Leonardo Da Vinci. The Apology of Eye

2020 ◽  
Vol 12 (4-2) ◽  
pp. 412-428
Author(s):  
Ekaterina Mayorova ◽  
Keyword(s):  
Liberal Arts ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Italian Renaissance ◽  
The Arts ◽  
Renaissance Period ◽  
The One ◽  
Further Development ◽  
Mechanical Arts ◽  
Better Than

The article is devoted to Leonardo da Vinci’s “eye is less deceived than any other sense” maxima. Leonardo’s belief about painting being the most perfect instrument for one’s ontology and epistemology is shown. Based on Leonardo da Vinci’s “Treatise on Painting”, a compilation of Leonardo’s works, the author explores how visual arts (and painting in particular) had come up to the forefront of the Italian Renaissance. Moreover, it is shown how painting takes a leading cultural role in Europe even to this day following the Renaissance. The article reveals why Leonardo da Vinci viewed painting to be better than science, mechanical arts and other liberal arts. The article considers the possibility of transforming personal experience into the universal experience of mankind. It also considers the focus on experience, direct comprehension of reality and varietà concept. The article is dedicated to the peculiarity of Leonardo’s art style, including its unique sfumato technique and chiaroscuro. The article also deals with the idea of Leonardo being the personification of the Renaissance’s creativity. As a result, he was the one who encapsulated the Renaissance period and simultaneously laid the foundation for further development of the arts for several centuries.

Hugh of St Victor, Dominicus Gundissalinus and the Place of the Mechanical Arts in Medieval Architectures of Knowledge

2021 ◽  
Vol 153 (3) ◽  
pp. 291-318
Author(s):  
Alexander Fidora ◽  
Nicola Polloni
Keyword(s):  
Middle Ages ◽  
Thirteenth Century ◽  
Liberal Arts ◽  
Natural Philosophy ◽  
Natural Sciences ◽  
The Other ◽  
Human Knowledge ◽  
The Arts ◽  
The One ◽  
Mechanical Arts

This contribution engages with the problematic position of the mechanical arts within medieval systems of knowledge. Superseding the secondary position assigned to the mechanical arts in the Early Middle Ages, the solutions proposed by Hugh of St Victor and Gundissalinus were highly influential during the thirteenth century. While Hugh’s integration of the mechanical arts into his system of knowledge betrays their still ancillary position as regards consideration of the liberal arts, Gundissalinus’s theory proposes two main novelties. On the one hand, he sets the mechanical arts alongside alchemy and the arts of prognostication and magic. On the other, however, using the theory put forward by Avicenna, he subordinates these “natural sciences” to natural philosophy itself, thereby establishing a broader architecture of knowledge hierarchically ordered. Our contribution examines the implications of such developments and their reception afforded at Paris during the thirteenth century, emphasising the relevance that the solutions offered by Gundissalinus enjoyed in terms of the ensuing discussions concerning the structure of human knowledge.

Fr. Pavel Florensky

2019 ◽  
pp. 98-108
Author(s):  
Teresa Obolevitch
Keyword(s):  
Da Vinci ◽  
Science And Religion ◽  
Leonardo Da Vinci ◽  
Rational System ◽  
Rational Expression ◽  
Religious Truth ◽  
Pavel Florensky ◽  
The One ◽  
Science And Faith ◽  
The Universe

Chapter 9 considers the philosophy of Fr. Pavel Florensky, “the Russian Leonardo da Vinci” who presented the most impressive attempt at the reconciliation of faith and science. Florensky was skeptical about the possibility of the rational expression of the content of revelation and maintained that a rational system violates the one religious Truth. At the same time, he tried to create a fusion of science and faith in the spirit of concordism. Emphasizing the antinomic character of the universe, he nevertheless believed in the possibility of overcoming the antinomy between science and religion, and of creating religious science and scientific religion.

scholarly journals The Babinski sign in Renaissance paintings—a reappraisal of the toe phenomenon in representations of the Christ Child: observational analysis

