La mostra raccoglie per la prima volta straordinari capolavori di Andrea del Verrocchio, uno dei maggiori maestri del Quattrocento, insieme a fondamentali opere di artisti come Pietro Perugino, Domenico Ghirlandaio e Leonardo da Vinci, il suo più celebre allievo, di cui nel 2019 si celebra il cinquecentesimo anniversario della morte.0A cura di Francesco Caglioti e Andrea De Marchi e nata dalla collaborazione con il Museo Nazionale del Bargello, che ospiterà una sezione, l'esposizione celebra la figura di un artista che come pittore, scultore, orafo e disegnatore è stato geniale interprete dei valori del Rinascimento nella Firenze medicea di Cosimo il Vecchio, Piero e Lorenzo il Magnifico e che con la sua bottega ha influenzato un'intera generazione di maestri del XV secolo in Italia e in Europa.00Exhibition: Palazzo Strozzi, Florence, Italy (08.03-14.07.2019).

A comprehensive survey of the work of this most influential Florentine artist and teacher Andrea del Verrocchio (c. 1435–1488) was one of the most versatile and inventive artists of the Italian Renaissance. He created art across media, from his spectacular sculptures and paintings to his work in goldsmithing, architecture, and engineering. His expressive, confident drawings provide a key point of contact between sculpture and painting. He led a vibrant workshop where he taught young artists who later became some of the greatest painters of the period, including Leonardo da Vinci, Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio. This beautifully illustrated book presents a comprehensive survey of Verrocchio's art, spanning his entire career and featuring some fifty sculptures, paintings, and drawings, in addition to works he created with his students. Through incisive scholarly essays, in-depth catalog entries, and breathtaking illustrations, this volume draws on the latest research in art history to show why Verrocchio was one of the most innovative and influential of all Florentine artists. Published in association with the National Gallery of Art, Washington, DC

Presents exciting, original conclusions about Leonardo da Vinci's early life as an artist and amplifies his role in Andrea del Verrocchio's studio This groundbreaking reexamination of the beginnings of Leonardo da Vinci's (1452-1519) life as an artist suggests new candidates for his earliest surviving work and revises our understanding of his role in the studio of his teacher, Andrea del Verrocchio (1435-1488). Anchoring this analysis are important yet often overlooked considerations about Verrocchio's studio--specifically, the collaborative nature of most works that emerged from it and the probability that Leonardo must initially have learned to paint in tempera, as his teacher did. The book searches for the young artist's hand among the tempera works from Verrocchio's studio and proposes new criteria for judging Verrocchio's own painting style. Several paintings are identified here as likely the work of Leonardo, and others long considered works by Verrocchio or his assistant Lorenzo di Credi (1457/59-1536) may now be seen as collaborations with Leonardo sometime before his departure from Florence in 1482/83. In addition to Laurence Kanter's detailed arguments, the book features three essays presenting recent scientific analysis and imaging that support the new attributions of paintings, or parts of paintings, to Leonardo.

This handsome book offers a unified and fascinating portrait of Leonardo as draftsman, integrating his roles as artist, scientist, inventor, theorist, and teacher. 250 illustrations.

Verrocchio worked in an extraordinarily wide array of media and used unusual practices of making to express ideas.

1478 was the year in which Leonardo da Vinci, aged 26, obtained his first official commission and witnessed the Pazzi Conspiracy against the Medici family. In that year, he probably opened his independent workshop, leaving that of his master Andrea del Verrocchio, and, in its final months, he began to paint two paintings representing the Virgin Mary. One of these paintings is very likely the Benois Madonna at the State Hermitage, St. Petersburg; a work that marks a strong change in Leonardo’s style and power of expression and his representation of light and human emotions. This book provides an in-depth analysis of Leonardo’s growth as an artist in this year, detailing his training, his culture, his collaboration with Verrocchio, and his engagement in the artistic and cultural life of 1460s and 1470s Florence.

"From 1501 to 1505, Leonardo da Vinci and Michelangelo Buonarroti both lived and worked in Florence. Leonardo was a charming, handsome fifty year-old at the peak of his career. Michelangelo was a temperamental sculptor in his mid-twenties, desperate to make a name for himself. The two despise each other."--Front jacket flap.

For fans of rich and vivid historical novels like Girl with a Pearl Earring and Code Name Verity, Laura Malone Elliott delivers the stunning tale of real-life Renaissance woman Ginevra de' Benci, the inspiration for one of Leonardo da Vinci's earliest masterpieces. The young and beautiful daughter of a wealthy family, Ginevra longs to share her poetry and participate in the artistic ferment of Renaissance Florence but is trapped in an arranged marriage in a society dictated by men. The arrival of the charismatic Venetian ambassador, Bernardo Bembo, introduces Ginevra to a dazzling circle of patrons, artists, and philosophers. Bembo chooses Ginevra as his Platonic muse and commissions a portrait of her by a young Leonardo da Vinci. Posing for the brilliant painter inspires an intimate connection between them, one Ginevra only begins to understand. In a rich and vivid world of exquisite art with a dangerous underbelly of deadly political feuds, Ginevra faces many challenges to discover her voice and artistic companionship—and to find love.

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).

"[The Shadow Drawing] reorients our perspective, distills a life and brings it into focus—the very work of revision and refining that its subject loved best." —Parul Sehgal, The New York Times | Editors' Choice An entirely new account of Leonardo the artist and Leonardo the scientist, and why they were one and the same man Leonardo da Vinci has long been celebrated for his consummate genius. He was the painter who gave us the Mona Lisa and The Last Supper, and the inventor who anticipated the advent of airplanes, hot air balloons, and other technological marvels. But what was the connection between Leonardo the painter and Leonardo the scientist? Historians of Renaissance art have long supposed that Leonardo became increasingly interested in science as he grew older and turned his insatiable curiosity in new directions. They have argued that there are, in effect, two Leonardos—an artist and an inventor. In this pathbreaking new interpretation, the art historian Francesca Fiorani offers a different view. Taking a fresh look at Leonardo’s celebrated but challenging notebooks, as well as other sources, Fiorani argues that Leonardo became familiar with advanced thinking about human vision when he was still an apprentice in a Florence studio—and used his understanding of optical science to develop and perfect his painting techniques. For Leonardo, the task of the painter was to capture the interior life of a human subject, to paint the soul. And even at the outset of his career, he believed that mastering the scientific study of light, shadow, and the atmosphere was essential to doing so. Eventually, he set down these ideas in a book—A Treatise on Painting—that he considered his greatest achievement, though it would be disfigured, ignored, and lost in subsequent centuries. Ranging from the teeming streets of Florence to the most delicate brushstrokes on the surface of the Mona Lisa, The Shadow Drawing vividly reconstructs Leonardo’s life while teaching us to look anew at his greatest paintings. The result is both stirring biography and a bold reconsideration of how the Renaissance understood science and art—and of what was lost when that understanding was forgotten.