Italian High Renaissance Painter and Inventor, 1452-1519 Florentine Renaissance man, genius, artist in all media, architect, military engineer. Possibly the most brilliantly creative man in European history, he advertised himself, first of all, as a military engineer. In a famous letter dated about 1481 to Ludovico Sforza, of which a copy survives in the Codice Atlantico in Milan, Leonardo asks for employment in that capacity. He had plans for bridges, very light and strong, and plans for destroying those of the enemy. He knew how to cut off water to besieged fortifications, and how to construct bridges, mantlets, scaling ladders, and other instruments. He designed cannon, very convenient and easy of transport, designed to fire small stones, almost in the manner of hail??grape- or case-shot (see ammunition, artillery). He offered cannon of very beautiful and useful shapes, quite different from those in common use and, where it is not possible to employ cannon ?? catapults, mangonels and trabocchi and other engines of wonderful efficacy not in general use. And he said he made armoured cars, safe and unassailable, which will enter the serried ranks of the enemy with their artillery ?? and behind them the infantry will be able to follow quite unharmed, and without any opposition. He also offered to design ships which can resist the fire of all the heaviest cannon, and powder and smoke. The large number of surviving drawings and notes on military art show that Leonardo claims were not without foundation, although most date from after the Sforza letter. Most of the drawings, including giant crossbows (see bows), appear to be improvements on existing machines rather than new inventions. One exception is the drawing of a tank dating from 1485-8 now in the British Museum??a flattened cone, propelled from inside by crankshafts, firing guns. Another design in the British Museum, for a machine with scythes revolving in the horizontal plane, dismembering bodies as it goes, is gruesomely fanciful. Most of the other drawings are in the Codice Atlantico in Milan but some are in the Royal Libraries at Windsor and Turin, in Venice, or the Louvre and the École des Beaux Arts in Paris. Two ingenious machines for continuously firing arrows, machine-gun style, powered by a treadmill are shown in the Codice Atlantico. A number of other sketches of bridges, water pumps, and canals could be for military or civil purposes: dual use technology. Leonardo lived at a time when the first artillery fortifications were appearing and the Codice Atlantico contains sketches of ingenious fortifications combining bastions, round towers, and truncated cones. Models constructed from the drawings and photographed in Calvi works reveal forts which would have looked strikingly modern in the 19th century, and might even feature in science fiction films today. On 18 August 1502 Cesare Borgia appointed Leonardo as his Military Engineer General, although no known building by Leonardo exists. Leonardo was also fascinated by flight. Thirteen pages with drawings for man-powered aeroplanes survive and there is one design for a helicoidal helicopter. Leonardo later realized the inadequacy of the power a man could generate and turned his attention to aerofoils. Had his enormous abilities been concentrated on one thing, he might have invented the modern glider.  Related Paintings of Leonardo Da Vinci :. | Leda | Detail of Madonna of the Rocks | Study of a child | Reverse side of the portrait of Ginevra de' Benci | The Annunciation |
Related Artists:
Frank Duveneck
1848-1919 Frank Duveneck Gallery Frank Duveneck (October 9, 1848 ?C January 3, 1919) was an American figure and portrait painter. Duveneck was born in Covington, Kentucky, the son of a German immigrant Bernard Decker. Decker died when Frank was only a year old and his widow remarried Joseph Duveneck. By the age of fifteen Frank had begun the study of art under the tutelage of a local painter, Johann Schmitt and had been apprenticed to a German firm of church decorators. While having grown up in Covington, Duveneck was a part of the German community in Cincinnati, Ohio. However, due to his Catholic beliefs and German heritage, he was an outsider as far as the artistic community of Cincinnati was concerned. In 1869 he went abroad to study with Wilhelm von Diez and Wilhelm Leibl at the Royal Academy of M??nich, where he learned a dark, realistic and direct style of painting. He subsequently became one of the young American painters ?? others were William Merritt Chase, John Henry Twachtman, and Walter Shirlaw ?? who in the 1870s overturned the traditions of the Hudson River School and started a new art movement characterized by a greater freedom of paint application.
Ralph Curtis
(1854-1922 ) - Watercolours
Christian Friedrich Gille
1805-1899 German painter, engraver and lithographer. Between 1825 and 1833 he studied engraving under Johann Gottfried Abraham Frenzel, lithography under Louis Z?llner and painting under Johan Christian Dahl at the Hochschule f?r Bildende K?nste, Dresden. Dahl encouraged in Gille an appreciation for the natural formations and changing conditions of light that had inspired Dahl's friend and mentor, the Romantic painter Caspar David Friedrich. Gille, however, did not adopt Friedrich's tendency to find mystical significance in these phenomena. Gille's prints are highly descriptive in style and include Saxon landscapes, genre scenes, animal studies and portraits of celebrated men. His paintings and sketches, in oils, watercolour and pen and brown ink, were mostly of landscapes, many with animal staffage.