Da Vinci - Battles And Brushstrokes

2042 WordsMar 11, 20179 Pages
Da Vinci - Battles and Brushstrokes, The Story Of His Lost Masterpiece Leonardo Da Vinci, the famed Florentine polymath is revered around the world for his ingenuity, creativity, and adaptability, but even with a huge body of renowned and legacy inducing work, this Renaissance man still has hidden depths that ought be shared with a wider audience. Da Vinci was a man immersed in several battles of varying complexity, both internal and externally in his Italian home. Many of Leonardos creations were formulated with battles and more specifically war in mind, the obvious being the many war machines he designed (some of which he was rumoured to have actually created), but conflict was rife in 16th century Florence, and this eked its way into Da…show more content…
This rivalry between two creative powerhouses did not begin with the commissioning that would soon be bestowed upon them by Soderini, rather it began when da Vinci returned to Florence two years after his younger counterpart. Da Vinci did not like the level of fame reached by this young star (who was at the time working on the piece that would grant him immortality - the statue of David) and he expected to be treated with the level of respect someone of his stature should demand. However, instead of this Leonardo with greeted with animosity as Michelangelo paid no heed to Leonardo’s preferred artistic output of paintings, instead he saw sculpture as the pinnacle of art and creation, claiming that it was easy to correct an error on canvas, but fixing a mistake in sculpture was nigh on impossible so the greatest artists must therefore create sculptures. This was something that da Vinci wholeheartedly disagreed with. It was therefore difficult for Soderini to find the perfect conditions to convince both men to accept his challenge, but through a combination of money and the chance to crush their rivals, both hesitantly accepted. The hesitation on both behalf 's came as a result of the nature of the commission itself, namely that it was a fresco painting that was required. Leonardo disliked fresco painting due to the perceived rush needed to

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