Оглавление
Ben Smith Lewis. The Last Leonardo
Copyright
Contents
Epigraphs
LEONARDO DA VINCI
SIR KENNETH CLARK
ITALO CALVINO
PROLOGUE. The Legend of Leonardo
CHAPTER 1. Flight to London
CHAPTER 2. The Walnut Knot
CHAPTER 3. Buried Treasure
CHAPTER 4. Paper, Chalk, Lapis
CHAPTER 5. Zing!
CHAPTER 6. The Blue Clue
CHAPTER 7. Vinci, Vincia, Vinsett
CHAPTER 8. The King’s Painting
CHAPTER 9. Little Leonardos
CHAPTER 10. The Salvator Switch
CHAPTER 11. The Resurrection
CHAPTER 12. Lost in a Crowd
CHAPTER 13. The High Council
CHAPTER 14. Entertainer and Engineer
CHAPTER 15. The Greatest Show on Earth
CHAPTER 16. Look, Cook Forsook
CHAPTER 17. Offshore Icon
CHAPTER 18. LDV RIP
CHAPTER 19. Nineteen Minutes
CHAPTER 20. There is a House in New Orleans
CHAPTER 21. Mirage in the Desert
CHAPTER 22. Fragile State
Afterword
Picture Section
Acknowledgements
Notes. CHAPTER 1: FLIGHT TO LONDON
CHAPTER 2: THE WALNUT KNOT
CHAPTER 4: PAPER, CHALK, LAPIS
CHAPTER 5: ZING!
CHAPTER 6: THE BLUE CLUE
CHAPTER 7: VINCI, VINCIA, VINSETT
CHAPTER 8: THE KING’S PAINTING
CHAPTER 9: LITTLE LEONARDOS
CHAPTER 10: THE SALVATOR SWITCH
CHAPTER 11: THE RESURRECTION
CHAPTER 12: LOST IN A CROWD
CHAPTER 13: THE HIGH COUNCIL
CHAPTER 14: ENTERTAINER AND ENGINEER
CHAPTER 15: THE GREATEST SHOW ON EARTH
CHAPTER 16: LOOK, COOK FORSOOK
CHAPTER 17: OFFSHORE ICON
CHAPTER 18: LDV RIP
CHAPTER 19: NINETEEN MINUTES
CHAPTER 20: THERE IS A HOUSE IN NEW ORLEANS
CHAPTER 21: MIRAGE IN THE DESERT
AFTERWORD
Bibliography
Index
About the Author
About the Publisher
Отрывок из книги
List of Pagesiiiivvxiiixvxvixvii134567891011121314151617181920212223242526272829303132333435363738394041424344454647484950515253545556575859606162636465666768697071727374757778798081828384858687888990919293949596979899100101102103104105106107108109110111112113114115116117118119120121122123124125126127128129130131132133134135136137138139140141142143144145146147148149150151152153154155156157158159160161162163164165166167168169170171172173174175176177178179180181182183184185186187188189190191192193194195196197198199200201202203204205206207208209210211212213214215216217218219220221222223224225226227229231232233234235236237238239240241242243244245246247248249250251252253254255256257258259260261262263264265266267268269270271272273274275276277278279280281282283284285286287288289290291292293294295296297298299300301302303304305306307308309310311312313314315316317318319320321322323324325326327328329331332333334335336337ix339340341342343344345346347348349350351352353354355356357358359360361363364365366367368369370371372373374375376377379380381382383384385386387388389390391392393394395396
.....
When Leonardo turned to The Last Supper, a commission for the dining hall of a Milanese convent, he was dealing with an established biblical narrative, in which gestures and facial expressions had long conveyed story and drama. However, he ratcheted up the excitement and action to new levels. He depicted the moment of greatest antagonism, when Christ tells his disciples, ‘One of you will betray me.’ Their reactions create an undulating wave of emotions on either side of Christ – postures and faces showing surprise, shock, denial (from Judas, clutching a bag of money), shame, anxiety, argument, and even fainting. ‘The painter who wants to have honour in his work,’ wrote Leonardo, ‘must always find the imprint of his work in the natural, spontaneous acts of men, born from the strong and sudden revelation of feelings, and from those make brief sketches in his notebook, and then use them for his purpose.’
In the 1490s Leonardo began to write and draw entries in his notebooks, of which only a quarter are estimated to have survived. These codices and manuscripts constitute one of the most important historical archives of all time, a cross-section of the European intellect and imagination at the doorstep of a new world of discovery and experiment, and proof that Leonardo possessed one of the most active and analytical minds of all time, ‘undoubtedly the most curious man who ever lived’, as Kenneth Clark called him.
.....
