self-portrait
Rock Madonna
Mona Lisa. Also known as LA GIOCONDA
Self-portrait is an excellent sketch by Italian painter Leonardo da Vinci. His sketch art level has reached a high level, and he is known as a model of sketch art. His creation of architecture, sculpture and painting is based on a large number of sketches. From the structure to every character and even every gesture, he has prepared sufficient sketches and sketches, and his sketches have played a role equivalent to or even more than modern photography. In this "self-portrait", the painter can describe himself easily. He observes carefully, uses rich and changeable lines, combines rigidity with softness, and especially makes good use of oblique lines with different densities to express subtle changes in light and shade. These sketching techniques have benefited many later painters, and they are called the classic works of sketching art. The lines used in this painting are vivid and flexible, with strong generality, but the simple strokes contain many twists and turns, the relationship is decent, the hair lines are used to replace the face, the three-dimensional sense is strong, and the expressions of the characters are also very vivid. Therefore, although this painting is a sketch, its artistic beauty and formal beauty are no less than Da Vinci's great works. Over the years, it has been attracting the appreciation and admiration of future art lovers with its meaningful charm.
Leonardo da Vinci's altar painting The Virgin of the Rock (189.5x119.5cm) is now in the National Gallery of London. This painting was made at the request of a religious group for the worship hall of San Francisco Church in Milan. In this painting, the virgin lives in the center of the painting. She holds the infant St. John in her right hand, and sits the infant Jesus in her left hand. An angel forms a triangle behind Jesus and responds to each other with gestures. The background is a deep cave, dotted with flowers and plants, and the cave is completely exposed. Although this painting belongs to the traditional theme, its expression and composition layout show Leonardo da Vinci's profound artistic level. The exquisite depiction of characters and backgrounds, the use of smoky brushwork, scientific realism and perspective and reduction techniques show that he has reached a new level in dealing with the dialectical relationship between realistic realism and artistic treatment. This painting is the beginning of a work in the heyday of expressing great differences.
The oil painting of Mona Lisa da Vinci 1503- 1506 77x53 cm is now in the Louvre. It is a masterpiece of Xiao Xiang's painting, which represents greatness. Leonardo da Vinci's highest artistic achievement is his masterpiece, which was painstakingly managed by Leonardo da Vinci for several years (1503- 1506). Mona Lisa was the wife of Florence businessman F.del Giocondo, when she was about 24 years old. When Leonardo da Vinci created this painting, he pursued art. He dedicated all his typical aesthetic ideals to portraits. The figure in the painting sits gracefully with a faint smile, and the background is deep mountains and rivers, which can be said to fully show his unique smoky brushwork. Moreover, he tried to skillfully combine the rich inner feelings of the characters with the beautiful shapes. He also pays special attention to mastering the dialectical relationship between precision and implication in the key parts of the portrait face, such as the corners of the eyes and lips, so as to achieve the charm, thus making the Mona Lisa's smile meaningful and mysterious, and the dreamy and charming smile makes the viewer fall into the clouds and sigh wonderfully. This vivid and perfect portrait is actually a brilliant embodiment of humanism to the lofty ideals of mankind.
The Last Supper-Da Vinci
The Last Supper is a mural made by Italian painter Leonardo da Vinci in 1495- 1497 for a monastery restaurant. This painting shows the different psychological reactions of Jesus' disciples when they hear the Lord say, "One of you is going to betray me".
Look at the trio on Christ's left first: Philip jumped up irresistibly and turned to Christ with unpredictable questions, trying to figure out what was going on. He put his hand over his chest to express his sincerity and purity. Old Jacob spread out his hands in anger, and then leaned back because he lost his center of gravity, as if to say, this is incredible. Thomas stood behind them. He tried to control his temper, raised his index finger to Christ and said, how is that possible? One of the three people on Christ's right is Judas. He twisted guiltily and wanted to stay away from his master in horror. He also grabbed the wallet he got from the informant in a hurry and squinted at Christ in fear. John hung his head sadly and folded his hands. He is very anxious and doesn't know what to do. He is listening to Peter. Peter stood up angrily, leaned over to John, put his left hand on his shoulder and put it to his ear, as if to ask, Do you know who it is? His right hand was still clutching a knife, as if to show that if I knew who it was, I would kill him. Among the three people in the rightmost group, bartholomew and Peter are very close. He opened his hands and looked shocked and calm, as if telling everyone not to panic. He stared at Christ seriously and calmly, trying to save his master. It was James Jr. who embraced Bartolo. He looked at the helplessness of Christ nervously. Standing at the top is a strong Andrew, who leans forward and rushes forward quite a bit. In the leftmost group, Matthew stretched out his hands to Christ, but his face turned to the Tathagata on the left, as if asking an experienced old man. Who was the master talking about just now? Mrs. Tattoo spread out her hands and said she wanted to know. Simon is also thinking hard, but to no avail.
The composition of this painting is not complicated, basically it is a straight line interspersed with changes, but it is rich in simplicity. The painter organically combines thirteen characters, which are both different and related. It not only highlights the main image of Christ, but also clearly describes everyone's appearance and personality characteristics. The painter arranged Jesus in the two centers of the picture and the visual center, and set off the image of Jesus more clearly with the light of the gate as the background. Dining tables, walls, doors, windows and ceilings all focus on the image of Christ, which naturally attracts the audience's attention to Christ first. And consciously separate the disciples on both sides from Jesus. At first glance, Jesus seems to be isolated. In fact, the inner emotions and feelings and the whole incident have closely linked them. The twelve disciples were evenly distributed on both sides in groups of three, and contacted and echoed Christ with their own actions and expressions. The whole environment and props have been treated simply, in order to highlight the excited characters more, and then lead the center of the whole picture to Christ through the actions and expressions of these characters.
