Leonardo da Vinci

Review by Choice Review

Who is not familiar with the versatile genius Leonardo da Vinci? He was an artist, scientist, innovator, and bold thinker, an icon on whom volumes have been written. But here comes a new biography by a biographer par excellence. Isaacson (Tulane Univ.) presents a wealth of fascinating material on the hero with superb clarity and erudition. We read about this unschooled scholar exploring optics and anatomy, fantasizing about technologies to be actualized centuries later, painting masterpieces; we consider his genius as a military engineer and architect. There is reference to the challenges Leonardo faced as a gay man (though in Florence's art world da Vinci was not alone). We read of his Vitruvian Man and that of Giacomo Andreas, about the range of the artist's attire, and much more of significant and trivial interest. There are thoughtful comments on the master's paintings and details on his stay with François I of France. The inclusion of many color reproductions adds considerably to the book's charm, besides making one feel that the price is a bargain. Leonardo's immense accomplishments jolt us to the recognition of what the human spirit is capable of. A must-read for all educated people and for those seeking to expand their education. Summing Up: Essential. All readers. --Varadaraja V. Raman, emeritus, Rochester Institute of Technology

Copyright American Library Association, used with permission.

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Review by New York Times Review

SPECIALISTS ON LEONARDO DA VINCI have to work like detectives. They must draw information from the tiniest of clues. A few years ago, a German scholar spotted a marginal note that a Florentine had entered in 1503 in his copy of Cicero's letters. On a page on which Cicero remarked that the painter Apelles "finished the head and bust of his Venus with the most refined artistry, but left the rest of her body incomplete," the Florentine reader, Agostino Vespucci, connected past to present: "Leonardo da Vinci works this way in all his paintings, as in the head of Lisa del Giocondo and that of Anne, mother of the Virgin. We will see what he will do in the Hall of the Great Council." This little note confirmed that the subject of the infinitely mysterious "Mona Lisa" was Lisa del Giocondo, the wife of a wealthy silk merchant. It showed that Leonardo's contemporaries recognized and discussed the special qualities of his art. And it gave a taste of the way in which Renaissance Italians creatively combined disciplines. Vespucci was a classical scholar, trained by the most brilliant philologist of the late 15 th century, Angelo Poliziano. He used his training not in the academy but in Florentine government, where he served as the assistant to another great innovator, Niccolö Machiavelli. Vespucci was reading Cicero's lessons about the ancient Roman republic to help him better serve the modern Florentine republic. In Renaissance Italy, cultural borders existed only to be crossed. Walter Isaacson follows dozens of clues to reanimate Leonardo da Vinci, one of the boldest of these bordercrossers. Though Leonardo wrote endlessly, he revealed little directly about his inner life. Without fuss and without Freud - though Dan Brown, unfortunately, makes an appearance - Isaacson uses his subject's contradictions to give him humanity and depth. A dandy, known for his bright pink clothing, Leonardo lived at times in rooms full of dissected bodies. A vegetarian who bought birds so that he could set them free, he designed killing machines. A connoisseur of grotesques, he painted glorious, glowing angels. As Isaacson follows Leonardo from one locale and occupation to another, his energy never fails and his curiosity never dims. Again and again he turns up a surprising and revelatory detail - the averted eyes that suggest Leonardo used mirrors to create a marvelous late self-portrait, human vertebrae drawn with precision and delicacy. Leonardo embodies the creativity of the "many-sided people" of the Renaissance" - the term that the cultural historian Jacob Burckhardt coined for him and his contemporaries. He is most famous, today, as the painter of the "Mona Lisa" and "The Last Supper." Yet when he offered his services to the ruler of Milan, Ludovico Sforza, he promised to invent bridges, cannons and war machines. Only at the end of his letter did he mention that he could sculpt and paint. And Leonardo's dedication to STEM subjects was absolute. In his notebooks, he recorded the movements of everything from the water in rivers to the blood in the human aorta (the patterns of which he worked out centuries before anyone else). He designed machines to lift huge weights and enable men to fly. And he made apparent that because he could draw these anatomical and structural wonders, he saw more and more clearly than professional scholars and medical men. Isaacson toggles between Leonardo's works of art and his contemplation of nature, tracing the connections between them. As Leonardo studied sight, he found that shadows, not hard outlines, defined the shapes of objects. As he worked on the geometry of perspective, he learned how to manipulate the formal rules in order to compensate for the distortions inevitable when a spectator moved from place to place in front of a large painting on a wall. "Mona Lisa" and "The Last Supper," as Isaacson reads them, are not only paintings of infinite depth and complexity, but demonstrations of new methods and principles for studying nature. Isaacson does not offer a seamless story. Nothing is simple in Leonardo studies. Historians of science debate the meaning and importance of his manuscripts, while historians of art and curators wrangle over the authenticity and chronology of his works. Is the newly discovered "Salvator Mundi" (recently sold at auction for an eye-popping $450 million) a genuine Leonardo painting? Isaacson takes the reader through the story of its authentication, which involved both evaluation of its quality and technical analysis of its execution. Trade editors have been known to discourage authors from treating problems like this in detail. Leave the pedantry, they say, for the academics. Isaacson, however, puts on his professor's hat - he teaches history at flilane University - and lucidly describes the controversies. This brave decision gives his book the character of a mosaic, assembled piece by piece, rather than a smooth fresco - and makes it far more instructive than a simple narrative could ever have been. Isaacson shows that the work of great scholars like the Leonardo specialist Martin Kemp can be exciting in its own right. Isaacson could have pressed another sort of information from the words and drawings he read so carefully. Earlier engineers anticipated Leonardo's deep interest in the underwater world and diving apparatus. Leon Battista Alberti even hired divers in the hope of raising a sunken Roman barge from the bottom of Lake Nemi. Before Leonardo, earlier natural philosophers argued that thousands of years of flooding and erosion had shaped the surface of the earth. Connecting these dots - showing that Leonardo shared interests and ideas with many predecessors and contemporaries - would have made Isaacson's history even richer. Then again, the choice of a tight angle lens might have been deliberate. After all, Leonardo himself painted his portrait subjects against blurry, indistinct landscapes.

