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Genthe Biography and Background of the Collection
Genthe's autobiography, As I Remember (1936), is the chief source of information about his life. In it, Genthe recounts a cosmopolitan upbringing in Berlin, Frankfurt, Korbach, and Hamburg. His father, Hermann Genthe, was a professor of Latin and Greek and, later in life, founded and served as director of a gymnasium or preparatory school.
Under his father's tutelage, young Arnold grew up well versed in topics from poetry to classical literature, and was also an accomplished horseman. His father died when Genthe was seventeen prompting his mother to take in foreign visitors as boarders. Genthe liked to say that he and his brothers learned fifteen different modern and ancient languages between them.
Genthe wished to become an artist. However, the distinguished German painter Adolph Menzel, his mother's cousin, discouraged the youth from studying art. Hoping to instead pursue a teaching career like that of his father, Genthe entered the university in Jena where he earned a doctorate in classical philology and completed a dictionary of German slang.
frontispiece and title page for As I Remember
Reproduction #: LC-USZC2-4882 (color slide) Arnold Genthe riding Chesty
Arnold Genthe riding Chesty
Reproduction #: LC-G405-T-0342 (interpositive) Portrait photograph of Arnold Genthe
Portrait photograph of Arnold Genthe
Reproduction #: LC-G405-0448 (b&w glass neg.)
Genthe's studies included a year in Berlin and further study of French literature and art history at the Sorbonne before returning to Hamburg. In 1895 he accepted an offer to tutor the young son of Baron F. Heinrich von Schroeder when the family moved to San Francisco. Thus began a new life for Genthe in America.
Genthe's first photographs were made while in the employ of the von Schroeders to illustrate his letters home. With a hand-held camera fitted with a Zeiss lens, he wandered the streets of San Francisco. Like other amateurs, he soon joined the city's camera club to gain access to better equipment and the use of a studio for portraiture. Shown here are Genthe and one of his
Leonardo di ser Piero da Vinci (Italian: [leoˈnardo da vˈvintʃi] ( listen); 15 April 1452 – 2 May 1519) was an Italian painter, sculptor, architect, musician, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer. He is widely considered to be one of the greatest painters of all time and perhaps the most diversely talented person ever to have lived.[1] His genius, perhaps more than that of any other figure, epitomized the Renaissance humanist ideal. Leonardo has often been described as the archetype of the Renaissance Man, a man of "unquenchable curiosity" and "feverishly inventive imagination".[2] According to art historian Helen Gardner, the scope and depth of his interests were without precedent and "his mind and personality seem to us superhuman, the man himself mysterious and remote".[2] Marco Rosci states that while there is much speculation about Leonardo, his vision of the world is essentially logical rather than mysterious, and that the empirical methods he employed were unusual for his time.[3]
Born out of wedlock to a notary, Piero da Vinci, and a peasant woman, Caterina, in Vinci in the region of Florence, Leonardo was educated in the studio of the renowned Florentine painter Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice, and he spent his last years in France at the home awarded him by Francis I.
Leonardo was, and is, renowned primarily as a painter. Among his works, the Mona Lisa is the most famous and most parodied portrait[4] and The Last Supper the most reproduced religious painting of all time, with their fame approached only by Michelangelo's The Creation of Adam.[2] Leonardo's drawing of the Vitruvian Man is also regarded as a cultural icon,[5] being reproduced on items as varied as the euro coin, textbooks, and T-shirts. Perhaps fifteen of his paintings have survived, the small number because of his constant, and frequently disastrous, experimentation with new techniques, and his chronic procrastination.[nb 1] Nevertheless, these few works, together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, compose a contribution to later generations of artists rivalled only by that of his contemporary, Michelangelo.
