A spirited glimpse at the childhood of one of the world's greatest artists and thinkers: Leonardo da Vinci.

"Jean-Pierre Isbouts and Christopher Heath Brown depict Leonardo's seminal years in Milan from an entirely new perspective: that of the Sforza court. They show that much of the Sforza patronage was directed on vast projects, such as the Milan Cathedral, favoring a close circle of local artists to which Leonardo never gained entry. As a result, his exceptional talent remained largely unrecognized right up to The Last Supper and the fresco of the Crucifixion on the opposite wall, a work that up to now has fully escaped public attention. Finally, they present a sensational theory: that two long-ignored, life-size copies of The Last Supper, now in Belgium and the UK, were actually commissioned by the French king Louis XII and painted under Leonardo's direct supervision."--Publisher's description.

Da Vinci's Cases: Three Adventures of Young Leonardo Da Vinci's Cases by Alfred Bekker 360 pages Three mysterious adventures of young Leonardo da Vinci: Leonardo and the Mystery of the Villa Medici Leonardo and the Conspirators of Florence Leonardo and the Mystery of the Alchemist The year 1462, location: the small village Vinci near Florence: Ten-year-old Leonardo and his friend Carlo experience a lot of adventures: a spy must be unmasked, the boys are kidnapped by disguised bandits and a testament has disappeared. Leonardo and Carlo need to find a solution in all cases. Alfred Bekker, born in 1964, writes fantasy, historical novels, criminal novels and books for young readers. His historical adventures for young readers are full of suspense, stuff which even kids who hate reading cannot resist.

ISSN: 2397-9607 Issue 218 ÿ In this 218th issue of the Baba Indaba?s Children's Stories series, Baba Indaba narrates the story of the Boyhood of Leonardo da Vinci. From his birth in the village of Anchiano, north of Florence, to his move to Milan and the creation of his mechanical Lion for Francis I., King of France and to his travels around France painting portraits to designing and improving the battlements of many castles ? and there is more?.. To read the story of the life of Leonardo, you are invited to download the story here. ÿ 33% of the profit from the sale of this book will be donated to charities. ÿ INCLUDES LINKS TO DOWNLOAD 8 FREE STORIES ÿ Each issue also has a "WHERE IN THE WORLD - LOOK IT UP" section, where young readers are challenged to look up a place on a map somewhere in the world. The place, town or city is relevant to the story. HINT - use Google maps. ÿ Baba Indaba is a fictitious Zulu storyteller who narrates children's stories from around the world. Baba Indaba translates as "Father of Stories".

Presents the childhood years, family life, early influences, inventions, and masterpieces of this renowned fifteenth-century inventor and artist.

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.

Provocative and original, this fresh look at Leonardo da Vinci’s formative years in Florence and Milan provides a radically different scenario of how he created his signature style that would transform Western art forever. The traditional view of Leonardo da Vinci’s career is that he enjoyed a promising start in Florence and then moved to Milan to become the celebrated court artist of Duke Ludovico Sforza. Young Leonardo presents a very different view. It reveals how the young Leonardo struggled against the prevailing style of his master Verrocchio, was stymied in his efforts to produce his first masterpiece in Florence, and left for Milan on little more than a wing and a prayer. Once there, he was long ignored by Duke Ludovico, and enjoyed only tepid Sforza support after his great equestrian project came to nothing. Meanwhile, all the major Sforza commissions went to artists whose names are now forgotten. Isbouts and Brown depict Leonardo’s seminal years in Milan from an entirely new perspective: that of the Sforza court. They show that much of the Sforza patronage was directed on vast projects, such as the Milan Cathedral, favoring a close circle of local artists to which Leonardo never gained entry. As a result, his exceptional talent remained largely unrecognized right up to the Last Supper. The authors also explore a mysterious link between the Last Supper and the fresco of the Crucifixion on the opposite wall, a work that up to now has fully escaped public attention. Finally, they present a sensational theory: that two long-ignored, life-sized copies of the Last Supper, now in Belgium and the U.K., were actually commissioned by the French King Louis XII and painted under Leonardo’s direct supervision. Young Leonardo is a fascinating window into the artist’s mind as he slowly develops the groundbreaking techniques that will produce the High Renaissance and change the course of European art.

