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Leonardo grew up outside Florence,
in the countryside,
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in a little village, Vinci.
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His mother was a peasant woman.
He himself was illegitimate.
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But his father
was a very respectable notary
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who married and had a legitimate family
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into which Leonardo was,
to some extent, absorbed.
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So there was no question
of him being disowned.
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And his career was supported,
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even if it wasn't necessarily going to
be a reiteration of his father's career.
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And what we've seen quite often
in Italian Renaissance history
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is that illegitimate sons
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00:04:19,040 --> 00:04:23,280
have a kind of ambition
that takes them to the fore.
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00:04:25,240 --> 00:04:27,600
Renaissance Italy is very extraordinary.
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There is this intellectual driving force
because, more than any other country,
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they felt the weight,
or the tradition of classical antiquity.
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Rome was around them
and you combined that
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with early capitalist economies,
on a small scale, but very dynamic.
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You had the city states, like Venice,
and so on, which had major artists,
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but Florence was extraordinary.
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In the early 1500s,
you had this astonishing flowering
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of Brunelleschi, the architect,
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Donatello, the sculptor,
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Masaccio, the painter,
and a host of others.
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00:05:02,920 --> 00:05:06,200
Art was becoming, in Florence,
an intellectual pursuit.
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00:05:08,240 --> 00:05:10,600
Florence was
an intensely mercantile city.
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It was a city of transactions.
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And even the great Medici had banking
interests that spread across Europe.
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But they also wanted to show
that they were culturally sophisticated
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and that they were using their wealth
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for the benefit of the city,
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for the benefit of their own souls,
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when they were commissioning
religious works of art.
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So what you've got
is this lovely melting pot
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of factions and families in competition,
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and painters who might
serve one or other of them
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and who were also themselves
looking over their shoulder
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all the time for what
the latest innovation was.
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"Leonardo's father one day
took some of his son's drawings
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to the artist Andrea del Verrocchio,
who was a good friend of his,
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and directly asked him what he thought.
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Andrea was astonished by what he saw
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and arranged that Leonardo
should enter his workshop."
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Giorgio Vasari, painter and historian.
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This is the Tobias and the Angel from
the studio of Andrea del Verrocchio,
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a painting from the early to mid-1470s.
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It's an apocryphal story in which the
Archangel Raphael comes to young Tobias
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and instructs him
to take parts of the fish,
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the gall, and the liver,
and the heart, I believe,
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as a remedy to cure
the blindness of his father.
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It raises some very interesting
questions about how workshops work
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and, indeed, how Leonardo functioned
within the Verrocchio workshop.
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Verrocchio was one
of the pre-eminent workshops.
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00:08:16,240 --> 00:08:19,800
Many very important painters
passed through the Verrocchio studio
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in the 1460s and '70s.
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00:08:23,000 --> 00:08:25,880
I think one of the appeals
of working with Andrea del Verrocchio
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for someone like Leonardo
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was the fact that this was,
like many of these Florentine workshops,
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a production centre
for all manner of objects,
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both two-dimensional, three-dimensional.
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There was drawing, there was painting,
there was casting, there was carving.
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And, of course, the multiplicity
of interests that Leonardo demonstrated
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in his subsequent career
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certainly had some resonance with
what went on in the Verrocchio studio.
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00:08:50,200 --> 00:08:53,240
Where this painting in particular
is involved, I think,
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it's raised some very interesting ideas
about collaboration and delegation,
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suggesting that some
of the details of this picture
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might have been by the young Leonardo
as an apprentice.
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00:09:04,720 --> 00:09:08,120
We know that he had some sort of formal
training in the Verrocchio workshop
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00:09:08,200 --> 00:09:10,920
between 1469 and 1472.
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00:09:11,800 --> 00:09:14,400
It's been suggested
that certain elements
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that are more naturally observed,
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more realistically observed,
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have a higher degree of skill
in execution,
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like the movement of the dog
and the fur,
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or the fish and the way it hangs
from the string so convincingly,
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might be ascribed
to the young Leonardo himself.
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The traditional painting medium
in the Renaissance,
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certainly at the beginning
of the 15th century,
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was egg... egg used, mixed with water
and pigments,
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and applied in a fine, hatched way.
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The introduction of oil painting
is something that happened
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during the latter part
of the 15th century.
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There were instances of pictures
appearing from Northern Europe
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and I think it had a tremendous impact
on the way Italian artists worked,
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both a need, or an interest rather,
in learning how to paint this way,
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but also it opened up different ideas
about what you could depict
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and what effects you could make.
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We can point to certain moments.
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For example, the arrival of the
van der Goes Portinari altarpiece
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in Florence from Bruges
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was a revelation, I think, to
Florentine artists working in that time.
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With Leonardo, it's certainly true
that oil painting
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was a relatively new technique
that was available.
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It certainly allowed him to explore
and to depict things
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that were interesting to him anyway:
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the optics of vision and the way
that things go in and out of focus,
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or the way that shadows
lose their colour in lower light.
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All these things you can achieve much
more convincingly with the oil medium.
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That certainly was his interest,
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and it lies deep at the heart
of many of the things
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he tried to do and paint
later in his career.
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Leonardo thought that paintings
should be able
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to show everything that was visible
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and everything that was invisible
in our universe.
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He started that way of thinking
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by looking very, very closely
at the world around him.
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For example, one of his very earliest
drawings shows, apparently,
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a view of the Arno Valley.
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It's dated, it feels like an observation
and yet there are aspects to it
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which I think most of us would now agree
are almost impossible.
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So the point of his landscapes,
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the point of his observation
of the human figure,
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is that he's always wanting
to move from the specific to the ideal
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and from the observed to the imagined.
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Probably his earliest independent
painting was The Annunciation,
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which is a long, rectangular panel,
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with the standard subject of the angel
and the Virgin Mary,
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but with enormous amount
of effort going into it.
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Leonardo spends a lot of time on
the perspective of the Virgin's house,
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and we know from scientific examination,
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the walls, initially,
are rather different
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with the window in a different place.
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So, he's saying,
"Look, I can do perspective."
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00:13:28,280 --> 00:13:31,800
The draperies are done
taking a lay figure with linen,
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which is then soaked in clay
and draped over the figures,
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giving a very sculptural impression.
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And, above all, he is saying,
"Look what I can do with nature."
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00:13:42,920 --> 00:13:48,040
The carpets of flowers in the enclosed
garden, which is symbolic of the Virgin,
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are absolutely wriggling
with life and vitality.
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And then the angel's wing
is based on a bird.
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You've got this observation
of the feathers.
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The primaries at the end of the wing
have deteriorated a lot.
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So, there's a rather offsetting
brown smudge,
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but you look at the rest of the wing,
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the secondaries, all the other feathers,
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are painted with this enormous sense
of observation.
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So, this young man is saying,
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"Look what I can do.
I can master all the key things in art."
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00:14:22,360 --> 00:14:28,120
The Annunciation that Leonardo
made very early in his career
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can be seen as the culmination
of his apprenticeship
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in Verrocchio's workshop.
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We have continued to study and
make new investigations.
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Not only looking
at the finished painting
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but also understanding all the stages
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Leonardo went through to arrive
at the final composition.
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Looking at the changes he made
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he clearly did not arrive immediately
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at a complete and definitive conclusion.
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There is undoubtedly on Leonardo's part
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a kind of internal challenge.
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So this is not so much
a problem of wanting
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immediately to prove himself
as an innovative artist
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but really the need to challenge himself
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and therefore to progress.