Leonardo is revered for his technological ingenuity. He conceptualised flying machines, an armoured vehicle, concentrated solar power, an adding machine,[6] and the double hull, also outlining a rudimentary theory of plate tectonics. Relatively few of his designs were constructed or were even feasible during his lifetime,[nb 2] but some of his smaller inventions, such as an automated bobbin winder and a machine for testing the tensile strength of wire, entered the world of manufacturing unheralded.[nb 3] He made important discoveries in anatomy, civil engineering, optics, and hydrodynamics, but he did not publish his findings and they had no direct influence on later science.[7]
Contents
1 Life
1.1 Childhood, 1452–1466
1.2 Verrocchio's workshop, 1466–76
1.3 Professional life, 1476–1513
1.4 Old age, 1513–1519
2 Relationships and influences
2.1 Florence: Leonardo's artistic and social background
2.2 Personal life
2.3 Assistants and pupils
3 Painting
3.1 Early works
3.2 Paintings of the 1480s
3.3 Paintings of the 1490s
3.4 Paintings of the 1500s
3.5 Drawings
4 Observation and invention
4.1 Journals and notes
4.2 Scientific studies
4.3 Anatomy
4.4 Engineering and inventions
5 Fame and reputation
6 See also
7 Footnotes
8 References
9 Bibliography
10 External links
Life
See also: Leonardo da Vinci's personal life
Childhood, 1452–1466
Photo of a building of rough stone with small windows, surrounded by olive trees
Leonardo's childhood home in Anchiano
Pen drawing of a landscape with mountains, a river in a deep valley, and a small castle
Leonardo's earliest known drawing, the Arno Valley (1473), Uffizi
Leonardo was born on 15 April 1452 (Old Style), "at the third hour of the night"[nb 4] in the Tuscan hill town of Vinci, in the lower valley of the Arno River in the territory of the Medici-ruled Republic of Florence.[9] He was the out-of-wedlock son of the wealthy Messer Piero Fruosino di Antonio da Vinci, a Florentine legal notary, and Caterina, a peasant.[8][10][nb 5] Leonardo had no surname in the modern sense, "da Vinci" simply meaning "of Vinci": his full birth name was "Lionardo di ser Piero da Vinci", meaning "Leonardo, (son) of (Mes)ser Piero from Vinci".[9] The inclusion of the title "ser" indicated that Leonardo's father was a gentleman.
Little is known about Leonardo's early life. He spent his first five years in the hamlet of Anchiano in the home of his mother, then from 1457 he lived in the household of his father, grandparents and uncle, Francesco, in the small town of Vinci. His father had married a sixteen-year-old girl named Albiera, who loved Leonardo but died young.[11] When Leonardo was sixteen his father married again, to twenty-year-old Francesca Lanfredini. It was not until his third and fourth marriages that Ser Piero produced legitimate heirs.[12]
Leonardo received an informal education in Latin, geometry and mathematics. In later life, Leonardo recorded only two childhood incidents. One, which he regarded as an omen, was when a kite dropped from the sky and hovered over his cradle, its tail feathers brushing his face.[13] The second occurred while he was exploring in the mountains: he discovered a cave and was both terrified that some great monster might lurk there and driven by curiosity to find out what was inside.[11]
Leonardo's early life has been the subject of historical conjecture.[14] Vasari, the 16th-century biographer of Renaissance painters, tells of how a local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo responded with a painting of a monster spitting fire which was so terrifying that Ser Piero sold it to a Florentine art dealer, who sold it to the Duke of Milan. Meanwhile, having made a profit, Ser Piero bought a shield decorated with a heart pierced by an arrow, which he gave to the peasant.[15]
Painting showing Jesus, naked except for a loin-cloth, standing in a shallow stream in a rocky landscape, while to the right, John the Baptist, identifiable by the cross that he carries, tips water over Jesus' head. Two angels kneel at the left. Above Jesus are the hands of God, and a dove descending
The Baptism of Christ (1472–1475)—Uffizi, by Verrocchio and Leonardo
Verrocchio's workshop, 1466–76
In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose workshop was "one of the finest in Florence".[16] Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi.[11][17] Leonardo would have been exposed to both theoretical training and a vast range of technical skills[18] including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.[19][nb 6]
Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again.[20] On close examination, the painting reveals much that has been painted or touched-up over the tempera using the new technique of oil paint, with the landscape, the rocks that can be seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo.[21] Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel.[10]
By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of St Luke, the guild of artists and doctors of medicine,[nb 7] but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him.[11] Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on August 5, 1473.[nb 8][17]
Professional life, 1476–1513
An unfinished painting showing the Virgin Mary and Christ Child surrounded by many figures who are all crowding to look at the baby. Behind the figures are a distant landscape and a large ruined building. More people are coming, in the distance
The Adoration of the Magi, (1481)—Uffizi
Florentine court records of 1476 show that Leonardo and three other young men were charged with sodomy but acquitted.[10][nb 9] From that date until 1478 there is no record of his work or even of his whereabouts.[22] In 1478 he left Verrocchio's studio and was no longer resident at his father's house. One writer, the "Anonimo" Gaddiano claims that in 1480 Leonardo was living with the Medici and working in the Garden of the Piazza San Marco in Florence, a Neo-Platonic academy of artists, poets and philosophers which the Medici had established.[10] In January 1478, he received his first of two independent commissions: to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio and, in March 1481, The Adoration of the Magi for the monks of San Donato a Scopeto.[23] Neither commission was completed, the second being interrupted when Leonardo went to Milan.