This is the first in-depth look at the important connections between the arts and science specifically for early childhood education (pre-K–3rd grade). Highlighting their many commonalities, such as the processes involved in creative problem solving, the author draws on what we can learn from Leonardo da Vinci as the supreme artist-scientist. Every chapter begins with a vignette of Leonardo and relates his thinking to the development of children’s ideas in the arts and STEM (STEAM). This fresh look at the interdisciplinary connections of the arts and science offers early childhood teachers and administrators a spectrum of tools for connecting the creative arts (art, movement, drama, and music) to the STEM movement, 21st-century skills, and developmentally appropriate practice. “A coherent, well-researched argument for replacing meaningless activities with engaging creative art and STEM experiences.” —From the Foreword by Judy Harris Helm, president, Best Practices, Inc. “Mary Jo understands the many connections between science and art, and her materials and resources foster creativity and science learning with ready-to-use activities.” —Carrie Lynne Draper, founder & executive director, Readiness Learning Associates “Woven throughout the book are historical perspectives, current research, critical concepts, and activity ideas that provide a rich rationale and immediate applicability to the classroom.” —Julie Bullard, University of Montana

Presents the life and accomplishments of the famous Renaissance artist, scientist, engineer, and inventor.

"It is a miracle that any one man should have observed, read, and written down so much in a single lifetime."--Kenneth Clark Painter, sculptor, musician, scientist, architect, engineer, inventor . . . perhaps no other figure so fully embodies the Western Ideal of "Renaissance man" as Leonardo da Vinci. Leonardo was not content, however, to master an artistic technique or record the mechanics of a device; he was driven by an insatiable curiosity to understand why. His writings, interests, and musings are uniformly characterized by an incisive, probing, questioning mind. It was with this piercing intellectual scrutiny and detailed scientific thoroughness that Leonardo undertook the study of the human body. This exceptional volume reproduces more than 1,200 of Leonardo's anatomical drawings on 215 clearly printed black-and-white plates. The drawings have been arranged in chronological sequence to display Leonardo's development and growth as an anatomist. Leonardo's text, which accompanies the drawings--sometimes explanatory, sometimes autobiographical and anecdotal--has been translated into English by the distinguished medical professors Drs. O'Malley and Saunders. In their fascinating biographical introduction, the authors evaluate Leonardo's position in the historical development of anatomy and anatomical illustration. Each plate is accompanied by explanatory notes and an evaluation of the individual plate and an indication of its relationship to the work as a whole. While notable for their extraordinary beauty and precision, Leonardo's anatomical drawings were also far in advance of all contemporary work and scientifically the equal of anything that appeared well into the seventeenth century. Unlike most of his predecessors and contemporaries, Leonardo took nothing on trust and had faith only in his own observations and experiments. In anatomy, as in his other investigations, Leonardo's great distinction is the truly scientific nature of his methods. Herein then are over 1,200 of Leonardo's anatomical illustrations organized into eight major areas of study: Osteological System, Myological System, Comparative Anatomy, Nervous System, Respiratory System, Alimentary System, Genito-Urinary System, and Embryology. Artists, illustrators, physicians, students, teachers, scientists, and appreciators of Leonardo's extraordinary genius will find in these 1,200 drawings the perfect union of art and science. Carefully detailed and accurate in their data, beautiful and vibrant in their technique, they remain today--nearly five centuries later--the finest anatomical drawings ever made. Dover (1983) unabridged and unaltered republication of "Leonardo da Vinci on the Human Body: The Anatomical, Physiological, and Embryological Drawings of Leonardo da Vinci, " originally published by Henry Schuman, New York, 1952.