关于达芬奇成就的英语作文

篇一:《达芬奇英文简介》

Leonardo Di Ser Piero Da Vinci

Leonardo da Vinci (April 15, 1452 – May 2,

1519) was an Italian Renaissance architect,

musician, anatomist, inventor, engineer, sculptor,

geometer, and painter. He has been described as the archetype of the"Renaissance man" and as a

universal genius. Leonardo is famous for his masterly paintings, such as

The Last Supper and Mona Lisa. He is also

known for designing many inventions that

anticipated modern technology, although few

of these designs were constructed in his lifetime. In

addition, he helped advance the study of anatomy,

astronomy, and civil engineering. Renaissance

humanism saw no mutually exclusive polarities between

sciences and arts.

篇二:《达芬奇英文介绍》

Leonardo di ser Piero da Vinci (April 15, 1452 – May 2, 1519) was an Italian polymath: architect, anatomist, sculptor, engineer, inventor, mathematician, musician, scientist, and painter. He has been described as the archetype of the "Renaissance man", a man infinitely curious and equally inventive. He is widely considered to be one of the greatest painters of all time, and perhaps the most intelligent and capable man to ever have lived.

He was born and raised in Vinci, Italy. Leonardo is famous for his realistic paintings, such as the Mona Lisa and The Last Supper, as well as for influential drawings such as the Vitruvian Man. He conceived ideas vastly ahead of his own time, notably conceptually inventing a helicopter, a tank, the use of concentrated solar power, a calculator, a rudimentary theory of plate tectonics, the double hull, and many others. Relatively few of his designs were constructed or were feasible during his lifetime; modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. In addition, he greatly advanced the state of knowledge in the fields of anatomy, astronomy, civil engineering, optics, and the study of water (hydrodynamics). Of his works, only a few paintings survive, together with his notebooks (scattered among various collections) containing drawings, scientific diagrams and notes.

Leonardo had no surname in the modern sense; "da Vinci" simply means "from Vinci". His full birth name was "Leonardo di ser Piero da Vinci", meaning "Leonardo, son of (Mes)ser Piero from Vinci."

Professional life

The earliest known dated work of Leonardo's is a drawing done in pen and ink of the Arno valley, drawn on 5 August 1473. It is assumed that he had his own workshop between 1476 and 1478, receiving two orders during this time.

From around 1482 to 1498, Ludovico Sforza, Duke of Milan , employed Leonardo and permitted him to operate his own workshop, complete with apprentices. It was here that seventy tons of bronze that had been set aside for Leonardo's "Gran Cavallo" horse statue (see below) was cast into weapons for the Duke in an attempt to save Milan from the French under Charles VIII in 1495.

When the French returned under Louis XII in 1498, Milan fell without a fight, overthrowing Sforza . Leonardo stayed in Milan for a time, until one morning when he found French archers using his life-size clay model of the "Gran Cavallo" for target practice. He left with Salai, his assistant and intimate, and his friend Luca Pacioli (the first man to describe double-entry bookkeeping) for Mantua, moving on after 2 months to Venice (where he was hired as a military engineer), then briefly returning to Florence at the end of April 1500.

In Florence he entered the services of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer; with Cesare he travelled throughout Italy. In 1506 he returned to Milan, now in the hands of Maximilian Sforza after Swiss mercenaries had driven out the French.

From 1513 to 1516, he lived in Rome, where painters like Raphael and Michelangelo were active at the time, though he did not have much contact with these artists. However, he was probably

of pivotal importance in the relocation of David (in Florence), one of Michelangelo's masterpieces, against the artist's will. Most of his most prominent pupils or followers in painting either knew or worked with him in Milan, including Marco D'Oggione[1], Bernardino Luini, and Giovanni Antonio Boltraffio.

Leonardo da Vinci tomb in Saint Hubert Chapel (Amboise).In 1515, François I of France retook Milan, and Leonardo was commissioned to make a centrepiece (a mechanical lion) for the peace talks between the French king and Pope Leo X in Bologna, where he must have first met the King. In 1516, he entered François' service, being given the use of the manor house Clos Lucé (also called "Cloux"; now a museum open to the public) next to the king's residence at the royal Chateau Amboise, where he spent the last three years of his life. The King granted Leonardo and his entourage generous pensions: the surviving document lists 1,000 écus for the artist, 400 for Count Francesco Melzi, (his pupil and allegedly one of the great loves of his life, named as "apprentice"), and 100 for Salai ("servant"). In 1518 Salai left Leonardo and returned to Milan, where he eventually perished in a duel. François became a close friend. Some twenty years after Leonardo's death, François told the artist Benevenuto Cellini that he believed that "No man had ever lived who had learned as much about sculpture, painting, and architecture, but still more that he was a very great philosopher."