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One has the sense he's never satisfied
by whatever he's doing.
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Therefore it's more a dialogue
of Leonardo with himself
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than with the rest of artistic society.
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"Verrocchio was making a picture
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in which St. John was baptising Christ,
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and Leonardo worked on an angel
who was holding some garments.
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Even though he was so young
he accomplished it in such a manner
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that it was much better
than Verrocchio's own figures
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that were located beside
the angel of Leonardo.
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This was the reason why Andrea
never again wanted to touch colours,
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dismayed that a young man
understood painting better than he."
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00:16:55,840 --> 00:16:57,840
Giorgio Vasari.
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"He's a poor pupil
who does not surpass his master."
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Leonardo.
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I think that we see Leonardo
in contrast to Verrocchio most clearly
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in the Baptism of Christ in the Uffizi,
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where a fairly orthodox landscape
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is changed to a remarkable degree
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as Leonardo's imagination
literally floods the plain
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to bring water and movement
and light into a picture
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that otherwise might have been
somewhat static.
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What Leonardo does is provide a unity,
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a unifying factor that turns
a good picture into a remarkable one.
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Generally speaking, and we certainly
see this with Raphael later,
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the young artists tend
to get commissioned
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to do smaller scale paintings.
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The less expensive ones, as it were.
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Which is Madonnas and portraits,
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and in Leonardo's case,
portraits of women in particular.
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He's already getting
the narrative Madonna,
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which was one of his great contributions
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to reforming "Madonna and Child"
painting.
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So he's already,
in these little pictures
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which are, on the whole,
conventional subjects,
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he's already stretching his wings,
as it were.
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"Leonardo then made a picture
of Our Lady
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which was in the possession
of Pope Clement VII,
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and which is very excellent.
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Amongst other things that were in it,
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he reproduced a carafe full of water
containing some flowers.
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00:19:27,440 --> 00:19:30,680
In addition to the marvellous
lifelikeness of the flowers,
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he had imitated the dewdrops
of the water on them,
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so that they seemed more alive
than life itself."
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Giorgio Vasari.
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00:19:42,480 --> 00:19:46,080
"Little babies are thin
at all their joints,
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and the intervals located
between the joints are fat,
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and this happens because the skin
over the joints is without any flesh
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other than that of the nature of sinew,
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while a juicy fleshiness is found
between one joint and another."
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00:20:06,240 --> 00:20:07,480
Leonardo.
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00:21:09,200 --> 00:21:12,120
"The first intention of the painter
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is to make a flat surface display a body
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as if modelled and separated
from this plane,
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and he who surpasses others
in this skill deserves most praise.
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This accomplishment, with which
the science of painting is crowned,
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arises from light and shade."
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Leonardo.
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I think if Leonardo had died early,
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we would regard this little group
of early pictures as being very strange.
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He's doing things that other artists
weren't trying to do,
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and they're very brilliant
but slightly uneven.
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If you look at Ginevra de' Benci
you've got this extraordinary picture
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with this woman looking at you
very directly, which is very daring.
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Normally, women were portrayed
in profile.
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This was a matter of social decorum.
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Her flesh is painted
with extraordinary subtle modelling
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and he's used his hand in the paint
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and in that sheen of hair at the top,
within the juniper bush,
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absolutely daggering these sharp leaves
out against the sheen,
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creating this amazing contrast.
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He trained as a sculptor, after all,
amongst other things,
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but he's saying,
"This is what painting can do.
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Sculpture can't do all this
colouristic thing."
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Then you go into this amazing,
misty landscape.
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You've got trees which fade
into the background
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00:22:45,200 --> 00:22:49,280
and, of course again, sculpture can't do
these atmospheric effects
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in quite that way.
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He is much obsessed, later on,
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saying that painting is the superior
art to everything, including sculpture
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00:22:58,520 --> 00:23:01,720
and he seems to be doing this,
in a way, in the portraits.
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It's a strange portrait;
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quite a lot of the Leonardos
look at us very hard,
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which is always unsettling.
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The Madonna Benois
is popular and will always stay popular
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because it brings you
this kind of happiness
241
00:24:35,600 --> 00:24:43,000
which, in principle, is not the issue in
the story of The Virgin and the Christ,
242
00:24:43,080 --> 00:24:46,320
because she knows
what is going to happen to her child.
243
00:24:46,400 --> 00:24:50,440
And this young girl doesn't know,
which is maybe wrong philosophically,
244
00:24:50,520 --> 00:24:52,400
because it's a story of tragedy.
245
00:24:52,480 --> 00:24:56,680
We have to understand it is a tragedy
because he suffered because of us.
246
00:25:00,640 --> 00:25:04,240
It's joy, enjoyment, and she's happy.
247
00:25:04,320 --> 00:25:06,840
But art always needs some explanation
248
00:25:06,920 --> 00:25:11,440
so here we have these white flowers
in the sign of a cross.
249
00:25:11,520 --> 00:25:14,800
It's for all those
who are looking at it.
250
00:25:14,880 --> 00:25:17,520
If you are a Christian you see
something like a cross,
251
00:25:17,600 --> 00:25:18,760
it must mean something.
252
00:25:18,840 --> 00:25:22,320
So when you see the cross,
and you see the mother and child,
253
00:25:22,400 --> 00:25:26,160
you must remember that the child
will be crucified on the cross.
254
00:25:27,840 --> 00:25:30,920
In Leonardo first of all he was always
experimenting and experimenting,
255
00:25:31,040 --> 00:25:36,480
but also he was developing
into the line of developing mystery.
256
00:25:36,560 --> 00:25:40,440
All these shadows and all these
strange looks and strange smiles.
257
00:25:40,520 --> 00:25:43,080
He was developing
and experimenting together.
258
00:25:43,160 --> 00:25:46,520
He was doing experiments
to develop something more mysterious.
259
00:25:52,320 --> 00:25:56,560
Leonardo had an ambition of thought
260
00:25:56,640 --> 00:26:00,480
that would have singled him out
in any community at any time.
261
00:26:00,560 --> 00:26:04,840
So he saw painting, which was,
of course, his primary medium,
262
00:26:04,920 --> 00:26:11,320
as the way to both explore
and express a new understanding,
263
00:26:11,400 --> 00:26:16,800
a new investigation of the world
and of God's laws of creation.
264
00:26:16,880 --> 00:26:19,360
I think that that's the key.
265
00:26:20,000 --> 00:26:24,400
So we don't know very much
about his biography at this point.
266
00:26:24,480 --> 00:26:27,520
We know that he was likely homosexual
267
00:26:27,600 --> 00:26:30,120
and that there were other things
268
00:26:30,200 --> 00:26:35,000
that would have given him a kind of
slightly outsider-insider status.
269
00:26:35,080 --> 00:26:38,520
He was certainly not distracted ever
by family duties.
270
00:26:38,600 --> 00:26:42,840
He was, therefore, somewhat
self-indulgent in some ways.
271
00:26:42,920 --> 00:26:45,480
He was somebody who had the time
272
00:26:45,560 --> 00:26:48,400
and gave himself the space
273
00:26:48,480 --> 00:26:52,520
to undertake this extraordinary
investigation of the world.
274
00:26:53,680 --> 00:26:56,560
Leonardo, the man, is very elusive.
275
00:26:56,640 --> 00:27:01,840
The notes we have of what Leonardo
looked like and how he behaved...
276
00:27:01,920 --> 00:27:04,800
First of all, there is only one
reputable likeness of him,
277
00:27:04,880 --> 00:27:06,280
and that's at Windsor.