The painter is very cautious when creating this painting, and sometimes he can't put pen to paper after standing in front of the painting and thinking for a long time. The abbot of the monastery was very angry and accused him of being lazy and stalling for time. The painter is worried that he can't find a model of Judas' head. He thought the head of this disgusting and rude dean was just right, so he took it as the image of Judas. Judas, which we see in the painting, is gloomy, ugly and particularly rude, which is in sharp contrast with John and Peter next to him and makes people look very boring.
A Comparison of Two Last Supper
Last supper-Tindoloto
Leonardo da Vinci and Tintoretto wrote The Last Supper at different times. In order to better appreciate Da Vinci's The Last Supper, let's compare it.
These two paintings are also drawn from the Bible. The difference is that Leonardo da Vinci's paintings were created from 1495 to 1498, which is the Renaissance, while Tindoleto's paintings were created from 1592 to 1594, which is a turning point in history and the Renaissance is about to be handed over to Baroque.
Judging from the subject matter alone, Leonardo da Vinci's paintings can barely be regarded as religious. Mentally, Tindoleto's paintings are full of Christian flavor, while Leonardo da Vinci's paintings have become secular. Tindoreto and Leonardo da Vinci chose two completely different moments to describe the last supper between Jesus and his disciples. The moment condensed in Tindoreto's paintings was when Jesus arranged the Eucharist and said to his disciples, "Eat, this is my body." As the disciples are familiar with; Leonardo da vinci's moment of concern was the disciples' reaction to Jesus' words-some of you betrayed me. Tindoletto chose a unique moment, which would not happen anywhere else. In fact, a certain moment in Leonardo da Vinci's paintings is always staged on the earth. Tindoletto's paintings are better than "divine dramas", while Leonardo da Vinci's is "world dramas".
Let's compare the two paintings in more detail.
1. Composition: Take the position of the dining table as an example. Leonardo da vinci put the table in front of the picture. The table is not only a table, but also forms a dividing line, just like the edge of the stage. The audience is on one side, and there is a play on the other side of the table. Tindoletto moved the dining table, and the characters in the painting were no longer far away from the audience. The edge of the painting is cut irregularly, which extends the picture and invites the audience to join the painting.
2. Use of space: Both leonardo da vinci and Tindoleto use perspective to create space. The so-called perspective method is the effect of two distant rails or roads gradually getting closer. Leonardo da vinci outlined perspective lines through ceilings, tapestries and floors. All the lines are gathered in the head of Christ, which is the center of the picture. The lines are bright and clear, forming a kind of symmetry and coordination. Tindoletto did not stare at the center of the picture, but let the lines extend steeply to the upper right corner until they met under the wings of an angel. Because the intersection is dark and fuzzy, the whole picture appears chaotic and the texture is unknown.
3. Characterization: The characters in Da Vinci's works are lined up, and everyone's reaction is unique, vivid and vivid. After listening to Jesus' words, the disciples reacted differently, thus showing their respective personalities and psychology. On the contrary, Tindoletto casts a shadow over the characters, making it difficult to tell them apart. Are wrapped in the atmosphere. They don't act as independent individuals, but the whole they add up to is meaning, which can be regarded as the overwhelming religious experience.
4. Reality: Both paintings are realistic and unrealistic. Leonardo da Vinci's truth lies in his attention to detail, so it is clear and accurate, but the house is abstract and the characters are incredibly crowded together. Tindoletto's paintings make up an unrealistic house. The mysterious light flickers on and off, and there are phantoms and haze everywhere. But the depiction of people and things is very three-dimensional, full and vivid.
5. Dramatic: The essence of drama is the conflict of characters at critical moments. From this point of view, both paintings are full of drama, and the continuous action is interrupted in an instant, just like a pendulum suddenly stopped at the top of the swing, but this moment is set in different ways. Leonardo da Vinci's character posture fully shows his inner world at the critical moment, and he reveals the meaningful "personality" with his plays. Tindoretto is concerned with the progress of sports and the passage of time. Looking at Tindoreto's paintings, you will have a sense of turbulence visually and you can't slow down. It can be said that Tindoretto uses drama to launch a meaningful "event". The ending is as important as the starting point and is a part of the whole.
Although leonardo da vinci's The Last Supper is regarded as the most popular religious painting, it is not a religion at all, but a description of human psychology, and Tindoleto's paintings reflect religious experience.
What kind of "humanity" do the two paintings convey? As far as Leonardo da Vinci was concerned, he regarded people as completely separated individuals. When an event happens, individuals will react in a unique way. On the surface, he does believe in the Protestant principle of attaching importance to individuals, but at the same time he also emphasizes that individuals can form a whole simply by adding them together. Different from Tindoreto's "super-personal" style, Tindoreto basically regards people as a part of a grand whole. If we consider the differences between them from the perspective of "church life", according to Leonardo da Vinci's understanding of human nature, there is no real church in reality. Perhaps the club is a more acceptable form, because individuals can be allowed to come in and out at will. According to Tindoreto's belief, the church is not nothingness, but everything, and people can only be realistic as a part of the church.
Even if you don't agree with the interpretation of human nature in a painting, you can still admit that it is a great work. This is art!