BMJ ◽  
2020 ◽  
pp. m4556
Author(s):  
François Sellal ◽  
Laurent Tatu
Keyword(s):  
Da Vinci ◽  
Outcome Measure ◽  
Leonardo Da Vinci ◽  
Italian Renaissance ◽  
Large Collection ◽  
Babinski Sign ◽  
Observational Analysis ◽  
15Th Century ◽  
Foot Sole Stimulation ◽  
Stimulation Of

Abstract Objective To investigate systematically the presence of the Babinski sign in paintings of the Christ Child by the greatest painters of the Renaissance. Design Observational analysis. Setting Large collection of paintings depicting the Christ Child from Flemish, Rhenish, and Italian schools between 1400 and 1550 CE, searched using published catalogues and Google. Study sample 302 Renaissance paintings (by 19 painters) depicting the Christ Child. Main outcome measure Babinski sign, defined as a hallux extension with an amplitude greater than 30°. The presence of foot sole stimulation was also noted. Results An unquestionable upgoing toe was apparent in 90 (30%) of the 302 paintings. The Babinski sign was present in more than 60% of Christ Child paintings by Rogier van der Weyden, Hans Memling, Martin Schongauer, and Matthias Grünewald. A bilateral Babinski sign was observed in three paintings. Stimulation of the sole was noted in 48/90 (53%) paintings and was always present in paintings by Andrea del Verrocchio, Leonardo da Vinci, and Giorgione. No association existed between the presence of the Babinski sign and the period during which the painter was active. Conclusions Four main factors were noted in relation to the representation of the Babinski sign in paintings of the Christ Child: the physiological toe phenomenon in infants, the representation of the nudity of the Christ by painters during the 15th century to demonstrate the incarnation, Renaissance painters’ need for precise observation of anatomy, and the desire of some Rhenish and Flemish painters to depict very realistic details. Italian Renaissance painters, whether Mannerist or not, tended to idealise the beauty of human body, and they often did not reproduce the Babinski sign.

scholarly journals Anatomy of a Dispute: Leonardo, Pacioli and Scientific Courtly Entertainment in Renaissance Milan

2004 ◽  
Vol 9 (2) ◽  
pp. 115-135 ◽  
Author(s):  
Monica Azzolini
Keyword(s):  
Fifteenth Century ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Vantage Point ◽  
The Arts ◽  
Social Advancement

AbstractHistorians have recently paid increasing attention to the role of the disputation in Italian universities and humanist circles. By contrast, the role of disputations as forms of entertainment at fifteenth-century Italian courts has been somewhat overlooked. In this article, the Milanese "scientific duel" (a courtly disputation) described in Luca Pacioli's De divina proportione is taken as a vantage point for the study of the dynamics of scientific patronage and social advancement as reflected in Renaissance courtly disputes. Pacioli names Leonardo da Vinci as one of the participants in the Milanese dispute. In this paper I argue that Leonardo's Paragone and Pacioli's De divina proportione are likewise the outcome of the Milanese "scientific duel." By challenging the traditional hierarchy of the arts, they both exemplify the dynamics of social and intellectual promotion of mathematicians and artists in the privileged setting of Renaissance courts, where courtly patronage could subvert the traditional disciplinary rankings.

scholarly journals Zmysły i edukacja. O roli doświadczenia, wiedzy oraz selekcji (refleksja filozoficzna w edukacji)

1970 ◽  
pp. 67-75
Author(s):  
Sławomir Futyma
Keyword(s):  
Cognitive Process ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Human Being ◽  
Human Race ◽  
Complex Process ◽  
The World ◽  
The Senses ◽  
The One

Sensory experience leads to the initiation of a complex process of thinking about the world. The result of this process are the images of what surrounds us. We definethis action as education. Because looking at the world from the perspective of sensual experience is the potential ability of every human being (Hannah Arendt), education becomes a tool enabling the simulation of the existing world and the one that may appear in the future. About who we are and where we are, who we will decide, the quality of the senses. The quality of the senses translates into the value of the cognitive process. The consequence of the quality of the cognitive process is the collection of information and knowledge. This sensual logic inscribes the action that classifiesus people according to predisposition or ava-ilable information that results from the quality of sensual functioning. As Leonardo da Vinci saw it: “Experience, the intermediary between creative nature and the human race, teaches what nature uses among mortals, that before the necessity of necessity one cannot act differently than reason, his teaching works.”