278
00:27:06,360 --> 00:27:07,680
It's a profile drawing.
279
00:27:07,760 --> 00:27:11,120
Very beautiful, fine features,
very beautifully dressed hair,
280
00:27:11,200 --> 00:27:13,560
which corresponds to descriptions.
281
00:27:14,280 --> 00:27:17,680
The testimony is,
and we can see from his notes
282
00:27:17,760 --> 00:27:20,040
as to what he bought
for his entourage to buy,
283
00:27:20,120 --> 00:27:23,000
they dressed very well, very stylishly,
284
00:27:23,080 --> 00:27:27,920
and part of Leonardo's point as a
painter was the painter was a gentleman.
285
00:27:28,040 --> 00:27:32,480
He wasn't like a sculptor who sat there
covered in dust like a baker,
286
00:27:32,560 --> 00:27:34,080
as Leonardo put it.
287
00:27:34,800 --> 00:27:39,360
So he aims to cultivate this very
courtly, very well-mannered exterior.
288
00:27:40,040 --> 00:27:42,040
I think he inspired immense loyalty
289
00:27:42,120 --> 00:27:46,080
with this very tight circle
of intimate, young men
290
00:27:46,160 --> 00:27:48,160
that he kept around him,
291
00:27:48,240 --> 00:27:50,840
but I think in other respects
he's very elusive.
292
00:28:18,920 --> 00:28:20,600
Leonardo is widely understood
293
00:28:20,680 --> 00:28:23,520
as one of the great polymaths
of the Renaissance.
294
00:28:23,600 --> 00:28:28,160
He was experienced and skilled
in painting, sculpture, architecture,
295
00:28:28,240 --> 00:28:31,400
engineering and many branches
of the sciences as well,
296
00:28:31,480 --> 00:28:34,840
study of botany, anatomy, geology
and so on.
297
00:28:35,800 --> 00:28:39,160
It's important to understand that
these are Leonardo's working papers;
298
00:28:39,240 --> 00:28:43,240
they are his drawings and notes towards
his scientific and artistic projects.
299
00:28:43,320 --> 00:28:46,760
Leonardo was also one of the most
skilled draughtsmen of the Renaissance.
300
00:28:46,840 --> 00:28:49,840
so he was able to take this wonderful
vision of the world around him
301
00:28:49,920 --> 00:28:51,760
and to get it down on paper.
302
00:28:52,560 --> 00:28:56,680
And it is through his drawings that we
get an insight into Leonardo the man;
303
00:28:56,760 --> 00:29:00,040
how his mind worked,
how he pulled his projects together.
304
00:29:00,120 --> 00:29:04,320
It's a unique way to understand what
Leonardo was doing in his daily work.
305
00:29:05,480 --> 00:29:09,440
He's left behind a record
of a personality
306
00:29:09,520 --> 00:29:15,080
who is thinking through his hands
at every moment of the day.
307
00:29:15,160 --> 00:29:17,640
He sees something, he sketches it.
308
00:29:17,720 --> 00:29:22,320
He wants to remember something,
he writes a list on the same page,
309
00:29:22,400 --> 00:29:27,000
he makes notes to himself about
what other kinds of things to study
310
00:29:27,080 --> 00:29:29,520
but also what to have for lunch.
311
00:29:29,600 --> 00:29:35,280
So he doesn't separate out
his artistic life, his scientific life
312
00:29:35,360 --> 00:29:37,120
from his personal life.
313
00:29:37,200 --> 00:29:42,160
He leads this extraordinarily
inquisitive,
314
00:29:42,240 --> 00:29:45,160
curiosity-focused existence.
315
00:30:42,360 --> 00:30:44,880
Leonardo was fascinated by horses
316
00:30:45,000 --> 00:30:47,280
and equine anatomy
throughout his career,
317
00:30:47,360 --> 00:30:51,600
and some of his first drawings of horses
were done in connection
318
00:30:51,680 --> 00:30:53,680
with The Adoration of the Magi,
319
00:30:53,760 --> 00:30:58,040
a commission from the convent
of San Donato a Scopeto,
320
00:30:58,120 --> 00:31:01,520
which is just outside Florence,
on the way to Pisa,
321
00:31:01,600 --> 00:31:06,720
and Leonardo makes a large number
of studies of horses.
322
00:31:06,800 --> 00:31:10,560
Neither of these figures,
and the horses,
323
00:31:10,640 --> 00:31:15,480
appear exactly as they are
in these drawings in the painting.
324
00:31:15,560 --> 00:31:17,560
There are comparable figures
325
00:31:17,640 --> 00:31:21,240
but they're not in that sense
studies directly for the painting.
326
00:31:22,680 --> 00:31:27,280
As images of horses, particularly,
they're very contrasting.
327
00:31:27,360 --> 00:31:31,120
On one, you've got these horses ambling.
328
00:31:31,200 --> 00:31:34,760
He's obviously very interested
in the position of the feet
329
00:31:34,840 --> 00:31:37,200
to suggest a sense of movement.
330
00:31:37,280 --> 00:31:39,040
The action, if you like, the energy,
331
00:31:39,120 --> 00:31:42,240
is happening in the form
of the riders on top,
332
00:31:42,320 --> 00:31:43,920
who are blowing trumpets.
333
00:31:44,040 --> 00:31:46,880
He's making his mind up
about which direction they're going.
334
00:31:47,000 --> 00:31:52,560
And by contrast, this other drawing
is just bursting with energy.
335
00:31:52,640 --> 00:31:59,800
The horse lurches forward and there's
this amazing billowing cloak behind him,
336
00:31:59,880 --> 00:32:03,640
so there's this pool of energy
between horse and rider.
337
00:32:04,360 --> 00:32:06,520
What they do have in common,
I think though,
338
00:32:06,600 --> 00:32:10,880
is that he gives the horses
this amazing monumentality.
339
00:32:12,520 --> 00:32:15,040
With this drawing in particular,
340
00:32:15,120 --> 00:32:18,680
there are various sets of hooves there
as he tries to suggest the movement
341
00:32:18,760 --> 00:32:23,000
and get the position of the horse
in that rearing state
342
00:32:23,080 --> 00:32:26,560
and again trying to draw this billowing,
343
00:32:26,640 --> 00:32:28,320
this transparent piece of drapery,
344
00:32:28,400 --> 00:32:31,800
caught in the wind
and create that sense of energy.
345
00:32:31,880 --> 00:32:34,560
It's a sort of breathlessness
and a freshness
346
00:32:34,640 --> 00:32:37,480
in the way he handles the medium,
which is extraordinary.
347
00:33:50,880 --> 00:33:53,720
"Leonardo da Vinci
has undertaken to paint a panel
348
00:33:53,800 --> 00:33:55,240
for our main altarpiece,
349
00:33:55,320 --> 00:34:00,160
which he is obliged to have completed
in 24 or at the most 30 months.
350
00:34:00,760 --> 00:34:05,920
He must supply his own colours and gold
and any other expenses he might incur."
351
00:34:06,800 --> 00:34:13,040
Contract for the Adoration of the Kings
for San Donato a Scopeto, July 1481.
352
00:34:46,720 --> 00:34:49,920
If we are looking at finished
and unfinished paintings,
353
00:34:50,040 --> 00:34:53,600
the first great Leonardo
must be the Adoration of the Magi.