Copyright (c) The New York Times Company [August 30, 2019]

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Review by Booklist Review

*Starred Review* Isaacson's writings of late have been concerned with genius: biographies of Benjamin Franklin, Albert Einstein, and Steve Jobs. Now he takes on perhaps the ultimate genius, a man whose interest in art and science intertwined in spectacular ways. Putting together the life of Leonardo da Vinci (despite his own numerous entries in his famous notebooks) seems to have been a more complicated task for Isaacson than was presenting his previous subjects (and, of course, he had the advantage of numerous personal interviews with Jobs). On the surface, the book doesn't seem to reveal much more about the man personally illegitimate, gay, sometimes unfocused than does a solid encyclopedia entry. Ah, but when Isaacson discusses da Vinci's artistic and scientific endeavors, all manner of fascinating connections begin to emerge. With the strong advantage of having four-color images of Leonardo's work placed throughout his text, Isaacson can both show and tell, writing with assurance about the different influences on the artist's works, where his passions lay and overlapped. Leonardo's fascination with anatomical structure informed his paintings; his profound interest in math and the transformation of shapes influenced his inventions. His delight in staging theatricals led to dramas that offered interpretations of his allegorical art and drawings. Encompassing in its coverage, robust in its artistic explanations, yet written in a smart, conversational tone, this is both a solid introduction to the man and a sweeping saga of his genius.--Cooper, Ilene Copyright 2017 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.

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Review by Publisher's Weekly Review

Screen, television, and stage actor Molina (Raiders of the Lost Ark, Not Without My Daughter), elegantly narrates Isaacson's sweeping biography of Leonardo da Vinci. Molina effortlessly navigates Italian place names and surnames, and there is a sharp intelligence throughout his performance, as he joins Isaacson in peeling back the layers of a man whose surviving notebooks are crammed with fantastic designs but only contain tantalizing hints of a personal life. Isaacson manages to piece together chronologically the artist's life from his apprenticeship at age 14 in Florence under Andrea del Verrochio to his death in France in 1519, focusing primarily on his evolution as an artist. Isaacson reads the foreword and the conclusion, in which he ruminates on the legacy of an artist whose trail of unfinished projects vastly outnumbers his completed works. The only hiccup in this excellent audio production is that the nearly 150 illustrations mentioned throughout are available in PDF form but are not easily accessible for those listening on the go. Still, it's a great performance by Molina and a pleasure to listen to. A Simon & Schuster hardcover. (Oct.) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

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Review by Library Journal Review

For this biography, Isaacson (Steve Jobs) used his subject's notebooks for his research since they helped to understand Leonardo as a person. Born illegitimate and middle class in the city of Vinci outside of Florence, Italy, Leonardo had a fascination with both science and art. This melding of both subjects was a main component of Renaissance life. The audiobook examines Leonardo's birth, early adulthood, his homosexuality, his works (e.g., The Last Supper; Mona Lisa), his contemporaries, including Michelangelo and Cesare Borgia (upon whom Machiavelli's The Prince was based), and his lasting impact. Alfred Molina does a wonderful job of telling this story. His accent and pronunciation make for a vivid listening experience. Isaacson narrates the introduction and conclusion, providing a more personal presentation of the material. The first CD contains a 111-page PDF with a time line, images from Leonardo's notebooks, his paintings and sculptures, and photographs of buildings and rooms where he lived. VERDICT A phenomenal title for fans of Isaacson's previous biographies, Renaissance life in Florence, and da Vinci himself. ["A must-read biography": LJ 10/15/17 starred review of the S. & S. hc.]-Jason L. Steagall, Gateway Technical Coll. Lib., Elkhorn, WI © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Review by Kirkus Book Review

