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 Leonardos 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 dEste, 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.
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