354
00:34:54,320 --> 00:34:57,160
It completely reworks that subject
355
00:34:57,240 --> 00:35:01,280
and turns it into something urgent,
passionate and completely novel,
356
00:35:01,360 --> 00:35:04,200
in terms of the tenor
of the composition,
357
00:35:04,280 --> 00:35:08,600
the turbulence, the sheer disturbance
of the arrival of Christ on Earth.
358
00:35:10,840 --> 00:35:14,400
The Adoration of the Kings
by Leonardo da Vinci
359
00:35:14,480 --> 00:35:19,520
leaves us increasingly surprised
the more we look at it
360
00:35:19,600 --> 00:35:22,560
and especially after
the recent restoration
361
00:35:22,640 --> 00:35:25,120
which was done by us
here at the Opificio
362
00:35:25,200 --> 00:35:28,400
we can much better understand this work
363
00:35:28,480 --> 00:35:30,520
even in its unfinished state.
364
00:35:32,320 --> 00:35:36,920
Here he assembles more than 70 figures
365
00:35:37,040 --> 00:35:39,800
all drawn by hand.
366
00:35:39,880 --> 00:35:44,720
There is clearly an impetus
on Leonardo's part
367
00:35:44,800 --> 00:35:48,800
to try to create a composition
368
00:35:48,880 --> 00:35:53,480
that he knows
he probably can't complete.
369
00:35:53,560 --> 00:35:58,440
We don't know how many
of these sketched figures
370
00:35:58,520 --> 00:36:01,200
would have been in the final work
371
00:36:01,280 --> 00:36:07,480
but there is clearly not the space
for all of them.
372
00:36:19,400 --> 00:36:23,200
The restoration of the Adoration of
the Kings lasted five years.
373
00:36:27,720 --> 00:36:29,440
The biggest surprise was that
374
00:36:29,520 --> 00:36:33,320
underneath all these varnishes
375
00:36:33,400 --> 00:36:37,920
which had deposited one after the other
on the surface
376
00:36:38,040 --> 00:36:41,280
a level of transparency was recovered
377
00:36:41,360 --> 00:36:44,040
that revealed the space.
378
00:36:48,440 --> 00:36:51,160
What had seemed to be exclusively
379
00:36:51,240 --> 00:36:55,120
a painting entirely on a single plane
380
00:36:55,200 --> 00:36:57,200
thus a two-dimensional painting
381
00:36:57,280 --> 00:37:01,200
suddenly recovered this sense
of genuine space.
382
00:37:03,880 --> 00:37:07,920
Leonardo was commissioned to paint
the Adoration of the Kings
383
00:37:08,040 --> 00:37:10,200
by the monks of San Donato in Scopeto.
384
00:37:11,320 --> 00:37:16,800
Leonardo worked for them
for only a relatively short time.
385
00:37:16,880 --> 00:37:19,920
We have documents that tell us
386
00:37:20,040 --> 00:37:22,840
it was a few months, at most a year.
387
00:37:22,920 --> 00:37:25,680
The painting remained unfinished
388
00:37:25,760 --> 00:37:31,280
because Leonardo headed for Milan
leaving behind the city of Florence.
389
00:37:32,280 --> 00:37:39,000
In Milan Leonardo could find a way
to establish himself more
390
00:37:39,080 --> 00:37:42,480
perhaps more easily
than he could in Florence
391
00:37:42,560 --> 00:37:44,840
where there was more competition.
392
00:38:00,120 --> 00:38:04,120
In the 1480s,
Leonardo decides to get out of Florence.
393
00:38:04,800 --> 00:38:07,080
He goes for a wide range of reasons.
394
00:38:07,160 --> 00:38:10,720
In part he's pushed, he hasn't finished
a whole lot of commissions
395
00:38:10,800 --> 00:38:12,480
and he owes people some money.
396
00:38:12,560 --> 00:38:19,120
In part he's pulled because Milan
is this wonderful growing, vibrant city
397
00:38:19,200 --> 00:38:23,200
ruled not by a legitimate Duke of Milan
398
00:38:23,280 --> 00:38:25,440
but by the uncle,
399
00:38:25,520 --> 00:38:31,120
Ludovico Maria Sforza,
a man of enormous talent and ambition.
400
00:38:32,440 --> 00:38:35,360
We have a surviving letter
from Leonardo,
401
00:38:35,440 --> 00:38:38,280
a draft, not in his own hand,
402
00:38:38,360 --> 00:38:42,160
which explains why
the duke should hire him.
403
00:38:42,240 --> 00:38:46,840
He goes through an extraordinary range
of opportunities and talents
404
00:38:46,920 --> 00:38:50,360
that he can offer
to this new ambitious ruler.
405
00:38:50,440 --> 00:38:53,640
He can provide war machines,
he can do bridges,
406
00:38:53,720 --> 00:38:56,880
he can do architecture of all types.
407
00:38:57,680 --> 00:39:01,040
At the very end of this letter
we get a short line,
408
00:39:01,120 --> 00:39:04,920
it says simply,
"Oh, and I can paint as well."
409
00:39:05,720 --> 00:39:07,400
The Sforza family ruled
410
00:39:07,480 --> 00:39:10,560
and the idea
that an artist's relationship
411
00:39:10,640 --> 00:39:16,520
with a great prince was emblematic
of their mutual powers,
412
00:39:16,600 --> 00:39:18,920
their joint creativity,
413
00:39:19,040 --> 00:39:23,200
was something which would allow
Leonardo a freedom of movement,
414
00:39:23,280 --> 00:39:24,560
a freedom of expression,
415
00:39:24,640 --> 00:39:27,720
that he would never have encountered
in Florence.
416
00:40:19,160 --> 00:40:21,120
"The painter who has knowledge
417
00:40:21,200 --> 00:40:24,880
of the cords, muscles, and tendons
418
00:40:25,000 --> 00:40:31,280
will know well in moving a limb
which cord is the cause of its motion
419
00:40:31,360 --> 00:40:36,840
and which muscle in swelling is the
cause of the contraction of this cord,
420
00:40:36,920 --> 00:40:41,560
and which cord,
transformed into the thinnest cartilage,
421
00:40:41,640 --> 00:40:45,480
surrounds and binds together
the said muscle.
422
00:40:46,240 --> 00:40:52,760
By these means he will become a varied
and comprehensive demonstrator
423
00:40:52,840 --> 00:40:58,040
of the various muscles in keeping
with various effects in the figure."
424
00:40:59,080 --> 00:41:00,440
Leonardo.
425
00:41:04,160 --> 00:41:06,800
I love the Saint Jerome in particular,
426
00:41:06,880 --> 00:41:10,480
partly because it's a picture
about vision.
427
00:41:11,360 --> 00:41:15,360
Saint Jerome is having a vision
of the crucifix,
428
00:41:15,440 --> 00:41:20,080
as a result of his self-punishment
with a rock,
429
00:41:20,160 --> 00:41:22,520
so this idea that there's a connection
430
00:41:22,600 --> 00:41:28,600
between the bodily and the spiritual
that is being played out for us.
431
00:41:29,800 --> 00:41:33,320
I believe that the lion
in the foreground
432
00:41:33,400 --> 00:41:38,200
is a play on Leonardo's own name:
Leone, Leonardo.
433
00:41:38,280 --> 00:41:43,120
I think that the fact that the lion
is so much a part of the picture,
434
00:41:43,200 --> 00:41:46,000
normally he's tucked away
as a kind of attribute
435
00:41:46,080 --> 00:41:48,480
that helps identify Saint Jerome,
436
00:41:48,560 --> 00:41:52,080
says something about how Leonardo
437
00:41:52,160 --> 00:41:54,240
is placing himself in the work
438
00:41:54,320 --> 00:41:58,720
and placing himself as the observer
of the saint's activity
439
00:41:58,800 --> 00:42:00,520
and of the saint's vision.
