Download PDF Mona Lisa: The People and the Painting, by Martin Kemp
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Mona Lisa: The People and the Painting, by Martin Kemp
Download PDF Mona Lisa: The People and the Painting, by Martin Kemp
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Pressestimmen
"Kemp analyses the painting as a key to all of Leonardoâs thinking and works, describing it as 'the window of the soul', in which is reflected all the knowledge acquired by the artist-scientist in the course of his life spent in the study of anatomy, optics, perspective, geology, atmosphere, hydrology and the 'science' of painting." -- Pietro C. Marani, The Burlington Magazine"[A] stimulating study grounded in documentary and literary sources, not to mention the painting itself....Readable and informative, this book is invaluable for offering a better understanding of the painting....Essential."--CHOICE
Über den Autor und weitere Mitwirkende
Martin Kemp FBA is Emeritus Professor in the History of Art at Trinity College, Oxford University. One of the world's leading authorities on Leonardo da Vinci, he has published extensively on his life and work, including the prize-winning Leonardo da Vinci: The marvellous works of nature and man (1989 and 2006) and Leonardo (2004 and 2011), both of which are also published by Oxford University Press, and most recently La Bella Principessa, written with Pascal Cotte (2010).Giuseppe Pallanti lives and works in Florence, where he is an Economics teacher. He has a passion for archival research and has been researching the history of the Del Giocondo and da Vinci families for many years.
Produktinformation
Taschenbuch: 272 Seiten
Verlag: Oxford University Press (8. Juni 2017)
Sprache: Englisch
ISBN-10: 0198749902
ISBN-13: 978-0198749905
Größe und/oder Gewicht:
16,2 x 1,9 x 23,6 cm
Durchschnittliche Kundenbewertung:
3.0 von 5 Sternen
2 Kundenrezensionen
Amazon Bestseller-Rang:
Nr. 338.400 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Leonardo, das legt das Buch dar, ist durchaus nicht vom nichtehelichen Vater verstoßen worden, und seineMutter hat er auch gekannt. Aufgewachsen bei den väterlichen Großeltern kam erdurchaus in den Genussvon Beziehungen, die eine wohlhabende Notarsdynastie zu bieten hat.Auch die Herkunft von Mona Lisa wird genau erklärt, und es wundert nicht, dass zwischen der Familie von Lisas Ehemann und Leonardos Vater Mandatsbeziehungen existierten.Ein fesselnder Blick in das damalige Alltagsleben.
Despite the wealth of trivia about Lisa Gherardini, the supposed subject of the Mona Lisa, including street plans with arrows pointing to the exact spot where she was born and a receipt (with photograph) for 95 pounds of cheese she once sold to a nunnery, the book is shoddily edited and riddled with errors of fact. It is also unfortunately marred by a tendentious disregard of key documents, all in the interest of advancing a predetermined theory that Leonardo’s portrait of Lisa Gherardini, left unfinished in 1503, was completed by Leonardo a decade later in Rome, rather than being left unfinished as his 16th century biographer Vasari states. No facts are permitted to stand in the way of the author’s conclusion that the painting known as the Mona Lisa is the portrait of Lisa Gherardini, despite Leonardo’s own statement to a visiting cardinal that the highly finished painting of a Florentine lady that he showed him in 1517 had been painted from life at the request of Giuliano de Medici, Leonardo’s patron from 1513 to 1516. If you stay with the book long enough, ignoring such errors as the misdating of Leonardo’s testament by an entire year, you will eventually learn that a Milanese notary, evidently in need of stronger glasses, could mistake a swan for a rooster. This doesn’t mean you shouldn’t buy the book, as it is chock full of fascinating details, and not just about Lisa’s flourishing cheese-selling business. It will also satisfy your curiosity about how much money was paid to the gravediggers who buried a woman named Caterina, who just might have been the same Caterina who gave birth to Leonardo!
This is such a delightful book for those who have already some knowledge about Leonardo da Vinci’s life (I wouldn’t advice it for beginners in the theme Leonardo). Martin Kemp and Giuseppe Pallanti put you in the middle of Mona Lisa’s world (not Leonardo’s). One learns about Lisa’s parents, children, husband as well as about all the daily routines of ordinary people (a family of merchants in this case) in renaissance Florence. This information often remains forgotten behind the stature (and the myth) of such legendary figures as Leonardo, Michelangelo, Raphael, the Medicis, etc. This book is a treasure among what has been written about the most famous portrait in the history and the life of the woman behind the painting.
A fantastic detail on the life of the woman behind Leonardo's greatest portrait. The historiographical research by Pallanti is thoroughly detailed and Kemp's analysis of the painting is well written. This powerful combination creates an artistic masterpiece and sheds new light on the 500 year old Mona Lisa. I ordered the kindle and the hardcover editions as they both will be treasured in my collection. A must read for the true fan of Leonardo da Vinci!
Pallanti's work, based on archival research is undisputable. While this work does give us a lot more information regarding Lisa del Giocondo (née Gherardini) and her family, it doesn't shed any more factual light on the details surrounding the painting itself than he already gave us in his previous publication on Mona Lisa's life.On the other hand, Kemp's contribution, if analysed in detail, can be seen as a failed attempt to justify his rather awkward hypothesis regarding the painting itself. He makes too many assumptions to interpret the historical facts, such as those given to us by Vespucci in 1503, De Beatis in 1517, Vasari in 1555, and Lomazzo in 1584 and then presents us with Ockham's Razor Principle to justify his opinions. When properly applied, that principle which states that the conclusions requiring the least assumptions from the evidence should be correct, would lead us to the conclusion that Vasari and Vespucci describe a different earlier painting than the one now hanging in the Louvre.
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