Analysis of the characteristics of Leonardo da Vinci's art?

Da Vinci Vinci, one of the three masters of the Italian Renaissance, is also the most perfect representative of the entire European Renaissance, he is a learned and talented painter, allegorist, sculptor, inventor and musician. He was a genius talent with the heart to study how to use line and three-dimensional modeling to express the form of various issues, da Vinci's artistic style is the pursuit of rigor and precision, the study of anatomy is also in order to more profound understanding of the proportion of the human body, the structure.

Da Vinci summarized the research results of the 15th century artists, and created the method of light and dark. He used the contrast between light and dark to emphasize the form, making the picture more vivid and graphic. Secondly, he also studied the relationship between the atmosphere and color, and invented the air perspective method, which made the perspective relationship in painting more precise and perfect. Leonardo da Vinci used his unique artistic language of light and dark to create a three-dimensional sense of flat images.

The following is "Three Kings Come to Worship" to analyze the artistic characteristics of Leonardo da Vinci.

Da Vinci had been working on a large painting on wood entitled Adoration of the Magi, which was the final piece for a group of Florentine monks. But other than the underpainting and underdrawing, the work was not finished. Although the subject matter is traditional, it demonstrates Da Vinci's inventive approach to depiction. His use of precise perspective and geometric order in the construction of the background recalls the work of Masaccio.

Da Vinci arranged the main figures in a pyramidal layout, with the Virgin's head at the tip of the tower surrounded by bystanders arranged in a large-scale arch. Trees are painted in the center of the picture, but the connection between the foreground figures and the background elements does not seem obvious. Much of the painting is innovative, but the graceful gestures of the Madonna and Child are also indicative of the Florentine style of around 1480.

While Da Vinci completed only the first few layers of the painting, his representation of the subjects is soft and fluid, never losing touch with the hazy atmosphere. Unlike Filippo . Lippi or Botticelli, Leonardo da Vinci did not shape the form with contour lines, but tried to express the figure through the effect of light on the three-dimensional form in different degrees of light and shadow. This modeling method is called chiaroscuro (Italian for "light and dark"). Leonardo da Vinci first drew the transition between light and dark in the center of the picture, and then deepened the shadows and brightened the highlights of the forms. The people and objects in the painting are no longer arranged in the void and have no relationship with each other, but are united in the same artistic atmosphere with softened contour lines.

Da Vinci also sought emotional continuity. The prominence of the figures is derived from the artist's expressive technique of expressing emotion through gesture and expression, which Da Vinci learned from his study of the works of Pollaiuolo and Verrocchio. Though unfinished, the boldness of the technique and the depth of emotion in this work are indicative of the artistic path that Da Vinci was about to embark on.

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Art adds color to life. Public Ruyazi