440
00:42:01,840 --> 00:42:05,200
Leonardo's painting technique
is very particular
441
00:42:05,280 --> 00:42:08,160
and I think the most important thing
to realise about it
442
00:42:08,240 --> 00:42:10,760
is that it gave him room for manoeuvre.
443
00:42:11,600 --> 00:42:14,480
Some of that is to do with
the use of oil paint
444
00:42:14,560 --> 00:42:18,840
that allows him to work more slowly
than tempera would have done,
445
00:42:18,920 --> 00:42:21,640
the medium
that his master Verrocchio used,
446
00:42:21,720 --> 00:42:26,880
but some of it is to do with simply
a kind of planning and thinking
447
00:42:27,000 --> 00:42:32,600
and overlaying that is something one
comes to look for in a work by Leonardo.
448
00:42:34,680 --> 00:42:39,680
He talks about the capacity
of a painter to find the image,
449
00:42:39,760 --> 00:42:44,200
the clear image, from within
almost a, sort of, muddle of ideas.
450
00:42:44,280 --> 00:42:46,320
So he might plan quite carefully
on paper.
451
00:42:46,400 --> 00:42:50,520
He might draw a cartoon,
he might transfer that to a panel,
452
00:42:50,600 --> 00:42:53,800
but that's only the beginning
for the next creative process.
453
00:42:53,880 --> 00:42:57,920
He's certainly not filling
in the drawing with colour.
454
00:42:58,040 --> 00:43:01,160
He's continuing to work and rework.
455
00:43:02,520 --> 00:43:06,720
So it's recently been realised
that the unfinished St. Jerome
456
00:43:06,800 --> 00:43:12,480
contains observations of anatomy
that he made in the years around 1490,
457
00:43:12,560 --> 00:43:17,040
but then he came back to it
in the first part of the 16th century,
458
00:43:17,120 --> 00:43:21,440
when he was revisiting his first
sequence of anatomical investigations
459
00:43:21,520 --> 00:43:24,080
and he thought again about the neck,
460
00:43:24,160 --> 00:43:27,920
the shoulder bone and all those areas
in that picture.
461
00:43:28,600 --> 00:43:32,720
So the paintings themselves
would mirror his thinking
462
00:43:32,800 --> 00:43:36,720
and his investigation
as they themselves evolved.
463
00:43:42,080 --> 00:43:46,520
We tend to separate out
the secular from the sacred.
464
00:43:46,600 --> 00:43:52,280
This is a divide that neither Leonardo
nor his patrons would have recognised.
465
00:43:52,360 --> 00:43:54,880
The court of Milan that Leonardo joined
466
00:43:55,000 --> 00:44:00,080
was very, very interested
in Platonic philosophical concepts,
467
00:44:00,160 --> 00:44:07,240
the notion that you can understand
the divine through the idealised.
468
00:44:07,320 --> 00:44:11,640
So in taking the best
and the most beautiful
469
00:44:11,720 --> 00:44:18,280
and then idealising them in a single
image you are getting closer to God,
470
00:44:18,360 --> 00:44:20,680
you are getting closer to the divine,
471
00:44:20,760 --> 00:44:24,520
you are getting closer to the truth.
472
00:45:42,720 --> 00:45:45,560
Leonardo da Vinci painted
The Virgin of the Rocks
473
00:45:45,640 --> 00:45:47,640
at some point after 1483.
474
00:45:48,440 --> 00:45:53,040
He painted it for the Brotherhood
of the Immaculate Conception
475
00:45:53,120 --> 00:45:57,440
for a chapel in the church
of San Francesco Grande in Milan.
476
00:45:59,600 --> 00:46:04,360
In this picture
Leonardo shows the Virgin Mary
477
00:46:04,440 --> 00:46:08,680
taking St. John the Baptist
under her protection
478
00:46:08,760 --> 00:46:12,200
while he kneels in adoration
of the Infant Jesus
479
00:46:12,280 --> 00:46:14,840
who is centred
at the bottom of the composition.
480
00:46:14,920 --> 00:46:18,760
The Infant Jesus
is under the protection of an angel.
481
00:46:19,720 --> 00:46:22,720
Leonardo chose a background
composed of rocks
482
00:46:22,800 --> 00:46:26,360
which most definitely
has a symbolic meaning.
483
00:46:27,160 --> 00:46:31,640
The rocks create a sort of grotto,
a place of refuge
484
00:46:31,720 --> 00:46:34,040
imbued with symbolism
485
00:46:34,120 --> 00:46:36,640
that seeks to reveal the purity
486
00:46:36,720 --> 00:46:38,720
and chastity of the Virgin Mary.
487
00:46:39,880 --> 00:46:43,800
This is truly a place protected
from original sin
488
00:46:43,880 --> 00:46:47,720
which therefore echoes the idea
of the immaculate conception.
489
00:46:48,920 --> 00:46:50,160
In The Virgin of the Rocks
490
00:46:50,240 --> 00:46:53,640
we can see the great attention
that Leonardo pays
491
00:46:53,720 --> 00:46:57,640
to everything
concerning the natural world.
492
00:46:57,720 --> 00:47:00,320
The rocks, flowers, plants
493
00:47:00,400 --> 00:47:03,080
that are scattered throughout
this composition.
494
00:47:03,800 --> 00:47:07,640
So it reflects in part Leonardo's world
495
00:47:07,720 --> 00:47:11,520
but this precise representation
of nature
496
00:47:11,600 --> 00:47:14,080
is actually an image
of the incarnation of God.
497
00:47:15,120 --> 00:47:16,760
God is made man in this painting.
498
00:47:16,840 --> 00:47:20,280
You see Jesus who is placed on the Earth
499
00:47:20,360 --> 00:47:24,720
and Leonardo is seeking to represent
this mystery of the incarnation
500
00:47:24,800 --> 00:47:27,560
in the broader sense of nature,
501
00:47:27,640 --> 00:47:32,120
a history that begins
with God's creation.
502
00:47:32,200 --> 00:47:39,000
He's showing us a humanity
that is revitalised and renewed
503
00:47:39,080 --> 00:47:41,080
by the arrival of Christ on Earth.
504
00:47:45,280 --> 00:47:48,440
Something that's absolutely wonderful
in this painting
505
00:47:48,520 --> 00:47:51,400
is the use of light and shade.
506
00:47:53,160 --> 00:47:56,320
The lighting is really very dark
507
00:47:56,400 --> 00:47:58,800
since we have no natural sunlight
508
00:47:58,880 --> 00:48:02,880
so the lighting is very delicate,
very mysterious
509
00:48:03,000 --> 00:48:06,480
which brings this mystery
of the incarnation to life.
510
00:48:08,400 --> 00:48:11,480
Leonardo also pays great attention
511
00:48:11,560 --> 00:48:16,520
to the transformation of colour
under the effects of light.
512
00:48:16,600 --> 00:48:19,360
The Virgin of the Rocks is without doubt
513
00:48:19,440 --> 00:48:21,720
the first masterpiece by Leonardo
514
00:48:21,800 --> 00:48:23,360
in which one can admire
515
00:48:23,440 --> 00:48:27,320
the extremely sophisticated,
extremely fine way
516
00:48:27,400 --> 00:48:30,040
in which this colour is rendered
517
00:48:30,120 --> 00:48:33,080
particularly the reds and the shadows
518
00:48:33,160 --> 00:48:39,120
which transform the painting
into a tonal vision.