Clos Lucé, in France where Leonardo died in 1519.Leonardo died at Clos Lucé, France, on 2nd May, 1519 (Romantic legend said that he died in François' arms). According to his wish, 60 beggars followed his casket. He was buried in the Chapel of Saint-Hubert in the castle of Amboise. Although Melzi was his principal heir and executor, Salai was not forgotten; he received half of Leonardo's vineyards.

篇三:《达芬奇事迹英文版》

Leonardo dicaprio. Da Vinci

Leonardo dicaprio. Da Vinci was born in Italy FenJi downtown, Da Vinci is legitimate, his childhood was spent in his grandfather's farmstead. Childhood, the Da Vinci is smart, diligent and eager to learn, the interest is extensive. He sings very well, very early to learn the pipa, his impromptu concert, no matter the lyrics or tune, all are amazing to people. He especially loved painting, often painting for neighborhood ,he has audatory name "painting prodigy" l

Da Vinci's family is at the time of the famous fiorentina pedigree, father pierrot hope Da Vinci like himself as a lawyer, but then because there was a thing and make pierrot changed idea, decided to let the little Vinci in his art. At that time, he was entrusted by a farmer to draw a picture painted face shield. He heard the son can draw, wanted to try the son's drawing art, and took this task to the small Vinci. with his rich imagination, Small Vinci used a month's time, painted a shocking the devil. The devil a long ball's eyes, toothy maw open, their nostrils and poison gas flame out, look very scary. After the

completion of the works, small Vinci please father come to his room. He covered the window to half, wilth a light fall in an easel just in the monster on the place. He just went into the room, an eye saw the face of ferociously monster, frighten shouted. with a smile Da Vinci said to his father: "please you take it, and this is the effect of this." Pierrot from then thought that his son has the talent for painting, and sent the small Vinci to fiorentina, from the famous artist committee tommaso rocchi Mr, started studying systematically model art. At this time ,eonardo Da Vinci just 14 years old. Tommaso rocchi's committee at the time of the famous fiorentina houseboat is art center, often has Italian humanist party here,and Academic discussion. Leonardo Da Vinci in a large number of strong here well-known humanist, artists and scientists, started to accept the edification of humanism. Leonardo Da Vinci at 20 years of age have very high artistic attainments, he brushes and twist to express the nature and the real life truth, beauty and goodness, passion life happiness and praise the beauty of nature.{关于达芬奇成就的英语作文}.

Da Vinci is one of three famous painter at Renaissance , there had "Mona Lisa" the last supper, the virgin of the rocks ,the holy Anna and the virgin child ", etc. The last supper, leonardo Da Vinci is for milan Santa maria monastery dinning room for the murals, based on the bible Jesus by his disciple of judah betray story. "By lisa" the portrait of the prototype is leonardo Da Vinci friend's wife. For this painting, leonardo Da Vinci to her psychological research, to keep her mood also, used special harp division and singer for her performance. Leonardo Da Vinci extremely accurately

captured by the moment of that by lisa attractive smile, with exquisite strokes nuanced painted her to the subtle psychological activities.

His did not marriage to a woman even had not a intimate contact, he thought the tbehivoe between men and women was nasty

When he was old,Leonardo Da Vinci was invited by the French king to live in France, and gave him a high reception, it will be placed in the cloth KeLuKeSi castle in the gas manor, May 2, 1519, old leonardo Da Vinci died due to illness.

篇四:《备考素材 GRE写作之达芬奇_GRE写作》

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da Vinci, Leonardo 1452 — 1519

Painter, sculptor, inventor. Born April 15, 1452 near the village of Vinci, Italy. He was the illegitimate son of Ser Piero da Vinci, a prominent notary of Florence, who had no other children until much later. Ser Piero raised his son himself, a common practice at the time, arranging for Leonardo's mother to marry a villager. When Leonardo was 15, his father apprenticed him to Andrea del Verrocchio, the leading artist of Florence and a characteristic talent of the early Renaissance. A sculptor, painter, and goldsmith, Verrocchio was a remarkable craftsman, and his GREat skill and

passionate concern for quality of execution, as well as his interest in expressing the vital mobility of the human figure, were important elements in Leonardo's artistic formation. Indeed, much in Leonardo's approach to art was

evolutionary from tradition rather than revolutionary against it, although the opposite is often true of his results.

