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QUESTION

Is Leonardo a Medieval or a Renaissance man?

Leonardo da Vinci (Vinci, Italy, April 15, 1452 – Cloux, France May 2, 1519) was an exemplar of Renaissance man. However, on one hand, he was bound by the traditions of his craft and the expectations of his patrons, while, on the other, he proved himself an innovator. I am going to examine how much a “medieval” and how much a “renaissance” artist he was in the three areas of Leonardo’s work; sculpture, painting, science.

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Ioannis Tzortzakakis
Ioannis Tzortzakakis
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particularly impressed ** one work ***** as *** ******** in ***** ***** *** ********* ** *** eighteenth ******* (Kemp **** p **** ******** he intended ** ******* a ***** ** * ****** ******* *** *** ** ******** ***** were **** ****** ******** around internal *********** **** *** *** *** ******* ** ******* ******* details in the statue *** to ******** with the internal ******** ******* ********* a self-supporting ****** **** latter requirement meant that *** horse ***** need * far ******* ‘skin’ than * ************ ****** and ***** ******* **** **** ***** **** ****** Leonardo **** ********** that ** would **** ** **** *********** tonnes ** ****** ****** into *** ***** His ****** ***** ****** from *** ******* *** complete ready *** polishing and ************ ** the ducal ****** No *** *** **** attempted **** ** ******** ******* *** it *** ******** thought **** **** * **** *********** *** ********** ******** ******* disagreed and ***** to ******* a ********** ***** ****** *** casting *** ****** Horse (Welsh **** ** ******** *** field ******** the **** ** **** ******** Alberti ** pictura (On ******** ***** must have been ** ***** Leonardo before he **** ** his *** ********** of aerial perspective and *** *** ** ****** He *** **** the ***** ********** to use the sfumato ********* ******** ***** ***** techniques ******* *** *** ******** ** *** Virgin ** *** Rocks **** in the National ******* London (NGL) and ** *** ****** ***** (LP)] ***** a ****** ***** ******** painted *** ***** *** ******** one ***** ****** **** ** this ******** the ***** ***** ** the *** ** *** panel ** ****** a **** ****** ******** ******* ********** 1991 ** ***** ******** **** ******** ******* Leonardo surpasses *** ********** ** painting *** **** ****** by ********* *** exact ****** when ****** ********** ‘One ** *** will betray me’ and ** ******* *** the ******** sitting ******** ** *** **** table **** ****** ** *** the ******** **** to ** seated there would *** be ********** room *** *** of them **** disciples are ******** or **** ****** from *** ***** *** *** through gesture *** ******** ****** ***** ******* ********* *** *************** ** Christ’s ************* concerning *** social **** ** * painter ******** *** to ***** * ****** ** his ****** ****** ******** ** **** to ask *** * ********** ** ** least **** *** benevolence *** ***** ** ** was *** patron *** ******* with ******** *** a commission ********* the portrait ** Isabella **** Este (Zöllner 2000 * *** Yet the ***** ** Isabella ** *** ******* **** ** ***** **** his *** ***** *** *** ********* usual at **** **** It could **** ******** be *** ***** **** **** ** find a ****** ******* **** Leonardo’ ****** **** * ******* *** ***** or ******** Leonardo ** ****** Quartermaine ****** *** ** ** ************ ** ******** both *** *** in which *** was ********** *** *** ********* **** ** *** artist *** ** **** ***** he *** ** ********* as *** ***** ****** artist (Zöllner 2000 * ***** the ***** ** ******* ******** **** **** ***** ** **** ***** *** Ancient ***** *********** Plato *** established ******** and arithmetic ** *** ** *** **** ***** ** all true ********* ***** (1952) ******** **** ** ******** wanted ** raise the ****** ** ******** **** * ****** ** ** ************ *** ** ******* **** ** his ****** to ******* painting ** * ‘mathematical’ ******* *** **** *** *** ****** *** *** numerous ************** of light ****** *** colour ********* to Clark ***** ****** ******** *** ******** *** * mathematical reality ******** ** ************** ****** **** p306) ************* *** ** **** ** ************ ********* Leonardo was not very ******* ** mathematics so ********* *** ********** ** *** try to ***** ** ** ***** **** ********** after ****** met **** Pacioli * mathematician ******** ****** ***** human ************* can ** ****** true ******* ***** has *** passed ******* ************ demonstrations’ ****** **** ***** ******** **** ******** that *** ************** **** movement *** ********* **** limited by his **** ** *********** **************** addition ******** noticed *** value ** ******* the **** *** *** ***** ** ******** *********** and ******** ** ******* ** **** ******** on how * ******* ****** *** ********* *** explanation ** **** *** see Leonardo ***** **************** ** ***** ** ****** it ** **** **** ******** **** ** ** ***** ** promising itself **** results **** experience as *** not caused by *** *********** ******** 2002 p138)Concluding ** ****** ****** ****** ** ** * ******* ** ****** **** scientists *** *** **** ********* **** ******** ***** ***** subjects ** * completely ****** *** ******* of ******** ** *** ********** ** ***** time Social *** ************* ******* ****** **** be taken **** account **** ********* to Leonardo; ***** born **** * **** ******** ******* ********** *** ******* ** thoughts ******** * ******* ***** ***** **** **** ** ******** ** *********** *** ** ** *** *** ***** ******** ************* ********** and *********************** ***** K ****** ‘Leonardo ** ****** A **** ** *** relation between *** ******* *** *** ****** History ***** vol2 ************ J (1991) ****** ** ******* ***** *********** Painting in *** ******** Gallery New ****** and London **** ********** ********* * ****** ******** ** Vinci: the marvellous ***** ** nature *** *** Oxford Oxford ********** ************ * ******** ** Vinci ***** reprinted ***** ****** ***** ****** ************ * ****** ******** ******** **** and ******* in the ******* of ********** Discovery ****** ****** ********** PressWelsh * ****** Art ** Renaissance ***** ****** Oxford University ********** * ****** ********* The ***** ********* ****** ************** F ****** ******** da ***** ********* ***** *******

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