Towards Regional and Economic Development

2001 ◽  
Vol 15 (1) ◽  
pp. 42-47 ◽  
Author(s):  
Thore Thomassen ◽  
Peter Beckus ◽  
Ieva Serapinaite
Keyword(s):  
Da Vinci ◽  
Regional Cooperation ◽  
Low Cost ◽  
Leonardo Da Vinci ◽  
Governmental Organizations ◽  
Bilateral Agreement ◽  
Non Governmental Organizations ◽  
Research Programmes ◽  
Training Research ◽  
Further Development

Networking is an effective strategy for both economic and regional development, as the results of project management at the trans-regional level demonstrate. Cooperation between the Western Norway Training Partnership (WNTP) and Erfurt Technology Centre (TZE) shows that international teamwork is productive and that project administration is relatively low-cost. Both partners have carried out various projects within the European Commission's COMETT, Leonardo Da Vinci and Fifth Framework Research programmes. Seven years of cooperation between WNTP and TZE have resulted not only in increased awareness about both regions in political, academic and business circles, but also in the establishment of the Trade House, to increase exports, as well as the completion of a Bilateral Agreement of Regional Cooperation for further development of activities and contacts. Inter-regional and inter-sectoral links with local authorities, financial funds, research institutes, innovation centres and non-governmental organizations have been established to explore further possibilities for cooperation in training, research, business and culture. In this paper, the partners share experiences, analyse implications and discuss strategies that bring mutual benefits.

scholarly journals The Digital Renaissance from da Vinci to Turing

2020 ◽  
Author(s):  
Tula Giannini ◽  
Jonathan P. Bowen
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Italian Renaissance ◽  
Alan Turing ◽  
The Future ◽  
The Uk ◽  
London Conference

The Italian Renaissance started a rebirth of culture and knowledge not experienced since Roman times. Leonardo da Vinci was arguably the leading polymath of the era. We are now in the throes of a Digital Renaissance, arguably started by Alan Turing in England. This paper draws some parallels between these two periods and speculates on the future of digital developments, especially in the context of the EVA Florence conference in Italy and the EVA London conference in the UK.

scholarly journals L’Italia, l’arte e la poesia nel Fra Beato Andželiko di Nikolaj Gumilëv

2018 ◽  
pp. 251-258
Author(s):  
Giulia Baselica
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Italian Renaissance

The lyric poem Fra Andželiko (1912) was inspired by the vivid impressions Nikolaj Gumilëv gained during his Italian tour in the very same year. The work should be seen in its context that acts as a background for the gumilevian perception of the artistic civilization of the Italian Renaissance. Leonardo da Vinci, Raffaello, Benvenuto Cellini, Michelangelo are here awakened, described and matched to the eponymous character. This article aims to reconstruct the image of Italy, of Poetry and to depict the poet through the verses of the poem.

scholarly journals The flight of the shrike. The ornithological representation in the Baptism of Christ (1470-1475 c.) by Andrea del Verrocchio and Leonardo da Vinci

2021 ◽  
Vol 8 (2) ◽  
pp. 59-64
Author(s):  
Marco Masseti
Keyword(s):  
Scientific Knowledge ◽  
Da Vinci ◽  
Bird Species ◽  
Leonardo Da Vinci ◽  
Italian Renaissance ◽  
High Degree

The artists of the Italian Renaissance were keen observers of nature. Their works are often enriched with realistic details that inform us about the high degree of their scientific knowledge. In the particular case of the Baptism of Christ (1470-1475 c.) by Andrea del Verrocchio and Leonardo da Vinci, the careful depiction of certain bird species, including a red-backed shrike and a redstart, reveals precise meanings closely related to Christological symbolism.

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