Leonardo Davinci Research Paper

At the court of Ludovico il Moro, the future Duke of Milan, he astounded his patrons with the most ambitious ideas and projects, but failed to gain their trust in his ability to deliver on time.

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The novelist Matteo Bandello, a contemporary who observed Leonardo working on the ‘I have also seen him, as the caprice or whim took him, set out at midday, […] from the Corte Vecchio, where he was at work on the clay model of the great horse, and go straight to the Grazie and there mount on the scaffolding and take up his brush and give one or two touches to one of the figures and suddenly give up and go away again’ (Nicholl, 2004; Vecce, 2006).

Leonardo was capable of sustained contemplation or studying, but this was often at the expense of losing track of the overall progression of the project, a relentless procrastination.

Together they studied the human body and performed dissections that Leonardo beautifully depicted.

This was the only period in his anatomical career during which Leonardo ‘was able to attain a balance between detail and coverage’.

None could be found and he conceded that in the end, if he could not find a better model for the cruel apostle who betrayed our Lord, he would have to use the face of the importunate and tactless prior.

Leonardo Davinci Research Paper Ny Times Essay

The Duke laughed the whole matter off and Leonardo returned working at his own leisure. Pope Leone X employed Leonardo in 1514 but frustration took hold of the Pope’s heart when he noticed Leonardo’s inability to attend to his duties. this man will never do anything, for he begins by thinking of the end of the work, before the beginning’ (Vasari, 1996).

His reluctance to work on fresco painting, for example, which requires a quick execution before the plaster dries, led him to risky experiments in seeking out new oil pigments and varnish techniques that endangered the in Florence.

Such was Leonardo’s capriciousness that other artists were often called to work on paintings first commissioned to him.

Alone, Leonardo never managed to organize his large number of anatomical drawings into coherent material for publication.

In his notebooks he dishearteningly annotated: ‘It is easier to resist at the beginning than at the end’.


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