Leonardo da Vinci

Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci ("Leonardo, son of ser Piero from Vinci"), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci, about 35 kilometres (22 miles) from Florence. He was born out of wedlock to Piero da Vinci (Ser Piero da Vinci d'Antonio di ser Piero di ser Guido; 1426–1504), a Florentine legal notary, and Caterina di Meo Lippi (c. 1434–1494), from the lower class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina – who later appears in Leonardo's notes as only "Caterina" or "Catelina" – is usually identified as the Caterina Buti del Vacca, who married the local artisan Antonio di Piero Buti del Vacca, nicknamed L'Accattabriga, 'the quarrelsome one'. Having been betrothed to her the previous year, Ser Piero married Albiera Amadori and after her death in 1464, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 16 half-siblings (of whom 11 survived infancy) who were much younger than him (the last was born when Leonardo was 46 years old) and with whom he had very little contact.

Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) by 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was probably in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and had a successful career. …

Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life.

Within Leonardo's lifetime, his extraordinary powers of invention, his "great physical beauty" and "infinite grace," as described by Vasari, as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them.

Leonardo had many friends who are now notable either in their fields or for their historical significance, including mathematician Luca Pacioli, with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella. While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost.

Salaì, or Il Salaino ("The Little Unclean One", i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio.

Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud in his Leonardo da Vinci, A Memory of His Childhood. Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. …

Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter.

Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks.

Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, 59 centimetres (23 in) long and 14 cm (5.5 in) high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, 217 cm (85 in) long. In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo.

In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. …

Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail.

Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160 × 100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre.

Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work. There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile". These faces are often contrasted with that of a warrior. Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy. …

Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work. These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him. Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture.

These notebooks – originally loose papers of different types and sizes – were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death. These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art (Codex Huygens, c. 1570). After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others. …