519
00:48:39,200 --> 00:48:40,720
This is undeniable.
520
00:50:01,160 --> 00:50:05,160
Madonna Litta is the main icon
of the Hermitage for many people.
521
00:50:05,240 --> 00:50:08,120
It's very profound, it's very human,
522
00:50:08,200 --> 00:50:13,400
there's a very strong feeling of sorrow,
with the beautiful face of the Madonna.
523
00:50:14,120 --> 00:50:15,680
It has fantastic colours,
524
00:50:15,760 --> 00:50:19,120
it's the colours that also brings people
to look at it.
525
00:50:20,000 --> 00:50:23,040
It works very well together
with Madonna Benois
526
00:50:23,120 --> 00:50:25,640
because, you know,
simple but still it works.
527
00:50:27,920 --> 00:50:32,680
This is a young Leonardo
and here the girl is so happy,
528
00:50:32,760 --> 00:50:35,760
she doesn't know what will happen
to her child.
529
00:50:35,840 --> 00:50:40,360
And there you have Leonardo of age,
it was painted in Milan,
530
00:50:40,440 --> 00:50:42,160
and here you have Madonna which knows
531
00:50:42,240 --> 00:50:45,120
what will happen to her child
and so it is very profound.
532
00:50:46,560 --> 00:50:51,360
Certainly there is some idea that maybe
some of the pupils of Leonardo
533
00:50:51,440 --> 00:50:53,080
participated in doing this painting;
534
00:50:53,160 --> 00:50:55,080
it's very much possible.
535
00:50:57,480 --> 00:51:00,600
In Madonna Litta, look at her eyes,
536
00:51:01,160 --> 00:51:04,480
because her eyes and her figure
in general,
537
00:51:04,560 --> 00:51:08,680
this is the best pronounced idea
of Madonna.
538
00:51:19,640 --> 00:51:23,600
Leonardo's first posting
away from Florence to Milan
539
00:51:23,680 --> 00:51:26,480
seems to have been
for his musical skills,
540
00:51:26,560 --> 00:51:29,040
not for his artistic
or engineering skills.
541
00:51:29,120 --> 00:51:32,920
He was sent as a sort of diplomatic
present to the Duke of Milan,
542
00:51:33,040 --> 00:51:36,240
who apparently was very keen
on the sound of the lira da braccio,
543
00:51:36,320 --> 00:51:40,320
which is a sort of violin instrument
particularly good for improvising on.
544
00:51:40,400 --> 00:51:44,400
And Leonardo tipped up,
and supposedly played better,
545
00:51:44,480 --> 00:51:46,880
according to Vasari
in his Lives of the Artists,
546
00:51:47,000 --> 00:51:48,840
than all the Milanese musicians,
547
00:51:48,920 --> 00:51:51,640
which must have been
intensely irritating for them.
548
00:51:52,560 --> 00:51:55,760
Leonardo says about music
that it's similar to painting
549
00:51:55,840 --> 00:52:00,800
because in the same way that the limbs
have a proportionality between them,
550
00:52:00,880 --> 00:52:03,040
seen in his Vitruvian Man, for example,
551
00:52:03,120 --> 00:52:07,400
the intervals in music had this
same relationship based on maths.
552
00:52:07,480 --> 00:52:11,320
And so, in the same way
that painting is science made visible,
553
00:52:11,400 --> 00:52:13,680
science is made audible in music.
554
00:52:57,120 --> 00:53:02,320
"Music is not to be regarded other than
as the sister of painting,
555
00:53:02,400 --> 00:53:05,640
inasmuch as she is dependent on hearing,
556
00:53:05,720 --> 00:53:08,480
second sense behind that of sight.
557
00:53:09,440 --> 00:53:14,440
She composes a harmony from the
conjunction of her proportional parts,
558
00:53:14,520 --> 00:53:17,520
which make their effect instantaneous,
559
00:53:17,600 --> 00:53:23,600
being constrained to arise and die
in one or more harmonic intervals.
560
00:53:24,760 --> 00:53:28,520
My approach shall be just as
the musician's is with notes."
561
00:53:29,800 --> 00:53:30,880
Leonardo.
562
00:53:35,400 --> 00:53:38,720
Leonardo is
a highly experimental painter
563
00:53:38,800 --> 00:53:42,800
but he's not stupid, he's also
going to produce the kinds of work
564
00:53:42,880 --> 00:53:47,520
that his patrons want
and that his patrons will pay for.
565
00:53:47,600 --> 00:53:52,680
So he develops a highly characteristic
style of his own
566
00:53:52,760 --> 00:53:55,760
which reflects not simply
his understanding
567
00:53:55,840 --> 00:53:58,360
of how people look and see
568
00:53:58,440 --> 00:54:02,160
but also of what they want to see
in front of them.
569
00:55:12,880 --> 00:55:16,880
We don't really know why
this painting was created.
570
00:55:17,000 --> 00:55:23,560
Most likely it was a commission
from Leonardo's patron
571
00:55:23,640 --> 00:55:28,000
Duke Ludovico Sforza,
requesting a portrait of his mistress.
572
00:55:28,920 --> 00:55:35,840
In this painting we see
a beautiful woman
573
00:55:35,920 --> 00:55:40,040
who is in love and committed
to Ludovico Sforza.
574
00:55:40,120 --> 00:55:44,400
We know she was a well-educated person
575
00:55:44,480 --> 00:55:46,360
who wrote poetry
576
00:55:46,440 --> 00:55:49,440
while at the same time she was lauded
577
00:55:49,520 --> 00:55:54,000
and considered a muse by other artists.
578
00:55:54,880 --> 00:56:00,760
I think that her extraordinary
attributes and unique qualities
579
00:56:00,840 --> 00:56:06,480
led to her achieving an exceptional
position in Ludovico's court.
580
00:56:07,720 --> 00:56:12,840
Leonardo's painting is remarkable
581
00:56:12,920 --> 00:56:17,720
in the way that it deals
582
00:56:17,800 --> 00:56:21,760
with a subject in motion.
583
00:56:21,840 --> 00:56:26,680
Cecilia Gallerani is turning
towards someone
584
00:56:26,760 --> 00:56:30,440
who is outside the painting's frame.
585
00:56:30,520 --> 00:56:35,680
We are dealing with a snapshot,
586
00:56:35,760 --> 00:56:40,400
a portrait which shows
one specific moment.
587
00:56:41,600 --> 00:56:44,840
The painting is exceptional
due to its intimacy.
588
00:56:44,920 --> 00:56:48,240
It is exceptional thanks to
the technique used
589
00:56:48,320 --> 00:56:53,480
but it also carries
an enormous emotional charge.
590
00:56:54,320 --> 00:56:56,320
Thinking about its history
591
00:56:56,400 --> 00:57:02,440
but also about the story
of Cecilia Gallerani
592
00:57:02,520 --> 00:57:06,000
we can contemplate pure beauty.
593
00:58:08,600 --> 00:58:13,440
"If the poet says that
he can inflame men with love,
594
00:58:13,520 --> 00:58:17,840
which is the central aim
in all animal species,
595
00:58:17,920 --> 00:58:23,760
the painter has the power to do the
same, and to an even greater degree.
596
00:58:24,440 --> 00:58:30,240
In that he can place in front of the
lover the true likeness of the beloved,
597
00:58:30,320 --> 00:58:33,320
often making him kiss and speak to it."