In 1482 Leonardo, who according to Vasari was a most talented musician,[24] created a silver lyre in the shape of a horse's head. Lorenzo de' Medici sent Leonardo to Milan, bearing the lyre as a gift, to secure peace with Ludovico Sforza, Duke of Milan.[25] At this time Leonardo wrote an often-quoted letter describing the many marvellous and diverse things that he could achieve in the field of engineering and informing Ludovico that he could also paint.[17][26]
Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie.[27] In the spring of 1485, Leonardo travelled to Hungary on behalf of Ludovico to meet Matthias Corvinus, for whom he is believed to have painted a Holy Family.[28][not in citation given] Between 1493 and 1495 Leonardo listed a woman called Caterina among his dependents in his taxation documents. When she died in 1495, the list of funeral expenditures suggests that she was his mother.[29]
A page with two drawings of a war-horse, one from the side, and the other showing the chest and right leg
Study of horse from Leonardo's journals – Royal Library, Windsor Castle
Leonardo was employed on many different projects for Ludovico, including the preparation of floats and pageants for special occasions, designs for a dome for Milan Cathedral and a model for a huge equestrian monument to Francesco Sforza, Ludovico's predecessor. Seventy tons of bronze were set aside for casting it. The monument remained unfinished for several years, which was not unusual for Leonardo. In 1492 the clay model of the horse was completed. It surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the "Gran Cavallo".[17][nb 10] Leonardo began making detailed plans for its casting;[17] however, Michelangelo insulted Leonardo by implying that he was unable to cast it.[11] In November 1494 Ludovico gave the bronze to be used for cannon to defend the city from invasion by Charles VIII.[17]
At the start of the Second Italian War in 1499, the invading French troops used the life-size clay model for the "Gran Cavallo" for target practice. With Ludovico Sforza overthrown, Leonardo, with his assistant Salai and friend, the mathematician Luca Pacioli, fled Milan for Venice[30] where he was employed as a military architect and engineer, devising methods to defend the city from naval attack.[11] On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St. Anne and St. John the Baptist, a work that won such admiration that "men and women, young and old" flocked to see it "as if they were attending a great festival".[31][nb 11]
Leonardo da Vinci's very accurate map of Imola, created for Cesare Borgia
In Cesena, in 1502 Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron.[30] Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Maps were extremely rare at the time and it would have seemed like a new concept. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons.
Leonardo returned to Florence where he rejoined the Guild of St Luke on October 18, 1503, and spent two years designing and painting a mural of The Battle of Anghiari for the Signoria,[30] with Michelangelo designing its companion piece, The Battle of Cascina.[nb 12] In Florence in 1504, he was part of a committee formed to relocate, against the artist's will, Michelangelo's statue of David.[35]
In 1506 Leonardo returned to Milan. Many of his most prominent pupils or followers in painting either knew or worked with him in Milan,[11] including Bernardino Luini, Giovanni Antonio Boltraffio and Marco d'Oggione.[nb 13] However, he did not stay in Milan for long because his father had died in 1504, and in 1507 he was back in Florence trying to sort out problems with his brothers over his father's estate. By 1508 Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila.[36]
Old age, 1513–1519
From September 1513 to 1516, under Pope Leo X, Leonardo spent much of his time living in the Belvedere in the Vatican in Rome, where Raphael and Michelangelo were both active at the time.[36] In October 1515, Francis I of France recaptured Milan.[23] On December 19, Leonardo was present at the meeting of Francis I and Pope Leo X, which took place in Bologna.[11][37][38] Leonardo was commissioned to make for Francis a mechanical lion which could walk forward, then open its chest to reveal a cluster of lilies.[39][nb 14] In 1516, he entered François' service, being given the use of the manor house Clos Lucé[nb 15] near the king's residence at the royal Château d'Amboise. It was here that he spent the last three years of his life, accompanied by his friend and apprentice, Count Francesco Melzi, and supported by a pension totalling 10,000 scudi.[36]
Photo of a large medieval house, built of brick with many windows and gables and a circular tower with a conical roof
Clos Lucé in France, where Leonardo died in 1519
Leonardo died at Clos Lucé, on 2 May 1519. Francis I had become a close friend. Vasari records that the king held Leonardo's head in his arms as he died, although this story, beloved by the French and portrayed in romantic paintings by Ingres, Ménageot and other French artists, as well as by Angelica Kauffman, may be legend rather than fact.[nb 16] Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament.[41] In accordance with his will, sixty beggars followed his casket.[nb 17] Melzi was the principal heir and executor, receiving as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo also remembered his other long-time pupil and companion, Salai and his servant Battista di Vilussis, who each received half of Leonardo's vineyards, his brothers who received land, and his serving woman who received a black cloak "of good stuff" with a fur edge.[nb 18][42] Leonardo da Vinci was buried in the Chapel of Saint-Hubert in Château d'Amboise, in France.
Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benevenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher."[43]
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