forms within the paintings brings things together and keeps the painting from the sense of isolation which is the characteristic of the early Renaissance.발음듣기

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Instead of figures being defined by lines, the figures are enveloped in atmospheric haze or softness, smokiness.발음듣기

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It makes them to emerge out of the darkness into light, then fade back into the darkness again.발음듣기

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Leonardo unifies the figures in the pyramid composition through their glances and gestures, but also through that smoky atmosphere.발음듣기

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We see this beautiful smoke, beautiful lines,.. composition, complex sense of motion.발음듣기

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I would love to know how this painting looks like, had it been finished. Me too.발음듣기

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