Leonardo, Adoration of the Magi발음듣기
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Leonardo, Adoration of the Magi
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Leonardo, Adoration of the Magi
We're standing in front of an unfinished painting by Leonardo da Vinci.
It's a big painting, and interestingly almost a perfect square.
It's really unfinished, not just some parts.
It's really just the underpainting.
This is the Adoration of the Magi.
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.
Which revealed to us here, is Leonardo's working method Not only his brilliant drawing, but the way which he constructs figures.
Remember, that Leonardo is first and foremost not a painter, he's really a scientist, an engineer.
Somebody who looks and understands nature.
We sense Leonardo's deep understanding of human anatomy.
When he paints clothed figures, he's understanding the skeletal structures, the musculature of the body.
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.
That's a group of figures that often referred to as the philosophers.
But may be we should discuss the central group first.
We have Mary and the Christ child, front and center, forming a pyramid shape together with the Magi in front.
That's the shape that we see very often in paintings of the high Renaissance that provides a stable form.
You see that here in the foreground with Mary and Christ.
It is essentially important in this painting which is so chaotic, with so much going on.
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.
Leonardo did a brilliant drawing in preparation of this painting.
But let's look more closely to define the pyramid lines.
Start with the Virgin Mary and look at her face.
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.
Run the line down, past his toes, to the corner of the painting.
Or we can pick up from Mary and go the other way.
From the bridge of her nose, across her shoulders, picked up by the kneeling figure at the left.
Interestingly, it is not simply a triangle, but a pyramid that comes forward as it moves down.
In the existing space, I'm struck by Leonardo's attention to all of the human reactions to the situation.
A lot of faces, half hidden in the darkness, and a lot of gestures.
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.
It brings a stability in the center.
It is a characteristic of the High Renaissance: a notion of balance, perfection, eternal.. and also how we as human reacts.
There is another important element here, a characteristic of Leonardo.
Even as an underpainting, we can identify it.
It is a technique of Sfumato, in Italian is "smoke".
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.
Instead of figures being defined by lines, the figures are enveloped in atmospheric haze or softness, smokiness.
It makes them to emerge out of the darkness into light, then fade back into the darkness again.
Leonardo unifies the figures in the pyramid composition through their glances and gestures, but also through that smoky atmosphere.
We see this beautiful smoke, beautiful lines,.. composition, complex sense of motion.
I would love to know how this painting looks like, had it been finished. Me too.
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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
대기중
Which revealed to us here, is Leonardo's working method Not only his brilliant drawing, but the way which he constructs figures.발음듣기
대기중
Remember, that Leonardo is first and foremost not a painter, he's really a scientist, an engineer.발음듣기
대기중
When he paints clothed figures, he's understanding the skeletal structures, the musculature of the body.발음듣기
대기중
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
대기중
We have Mary and the Christ child, front and center, forming a pyramid shape together with the Magi in front.발음듣기
대기중
That's the shape that we see very often in paintings of the high Renaissance that provides a stable form.발음듣기
대기중
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
대기중
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
대기중
From the bridge of her nose, across her shoulders, picked up by the kneeling figure at the left.발음듣기
대기중
Interestingly, it is not simply a triangle, but a pyramid that comes forward as it moves down.발음듣기
대기중
In the existing space, I'm struck by Leonardo's attention to all of the human reactions to the situation.발음듣기
대기중
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
대기중
It is a characteristic of the High Renaissance: a notion of balance, perfection, eternal.. and also how we as human reacts.발음듣기
대기중
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
대기중
Instead of figures being defined by lines, the figures are enveloped in atmospheric haze or softness, smokiness.발음듣기
대기중
It makes them to emerge out of the darkness into light, then fade back into the darkness again.발음듣기
대기중
Leonardo unifies the figures in the pyramid composition through their glances and gestures, but also through that smoky atmosphere.발음듣기
대기중
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