598
00:58:34,720 --> 00:58:35,880
Leonardo.
599
00:58:38,400 --> 00:58:40,840
La Belle Ferronnière is a painting
600
00:58:40,920 --> 00:58:47,080
about which we know
relatively few historical details.
601
00:58:47,920 --> 00:58:50,560
Nevertheless there is enough evidence
602
00:58:50,640 --> 00:58:53,400
to help us understand where and when
603
00:58:53,480 --> 00:58:56,240
Leonardo painted this lovely portrait.
604
00:58:57,200 --> 00:58:59,520
The young woman in the painting
605
00:58:59,600 --> 00:59:02,440
is dressed in clothing that was
the height of fashion
606
00:59:02,520 --> 00:59:07,160
in Milan towards the end
of the 1480s and 1490s.
607
00:59:08,000 --> 00:59:12,000
We can therefore be absolutely certain
608
00:59:12,080 --> 00:59:14,760
that Leonardo painted this portrait
609
00:59:14,840 --> 00:59:18,840
when he was living under
the patronage of Ludovico Sforza.
610
00:59:18,920 --> 00:59:23,240
One of the most appealing theories
for La Belle Ferronnière
611
00:59:23,320 --> 00:59:26,320
is that it may be a portrait
of Lucrezia Crivelli,
612
00:59:26,400 --> 00:59:29,760
Ludovico Sforza's final mistress.
613
00:59:32,000 --> 00:59:36,400
Her gaze may at first
seem to be looking at us
614
00:59:36,480 --> 00:59:41,120
but it isn't directed at the viewer,
it slightly eludes us
615
00:59:41,200 --> 00:59:43,600
and is turned to her left.
616
00:59:44,720 --> 00:59:48,240
So you have the impression
of a body in movement.
617
00:59:48,320 --> 00:59:53,440
Ultimately this extremely seductive
woman is slipping away from us.
618
00:59:53,520 --> 00:59:56,760
She doesn't look at us
and is turned away.
619
00:59:59,600 --> 01:00:05,480
Much has been imagined and written about
this gaze which escapes us.
620
01:00:05,560 --> 01:00:09,000
Maybe this was something
that Leonardo's patron wanted.
621
01:00:09,080 --> 01:00:14,080
Maybe Ludovico Sforza,
if the subject is one of his mistresses,
622
01:00:14,160 --> 01:00:19,840
wanted to show in this painting
that her gaze belongs only to him
623
01:00:19,920 --> 01:00:22,760
and must elude any other viewer.
624
01:01:57,360 --> 01:01:59,760
The Last Supper by Leonardo da Vinci
625
01:01:59,840 --> 01:02:06,080
is a ghost in the refectory
of Santa Maria delle Grazie in Milan.
626
01:02:07,160 --> 01:02:12,480
It's a hint of what it must have
originally looked like.
627
01:02:12,560 --> 01:02:16,880
It's hard for us today,
given the number of copies that exist,
628
01:02:17,000 --> 01:02:19,360
given the influence that it has had
629
01:02:19,440 --> 01:02:24,800
to really understand how radical it was
in the period itself.
630
01:02:25,600 --> 01:02:28,160
It was radical in the way it was painted
631
01:02:28,240 --> 01:02:33,600
using highly experimental and
unfortunately not very good techniques
632
01:02:33,680 --> 01:02:35,680
in terms of its long-term survival.
633
01:02:35,760 --> 01:02:41,360
It was radical in terms of the way
that the apostles and Christ interact.
634
01:02:41,440 --> 01:02:44,520
It was radical in the facial features
that were pictured,
635
01:02:44,600 --> 01:02:46,200
in the gestures,
636
01:02:46,280 --> 01:02:52,040
in the astonishing interactivity
of all of those characters.
637
01:02:52,120 --> 01:02:55,360
And now we can only get a hint
638
01:02:55,440 --> 01:02:59,680
of just how beautiful
it must have once been.
639
01:03:31,920 --> 01:03:34,480
This is an academic copy
640
01:03:34,560 --> 01:03:37,400
made for posterity, as well as,
641
01:03:37,480 --> 01:03:41,160
perhaps, by one of Leonardo's pupils
trying to come closer to the master.
642
01:03:42,240 --> 01:03:45,240
But looking at the composition of this
643
01:03:45,320 --> 01:03:49,760
and looking at where
Leonardo sited the original,
644
01:03:49,840 --> 01:03:53,440
it's something to do with
the level of ambition,
645
01:03:53,520 --> 01:03:58,120
the illusion, the notion
that all art requires a leap of faith.
646
01:03:58,200 --> 01:04:01,760
But this one, perhaps unlike
anything that's happened before,
647
01:04:01,840 --> 01:04:05,880
would have seemed to the people
who saw it as miraculous.
648
01:04:06,000 --> 01:04:08,200
This really did suggest another room,
649
01:04:08,280 --> 01:04:13,440
another space, in which
recognisable human beings were eating.
650
01:04:13,520 --> 01:04:16,800
The idea that that would be sited
in a dining room
651
01:04:16,880 --> 01:04:20,720
where monks would look up to it
has additional resonance.
652
01:04:20,800 --> 01:04:27,320
And it's something to do with
the sum total of Leonardo's explorations
653
01:04:27,400 --> 01:04:30,160
both into the human face,
into the human figure,
654
01:04:30,240 --> 01:04:33,360
theology, architecture, optics.
655
01:04:33,440 --> 01:04:35,480
It's his masterwork.
656
01:04:37,000 --> 01:04:40,560
It's clear that this is
a heftily contracted work
657
01:04:40,640 --> 01:04:43,640
between Leonardo and Ludovico Sforza
658
01:04:43,720 --> 01:04:47,400
but, at the same time, it's clear
that Leonardo either has license to
659
01:04:47,480 --> 01:04:51,360
or pushes at the boundaries
of what had been produced
660
01:04:51,440 --> 01:04:53,000
in images of the Last Supper before.
661
01:04:53,080 --> 01:04:56,880
So it starts with conventional theology,
the moment where Christ says,
662
01:04:57,000 --> 01:04:58,800
"One of you will betray me,"
663
01:04:58,880 --> 01:05:00,440
but, even as you look at the work,
664
01:05:00,520 --> 01:05:05,680
you realise it conflates a series
of mini-narratives into one image.
665
01:05:05,760 --> 01:05:09,240
It has this kind of underlying rhythm
that binds it together.
666
01:05:09,320 --> 01:05:15,080
It has this central figure and actually
everything emanates from Him.
667
01:05:15,160 --> 01:05:19,080
So you see Saint James
throwing his arms out.
668
01:05:19,160 --> 01:05:21,680
You see Saint Thomas pointing upwards
as if to say,
669
01:05:21,760 --> 01:05:23,560
"Is this the will of God?"
670
01:05:23,640 --> 01:05:27,680
And actually Judas is always interesting
in the Last Supper,
671
01:05:27,760 --> 01:05:30,480
and not just in the way that he carries
the bag of silver,
672
01:05:30,560 --> 01:05:32,400
it becomes the symbol of his betrayal,
673
01:05:32,480 --> 01:05:38,720
but the way that Peter leans across to
whisper manically in Saint John's ear;
674
01:05:38,800 --> 01:05:42,360
he pushes Judas away but towards us,
675
01:05:42,440 --> 01:05:45,320
so he's both of the scene
and separated from it.