After completing his apprenticeship, Leonardo stayed on as an assistant in Verrocchio's shop, and his earliest known painting is a product of his collaboration with the master. In Verrocchio's Baptism of Christ (ca. 1475), Leonardo

executed one of the two angels, a fact already recorded in the 16th century, as well as the distant landscape, and he added the final touches to the figure of Christ, determining the texture of the flesh. Collaboration on a major project by a master and his assistant was standard procedure in the Italian Renaissance. What is special is that Leonardo's work is not, as was usual, a slightly less skilled version of Verrocchio's manner of painting but an original approach altering it. It completely possesses all the fundamental qualities of Leonardo's mature style and implies a criticism of the early

Renaissance. By changing hard metallic surface effects to soft yielding ones, making edges less cutting, and increasing the slight modulations of light and shade, Leonardo evoked a new flexibility within the figures. This "soft union," as Giorgio Vasari called it, is also present in the special lighting and is emphatically developed in the spiral turn of the angel's head and body and the vast depth of the landscape.

Apparently Leonardo had painted one extant work, the Annunciation in Florence, before this. It is much nearer to Verrocchio in the stability of the two figures shown in profile, the clean precision of the decorative details, and the large simple shapes of the trees, but it already differs in the creamier modeling of the faces. A little later is Leonardo's portrait of Ginevra de' Benci, the young wife of a prominent Florentine merchant, in which her oily face with softly contoured lips is seen against a background of mysteriously dark trees and a pond.{关于达芬奇成就的英语作文}.

About 1478 Leonardo set up his own studio. In 1481 he received a major church commission for an altarpiece, the Adoration of the Magi. In this unfinished painting, Leonardo's new approach is far more developed. A crowd of

spectators, with odd and varied faces, flutters around and peers at the main group of the Virgin and Child, and there is a strong sense of continuing movement. In the background the three horses of the kings prance among intricate

architectural ruins. However, the painting also illustrates Leonardo's strong sense of the need for a countervailing order:

he placed in the center of the composition the Virgin and Child, who traditionally in paintings of this theme had{关于达芬奇成就的英语作文}.

appeared at one side of the picture, approached by the kings from the other side. Similarly, the picturesque ruins are rendered in sharp perspective.

The simultaneous increase in both the level of activity and the organized system which controls it will climax later in Leonardo's Last Supper, and it shows us his basically scientific temperamentne concerned with not only adding to the quantity of accurate observations of nature but also subjecting these observations to newly inferred physical or

mathematical laws. In their paintings earlier Renaissance artists had applied the rules of linear perspective, by which objects appear smaller in proportion as they are farther away from the eye of the spectator. Leonardo joined this

principle to two others: perspective of clarity (distant objects proGREssively lose their separateness and hence are not drawn with outlines) and perspective of color (distant objects proGREssively tend to a uniform gray tone). He wrote about both of these phenomena in his notebooks.

The Adoration of the Magi was, as noted above, left unfinished. In his later career Leonardo often failed over a period of years to finish a work, essentially because he would not accept established answers. For example, in his project for a bronze equestrian statue he began his work by delving into such matters as the anatomy of horses and the method by which the heavy monument could be transported from his studio to its permanent location. In the case of the Magi altarpiece, however, the unfinished state may merely result from the fact that Leonardo left Florence in 1482 to accept the post of court artist to the Duke of Milan. In leaving, Leonardo followed a trend set by the leading Florentine masters of the older generation, Verrocchio and Antonio Pollaiuolo, who went to Venice and Rome to execute commissions larger than any available in their native Florence.

Leonardo presented himself to the Duke of Milan as skilled in many crafts, but particularly in military engineering, asserting that he had worked out improved methods for shooting catapults and diverting rivers. Such inventions, as well as the remarkable machinery that Leonardo produced in Milan for stage pageants, point to his profound interest in the laws of motion and propulsion, a further aspect of his interest in living things and their workings. Again, this preoccupation differs from older artists only in deGREe.

Leonardo's first Milanese painting is the altarpiece Virgin of the Rocks. It exists in two versions: the one in Paris is earlier and was executed by Leonardo; the one in London is later, and there is controversy as to whether Leonardo participated in its execution. A religious brotherhood in Milan commissioned an altarpiece from Leonardo in 1483, and it is also a matter of argument as to which version is the one commissioned. Some scholars believe that it is the London work and that the Paris version was painted while Leonardo was still in Florence. But this view requires some{关于达芬奇成就的英语作文}.

remarkable coincidences, and the more usual opinion is that the picture in Paris is the original one executed for the Milanese commission and that it was taken away by Leonardo's admirer the king of France and replaced in Milan by the second painting.

Although the Virgin of the Rocksis a very original painting, it makes use of a venerable tradition in which the Holy Family is shown in a cave. This setting becomes a vehicle for Leonardo's interests in depicting nature and in dimmed light, which fuses the outlines of separate objects. The artist once commented that one should practice drawing at dusk and in courtyards with walls painted black. The figures in the painting are grouped in a pyramid.

