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Da Vinci a Man of Math

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Da Vinci a Man of Math
Leonardo Da Vinci, Man of Math Ask any given person who the most famous artist during the Renaissance was and the result would be nearly unanimous in the answer of “Leonardo Da Vinci”. But why is that? Yes, there is the Mona Lisa and The Last Supper to his name, but his legacy has extended beyond the world of paint and into other modern popular realms: of best-selling books (The Da Vinci Code by Dan Brown) and even world renowned video games (Assassin’s Creed II). For each reproduction of his character, the modern world seems to want more of Leonardo. His ability to wield a paintbrush is undeniable, but other artists from this time could arguably be his equal, or perhaps even better in skill; so the question remains: why is it that these artists are not regenerated in such a way for each new generation to enjoy? Our interest in Leonardo stems from the wide range of his talents; while his art is known around the globe, his notebooks and inventions are possibly just as famous. In fact, with the most recent explorations of Leonardo’s history, it is the scientific mind that is more subject to dissection. Nearly five hundred years later and it seems that the fascination with the man’s complex brain has remained the same in the minds of the public. Simply put, Leonardo Da Vinci was a genius extending eras, trends, and cultural change; people were amazed by his ability during his time and people continue to flock to see his work from all over the world today. There is more to his art than just symbolism and color which attracts viewers, and I believe that his knowledge that extends into the math and scientific world heavily contributes to this. Da Vinci was indeed an excellent painter, but it was his use of science which made his art untouchable in quality by attempts from his peers. By obtaining an interest in the understanding of proportions early on in his adult life, Leonardo, and subsequently his art, was able to mature in a radical way quickly. Since he was


Cited: Anna Suh, edit., Leonardo’s Notebook (New York: The Black Dog & Leventhal Publishers, 2005). Carlo Pedretti, edit., Leonardo da Vinci, The European Genius, (Cartei & Bianchi Edizioni: 2007). Eugène Müntz, Leonardo Da Vinci: Artist, Thinker, and Man of Science (Hoo: Grange, 2006). James S. Ackerman, “Leonardo da Vinci: Art in Science,” Daedalus , Vol. 127, No. 1, Science in Culture (Winter, 1998), 207-224. Nicholas Wade, Hiroshi Ono, and Linda Lillakas, "Leonardo Da Vinci 's Struggles with Representations of Reality," Leonardo 34.3 (2001): 231-235, accessed May 17, 2012, http://0-www.jstor.org.librarycat.risd.edu/stable/1576941. Sven Dupré, "Optics, Pictures and Evidence: Leonardo 's Drawings of Mirrors and Machinery," Early Science and Medicine 10.2 (2005): 211-236, date accessed: May 10, 2012, http://0-www.jstor.org.librarycat.risd.edu/stable/4130311. [ 2 ]. Anna Suh, edit., Leonardo’s Notebook (New York: The Black Dog & Leventhal Publishers, 2005), 134. [ 8 ]. James S. Ackerman, “Leonardo da Vinci: Art in Science,” Daedalus , Vol. 127, No. 1, Science in Culture (Winter, 1998), 223.

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