A majestic biography of "history's most creative genius."With many exceptional popular history books under his belt, Isaacson (History/Tulane Univ.; The Innovators: How a Group of Hackers, Geniuses, and Geeks Created the Digital Revolution, 2014, etc.) is close to assuming the mantle currently held by David McCullough. Here, Isaacson takes on another complex, giant figure and transforms him into someone we can recognize. The author believes the term "genius" is too easily bandied about, but Leonardo (1452-1519), from the tiny village of Vinci, near Florence, was "one of the few people in history who indisputably deservedor, to be more precise, earnedthat appellation." He was self-taught and "willed his way to his genius." With joyous zest, Isaacson crafts a marvelously told story "of a misfit: illegitimate, gay, vegetarian, left-handed, easily distracted, and at times heretical." Like a child in a candy store, Isaacson often stops to exclaim; he shares his enthusiasm, and it's contagious. For the author, the starting point are da Vinci's notebooks, all 7,200 pages, the "greatest record of curiosity ever created." Da Vinci's groundbreaking, detailed drawings charted the inner worlds of the skull, heart, muscles, brain, birds' wings, and a working odometer, along with doodles and numerous to-do lists. In his iconic Vitruvian Man, completed when he was 38 and struggling to learn Latin, "Leonardo peers at himself with furrowed brow and tries to grasp the secrets of his own nature." Isaacson is equally insightful with the paintings, of which there are few. The Last Supper is a "mix of scientific perspective and theatrical license, of intellect and fantasy." Regarding the uncompleted Mona Lisa, he writes "never in a painting have motion and emotion, the paired touchstones of Leonardo's art, been so intertwined." As Isaacson wisely puts it, we can all learn from Leonardo. Totally enthralling, masterful, and passionate, this book should garner serious consideration for a variety of book prizes. Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