The other surviving painting of Leonardo's Milanese years is the Last Supper (1495-1497), commissioned by the duke for the refectory of the convent of S. Maria delle Grazie. Instead of using fresco, the traditional medium for this theme, Leonardo experimented with an oil-based medium, because painting in true fresco makes areas of color appear quite distinct. Unfortunately, his experiment was unsuccessful; the paint did not adhere well to the wall, and within 50 years the scene was reduced to a confused series of spots. What we see today is largely a later reconstruction, but the design

is reliable and remarkable. The scene seems at first to be one of tumultuous activity, in response to the dramatic stimulus of Christ's words "One of you will betray me," which is a contrast to the traditional static row of figures. But the 12 disciples form four equal clusters around Christ, isolated as a fifth unit in the middle. Thus, Leonardo once again enriches the empirical observation of vital activity but simultaneously develops a containing formula and emphasizes the center. This blend of the immediate reality of the situation and the underlying order of the composition is perhaps the reason the painting has always been extraordinarily popular and has remained the standard image of the subject.

In its own time, the Last Supper was perhaps less well known than the project for a bronze equestrian statue of the previous Duke of Milan, on which Leonardo worked during most of his Milanese years. He wanted to show the horse leaping, a technical problem of balance in sculpture that was solved only in the 17th century. Numerous drawings of the project exist. Besides apparatus for pageants and artillery, architectural projects also occupied Leonardo in Milan. He and the GREat architect Donato Bramante, also a recent arrival at the court, clearly had a mutually stimulating effect, and it is hard to attribute certain innovative ideas to one of them rather than the other. The architectural drawings of Leonardo, very similar to the buildings of Bramante, mark the shift from the early Renaissance to the High Renaissance in architecture and show a new interest in and command of scale and grandeur within the basic harmonious geometry of Renaissance structure. No buildings can be attributed with certainty to Leonardo.

When Leonardo's patron was overthrown by the French invasion in 1499, Leonardo left Milan. He visited Venice briefly, where the Senate consulted him on military projects, and Mantua. He planned a portrait of Isabella d'Este, Duchess of Mantua, one of the most striking personalities and GREat art patrons of the age. The surviving drawing for this portrait suggests that the concept of the later Mona Lisa had already been formulated.

In 1500 Leonardo returned to Florence, where he was received as a GREat man. Florentine painters of the generation immediately following Leonardo were excited by his modern methods, with which they were familiar through the

unfinished Adoration of the Magi, and he also now had a powerful effect on a still younger group of artists. Thus it was that a younger master passed on to Leonardo his own commission for the Virgin and Child with St. Anne, and the monks who had ordered it gave Leonardo a workroom. Leonardo's large preparatory drawing was inspected by crowds of viewers. This theme had traditionally been presented in a rather diagrammatic fashion to illustrate the family tree of Christ; sometimes this was done by representing Anne, the grandmother, in large scale with her daughter Mary on her knee and with Mary in turn holding the Christ Child. Leonardo sought to retain a reference to this conceptual pattern while drawing sinuous, smiling figures in a fluid organic interrelationship. Several varying designs exist, the last version being the painting of about 1510 in Paris; this variety suggests that Leonardo could not fuse the two qualities he desired: an abstract formula and the immediacy of life.

During his years in Florence (1500-1506), even though they were interrupted in 1502 by a term as military engineer for Cesare Borgia, Leonardo completed more projects than in any other period of his life. In his works of these years, the emphasis is almost exclusively on portraying human vitality, as in the Leda and the Swan (lost; known only through copies), a spiraling figure kneeling among reeds, and the Mona Lisa, the portrait of a Florentine citizen's young third wife, whose smile is mysterious because it is in the process of either appearing or disappearing.

Leonardo's GREat project (begun 1503) was the battle scene that the city commissioned to adorn the newly built Council Hall of the Palazzo Vecchio. In the choice of theme, the Battle of Anghiari, patriotic references and the wish to show off Leonardo's special skills were both apparently required. Leonardo depicted a cavalry battle of small skirmish won by Florentine troops in which horsemen leap at each other, churning up dust, in quick interlocking motion. The work today is known through some rapid rough sketches of the groups of horsemen, careful drawings of single heads of men which are extraordinarily vivid in suggesting immediate response to a stimulus, and copies of the entire{关于达芬奇成就的英语作文}.

composition. Leonardo began to paint the scene, experimenting with encaustic technique (the paint is fused into hot

wax on the surface of the panel), but