For the 500th anniversary of Leonardo da Vinci’s death comes an immersive journey through five centuries of history to define the Leonardo mystique and uncover how the elusive Renaissance artist became a global pop icon. Virtually everyone would agree that Leonardo da Vinci was the most important artist of the High Renaissance. It was Leonardo who singlehandedly created the defining features of Western art: a realism based on subtle shading; depth using atmospheric effects; and dramatic contrasts between light and dark. But how did Leonardo, a painter of very few works who died in obscurity in France, become the internationally renowned icon he is today, with the Mona Lisa and the Last Supper the most visited artworks in the world, attracting nearly a billion visitors each year, and Salvator Mundi selling as the most expensive artwork of all time, for nearly half a billion dollars? This extraordinary volume, lavishly illustrated with 130 color images, is the first book to unravel these mysteries by diving deep into the art, literature, science, and politics of Europe from the Renaissance through today. It gives illuminating context to both Leonardo and his accomplishments; explores why Leonardo’s fame vastly overshadowed that of his contemporaries and disciples; and ultimately reveals why despite finishing very few works, his celebrity has survived, even thrived, through five centuries of history.

A quick internet search will yield results of Leonardo da Vinci's legendary paintings; the Mona Lisa and the Last Supper; and you might even catch a glimpse of his well-known sketches of machines; human bodies; and animals. However; there's so much more to da Vinci than his paintings and drawings. This 16th-century Italian man embodied the Renaissance spirit -- he was intensely interested in everyone and everything. His curiosity spanned every discipline; from geometry to anatomy to the link between art and science. 500 years ago was a time of insight; of investigation; and in this sense; da Vinci fit in perfectly. However; in another sense; he didn't belong at all -- he was a loner living in his own world. An illegitimate child with 17 half-siblings; Leonardo also shrouded himself in secrecy. He wrote in a mirror script; meaning that you could only understand what he had written by holding it up to a mirror. He believed that we all have potential to do amazing things; but he also had lots of unfinished projects and struggled with lifelong self-doubt. Delve in to these pages to find out why Leonardo di Ser Piero d'Antonio di Ser Piero di Ser Guido da Vinci -- yes; this was his full name -- was as mysterious as his painting of Mona Lisa's famous smile.

"The year 2019 sees the 500th anniversary of the death of Leonardo da Vinci.... In the Spring of 2019, selections of the finest of Leonardo's drawings will be shown simultaneously at twelve museums and galleries across England, Scotland, Wales and Northern Ireland. The Queen's Gallery at Buckingham Palace will show 200 drawings during the Summer--the largest exhibition of Leonardo's work in almost 70 years--and many of those drawings will be displayed at the Palace of Holyroodhouse in Edinburgh the following Winter"--Foreword.

A quick internet search will yield results of Leonardo da Vinci’s legendary paintings, the Mona Lisa and the Last Supper, and you might even catch a glimpse of his well-known sketches of machines, human bodies, and animals. However, there’s so much more to da Vinci than his paintings and drawings. This 16th-century Italian man embodied the Renaissance spirit — he was intensely interested in everyone and everything. His curiosity spanned every discipline, from geometry to anatomy to the link between art and science. 500 years ago was a time of insight, of investigation, and in this sense, da Vinci fit in perfectly. However, in another sense, he didn’t belong at all — he was a loner living in his own world. An illegitimate child with 17 half-siblings, Leonardo also shrouded himself in secrecy. He wrote in a mirror script, meaning that you could only understand what he had written by holding it up to a mirror. He believed that we all have potential to do amazing things, but he also had lots of unfinished projects and struggled with lifelong self-doubt. Delve in to these pages to find out why Leonardo di Ser Piero d’Antonio di Ser Piero di Ser Guido da Vinci — yes, this was his full name — was as mysterious as his painting of Mona Lisa’s famous smile.

Approaching the 500th anniversary of Leonardo’s death, the world- renowned da Vinci expert recounts his fifty- year journey with the work of the world’s most famous artist A personal memoir interwoven with original research, Living with Leonardo takes us deep inside Leonardo da Vinci scholar Martin Kemp’s lifelong passion for the genius who has helped define our culture. Each chapter considers a specific work as Kemp offers insight into his encounters with academics, collectors, curators, devious dealers, auctioneers, and authors— as well as how he has grappled with legions of “Leonardo loonies,” treaded vested interests in academia and museums, and fended off fusillades of non- Leonardos. Kemp explains his thinking on the Last Supper and the Mona Lisa, retells his part in the identification of the stolen Buccleuch Madonna, and explains his involvement on the two major Leonardo discoveries of the last 100 years: La Bella Principessa and Salvator Mundi. His engaging narrative elucidates the issues surrounding attribution,the scientific analyses that support experts’ interpretations, and the continuing importance of connoisseurship. Illustrated with the works being discussed, Living with Leonardo explores the artist’s genius from every angle, including technical analysis and the pop culture works he inspired, such as The Da Vinci Code, and his enduring influence 500 years after his death.

A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.

Offers a portrait of the artist, covering his life, creative process, and his art, presented in more than 295 illustrations that span the length and breadth of his career.

"First published in hardback 2012 by Royal Collection Trust".-Title page verso.

The #1 New York Times bestseller from Walter Isaacson brings Leonardo da Vinci to life in this exciting new biography that is “a study in creativity: how to define it, how to achieve it…Most important, it is a powerful story of an exhilarating mind and life” (The New Yorker). Based on thousands of pages from Leonardo da Vinci’s astonishing notebooks and new discoveries about his life and work, Walter Isaacson “deftly reveals an intimate Leonardo” (San Francisco Chronicle) in a narrative that connects his art to his science. He shows how Leonardo’s genius was based on skills we can improve in ourselves, such as passionate curiosity, careful observation, and an imagination so playful that it flirted with fantasy. He produced the two most famous paintings in history, The Last Supper and the Mona Lisa. With a passion that sometimes became obsessive, he pursued innovative studies of anatomy, fossils, birds, the heart, flying machines, botany, geology, and weaponry. He explored the math of optics, showed how light rays strike the cornea, and produced illusions of changing perspectives in The Last Supper. His ability to stand at the crossroads of the humanities and the sciences, made iconic by his drawing of Vitruvian Man, made him history’s most creative genius. In the “luminous” (Daily Beast) Leonardo da Vinci, Isaacson describes how Leonardo’s delight at combining diverse passions remains the ultimate recipe for creativity. So, too, does his ease at being a bit of a misfit: illegitimate, gay, vegetarian, left-handed, easily distracted, and at times heretical. His life should remind us of the importance to be imaginative and, like talented rebels in any era, to think different. Here, da Vinci “comes to life in all his remarkable brilliance and oddity in Walter Isaacson’s ambitious new biography…a vigorous, insightful portrait” (The Washington Post).