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Leonardo da Vinci CHAPTER 1 Childhood Vinci, 1452-1464 DA VINCI Leonardo da Vinci had the good luck to be born out of wedlock. Otherwise, he would have been expected to become a notary, like the firstborn legitimate sons in his family stretching back at least five generations. His family roots can be traced to the early 1300s, when his great-great-great-grandfather, Michele, practiced as a notary in the Tuscan hill town of Vinci, about seventeen miles west of Florence. I With the rise of Italy's mercantile economy, notaries played an important role drawing up commercial contracts, land sales, wills, and other legal documents in Latin, often garnishing them with historical references and literary flourishes. Because Michele was a notary, he was entitled to the honorific "Ser" and thus became known as Ser Michele da Vinci. His son and grandson were even more successful notaries, the latter becoming a chancellor of Florence. The next in line, Antonio, was an anomaly. He used the honorific Ser and married the daughter of a notary, but he seems to have lacked the da Vinci ambition. He mostly spent his life living off the proceeds from family lands, tilled by sharecroppers, that produced a modest amount of wine, olive oil, and wheat. Antonio's son Piero made up for the lassitude by ambitiously pursuing success in Pistoia and Pisa, and then by about 1451, when he was twenty-five, establishing himself in Florence. A contract he notarized that year gave his work address as "at the Palazzo del Podestà," the magistrates' building (now the Bargello Museum) facing the Palazzo della Signoria, the seat of government. He became a notary for many of the city's monasteries and religious orders, the town's Jewish community, and on at least one occasion the Medici family. 1 On one of his visits back to Vinci, Piero had a relationship with an unmarried local peasant girl, and in the spring of 1452 they had a son. Exercising his little-used notarial handwriting, the boy's grandfather Antonio recorded the birth on the bottom of the last page of a notebook that had belonged to his own grandfather. "1452: There was born to me a grandson, the son of Ser Piero my son, on the 15th day of April, a Saturday, at the third hour of the night [about 10 p.m.]. He bears the name Leonardo." 2 Leonardo's mother was not considered worth mentioning in Antonio's birth notation nor in any other birth or baptism record. From a tax document five years later, we learn only her first name, Caterina. Her identity was long a mystery to modern scholars. She was thought to be in her mid-twenties, and some researchers speculated that she was an Arab slave, or perhaps a Chinese slave. 3 In fact, she was an orphaned and impoverished sixteen-year-old from the Vinci area named Caterina Lippi. Proving that there are still things to be rediscovered about Leonardo, the art historian Martin Kemp of Oxford and the archival researcher Giuseppe Pallanti of Florence produced evidence in 2017 documenting her background. 4 Born in 1436 to a poor farmer, Caterina was orphaned when she was fourteen. She and her infant brother moved in with their grandmother, who died a year later, in 1451. Left to fend for herself and her brother, Caterina had a relationship in July of that year with Piero da Vinci, then twenty-four, who was prominent and prosperous. There was little likelihood they would marry. Although described by one earlier biographer as "of good blood," 5 Caterina was of a different social class, and Piero was probably already betrothed to his future wife, an appropriate match: a sixteen-year-old named Albiera who was the daughter of a prominent Florentine shoemaker. He and Albiera were wed within eight months of Leonardo's birth. The marriage, socially and professionally advantageous to both sides, had likely been arranged, and the dowry contracted, before Leonardo was born. Keeping things tidy and convenient, shortly after Leonardo was born Piero helped to set up a marriage for Caterina to a local farmer and kiln worker who had ties to the da Vinci family. Named Antonio di Piero del Vacca, he was called Accattabriga, which means "Troublemaker," though fortunately he does not seem to have been one. Leonardo's paternal grandparents and his father had a family house with a small garden right next to the walls of the castle in the heart of the village of Vinci. That is where Leonardo may have been born, though there are reasons to think not. It might not have been convenient or appropriate to have a pregnant and then breast-feeding peasant woman living in the crowded da Vinci family home, especially as Ser Piero was negotiating a dowry from the prominent family whose daughter he was planning to marry. Instead, according to legend and the local tourist industry, Leonardo's birthplace may have been a gray stone tenant cottage next to a farmhouse two miles up the road from Vinci in the adjacent hamlet of Anchiano, which is now the site of a small Leonardo museum. Some of this property had been owned since 1412 by the family of Piero di Malvolto, a close friend of the da Vincis. He was the godfather of Piero da Vinci and, in 1452, would be a godfather of Piero's newborn son, Leonardo--which would have made sense if Leonardo had been born on his property. The families were very close. Leonardo's grandfather Antonio had served as a witness to a contract involving some parts of Piero di Malvolto's property. The notes describing the exchange say that Antonio was at a nearby house playing backgammon when he was asked to come over for that task. Piero da Vinci would buy some of the property in the 1480s. At the time of Leonardo's birth, Piero di Malvolto's seventy-year-old widowed mother lived on the property. So here in the hamlet of Anchiano, an easy two-mile walk from the village of Vinci, living alone in a farmhouse that had a run-down cottage next door, was a widow who was a trusted friend to at least two generations of the da Vinci family. Her dilapidated cottage (for tax purposes the family claimed it as uninhabitable) may have been the ideal place to shelter Caterina while she was pregnant, as per local lore. 6 Leonardo was born on a Saturday, and the following day he was baptized by the local priest at the parish church of Vinci. The baptismal font is still there. Despite the circumstances of his birth, it was a large and public event. There were ten godparents giving witness, including Piero di Malvolto, far more than the average at the church, and the guests included prominent local gentry. A week later, Piero da Vinci left Caterina and their infant son behind and returned to Florence, where that Monday he was in his office notarizing papers for clients. 7 Leonardo left us no comment on the circumstances of his birth, but there is one tantalizing allusion in his notebooks to the favors that nature bestows upon a love child. "The man who has intercourse aggressively and uneasily will produce children who are irritable and untrustworthy," he wrote, "but if the intercourse is done with great love and desire on both sides, the child will be of great intellect, witty, lively, and lovable." 8 One assumes, or at least hopes, that he considered himself in the latter category. He split his childhood between two homes. Caterina and Accattabriga settled on a small farm on the outskirts of Vinci, and they remained friendly with Piero da Vinci. Twenty years later, Accattabriga was working in a kiln that was rented by Piero, and they served as witnesses for each other on a few contracts and deeds over the years. In the years following Leonardo's birth, Caterina and Accattabriga had four girls and a boy. Piero and Albiera, however, remained childless. In fact, until Leonardo was twenty-four, his father had no other children. (Piero would make up for it during his third and fourth marriages, having at least eleven children.) With his father living mainly in Florence and his mother nurturing a growing family of her own, Leonardo by age five was primarily living in the da Vinci family home with his leisure-loving grandfather Antonio and his wife. In the 1457 tax census, Antonio listed the dependents residing with him, including his grandson: "Leonardo, son of the said Ser Piero, non legittimo, born of him and of Caterina, who is now the woman of Achattabriga." Also living in the household was Piero's youngest brother, Francesco, who was only fifteen years older than his nephew Leonardo. Francesco inherited a love of country leisure and was described in a tax document by his own father, in a pot-calling-the-kettle way, as "one who hangs around the villa and does nothing." 9 He became Leonardo's beloved uncle and at times surrogate father. In the first edition of his biography, Vasari makes the telling mistake, later corrected, of identifying Piero as Leonardo's uncle.   Excerpted from Leonardo Da Vinci by Walter Isaacson All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

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