676
01:05:47,520 --> 01:05:52,440
Because of publishing and
mechanical reproduction, photography,
677
01:05:53,400 --> 01:05:56,640
we have a much greater sense
of histories of art
678
01:05:56,720 --> 01:05:58,920
and what's important
because of reproduction,
679
01:05:59,040 --> 01:06:03,040
but we forget that actually it was only
the most public of monuments
680
01:06:03,120 --> 01:06:04,800
that had that broad appeal.
681
01:06:04,880 --> 01:06:07,120
A lot of art was produced
for private spaces
682
01:06:07,200 --> 01:06:10,040
or for places of devotion: churches.
683
01:06:10,120 --> 01:06:14,120
This work was produced for a private
dining room of a monastery in Milan
684
01:06:14,200 --> 01:06:17,600
and yet, in its lifetime,
stories spread.
685
01:06:17,680 --> 01:06:21,360
The work became an object of curiosity.
People wanted to see it.
686
01:06:22,360 --> 01:06:25,560
In the way we look at the Renaissance,
687
01:06:25,640 --> 01:06:31,080
there's no doubt that this work
is a major pivotal moment.
688
01:06:39,320 --> 01:06:43,320
We should take into account
Leonardo did lots of other things.
689
01:06:43,400 --> 01:06:47,640
One of his roles was as an impresario,
visual things at the court,
690
01:06:47,720 --> 01:06:49,800
doing stage scenery and so on.
691
01:06:49,880 --> 01:06:53,760
The one glimpse of this we have, really,
from finished, surviving works,
692
01:06:53,840 --> 01:06:56,160
is the Sala delle Asse.
693
01:06:56,240 --> 01:07:01,080
This is a big, corner room
in this majestic Sforza castle.
694
01:07:02,160 --> 01:07:05,480
It's very battered, it was completely
overpainted at one point.
695
01:07:05,560 --> 01:07:07,400
So, it was completely covered in.
696
01:07:07,480 --> 01:07:09,600
It's now undergoing more restoration
697
01:07:09,680 --> 01:07:12,800
and there are some bits
that absolutely speak of Leonardo.
698
01:07:12,880 --> 01:07:15,120
He conceived a scheme of decoration
699
01:07:15,200 --> 01:07:19,440
with trees coming up
from a rocky substratum,
700
01:07:19,520 --> 01:07:20,920
and you can see the roots.
701
01:07:21,040 --> 01:07:24,520
There are drawings for the roots
amongst these horizontal rocks.
702
01:07:24,600 --> 01:07:27,600
They rise in the form of great trunks,
703
01:07:27,680 --> 01:07:30,680
and then these ramify
through the ceiling,
704
01:07:30,760 --> 01:07:32,760
and these are mulberry trees:
705
01:07:32,840 --> 01:07:37,120
Ludovico Sforza's nickname was il Moro,
706
01:07:37,200 --> 01:07:40,080
which is the mulberry, or the black man.
707
01:07:40,160 --> 01:07:43,720
So, this is emblematic
of Ludovico il Moro.
708
01:07:44,440 --> 01:07:46,600
There is a gold chain
running through them.
709
01:07:46,680 --> 01:07:49,880
Again, a knotted chain,
which is almost certainly reference
710
01:07:50,000 --> 01:07:53,400
to the d'Este family,
his wife was Beatrice d'Este,
711
01:07:53,480 --> 01:07:58,600
and in the centre there is the dynastic
shield of Ludovico and of Beatrice.
712
01:09:07,680 --> 01:09:10,000
"Leonardo has just finished
a little picture
713
01:09:10,080 --> 01:09:14,080
he is doing for one Robertet,
a favourite of the King of France.
714
01:09:14,160 --> 01:09:18,880
It is of a Madonna seated
as if she were about to spin yarn.
715
01:09:19,840 --> 01:09:23,280
The child has placed his foot
on the basket of yarns
716
01:09:23,360 --> 01:09:25,640
and has grasped the yarnwinder
717
01:09:25,720 --> 01:09:30,160
and gazes attentively at the four spokes
that are in the form of a cross.
718
01:09:31,280 --> 01:09:35,600
As if desirous of the cross
he smiles and holds it firm,
719
01:09:35,680 --> 01:09:38,240
and is unwilling to yield it
to his mother
720
01:09:38,320 --> 01:09:40,640
who seems to want
to take it away from him.
721
01:09:42,160 --> 01:09:44,680
This is as much as I could get
from Leonardo."
722
01:09:45,560 --> 01:09:46,760
Fra Pieto.
723
01:10:19,200 --> 01:10:24,040
Leonardo was around in 1499,
when the French arrived
724
01:10:24,120 --> 01:10:25,520
and, Florimond Robertet,
725
01:10:25,600 --> 01:10:28,760
who was Secretary of State
to three successive French kings,
726
01:10:28,840 --> 01:10:32,560
was amongst the invaders
and he commissioned a small Madonna
727
01:10:33,480 --> 01:10:36,840
and we have an eye witness,
Fra Pietro da Novellara,
728
01:10:36,920 --> 01:10:41,080
the Head of the Carmelites in Mantua,
writing a letter to Isabella d'Este,
729
01:10:41,160 --> 01:10:43,240
who describes what Leonardo is doing.
730
01:10:43,320 --> 01:10:48,040
He describes a little dramatic picture,
and we had two versions of that.
731
01:10:48,840 --> 01:10:50,240
You can see what's happening,
732
01:10:50,320 --> 01:10:54,040
that these two pictures
are on the easels in the studio
733
01:10:54,120 --> 01:10:57,840
and Leonardo develops a bit in one,
he develops a bit in another,
734
01:10:57,920 --> 01:11:01,920
and you can almost see, step by step,
how these are resulting.
735
01:11:03,320 --> 01:11:05,720
They come out as very beautiful pictures
736
01:11:05,800 --> 01:11:08,840
with some studio participation,
undoubtedly.
737
01:11:08,920 --> 01:11:13,200
But it's a fascinating insight
to say he's doing this for Robertet,
738
01:11:13,280 --> 01:11:16,760
so why don't we do another
very saleable one beside it?
739
01:12:50,440 --> 01:12:54,080
If there's one thing
that everyone can agree on
740
01:12:54,160 --> 01:12:58,400
it's that the Mona Lisa is truly
the most famous painting in the world.
741
01:12:59,440 --> 01:13:01,760
Not only the most famous painting
by Leonardo da Vinci
742
01:13:01,840 --> 01:13:04,560
but of all time, by any artist.
743
01:13:06,560 --> 01:13:12,720
This painting is quite extraordinary,
for various reasons.
744
01:13:12,800 --> 01:13:16,200
Leonardo himself
created a myth around this painting.
745
01:13:16,280 --> 01:13:19,240
Then its theft at the beginning
of the 20th century.
746
01:13:19,880 --> 01:13:22,400
Then its reinterpretation
by various artists
747
01:13:22,480 --> 01:13:24,560
and its use in advertising
748
01:13:24,640 --> 01:13:28,840
means that it has become
the embodiment of painting,
749
01:13:28,920 --> 01:13:33,600
the most famous image
of all the pictures ever painted.
750
01:13:34,600 --> 01:13:38,040
There's been much discussion
about the identity of the sitter
751
01:13:38,120 --> 01:13:42,600
but I think that we can state
with some certainty
752
01:13:42,680 --> 01:13:47,880
that the Mona Lisa
depicts a Florentine woman
753
01:13:48,000 --> 01:13:51,560
called Lisa Gherardini del Giocondo.
754
01:13:52,680 --> 01:13:56,920
We know that she was born
in Florence in 1479
755
01:13:57,040 --> 01:14:00,520
although the family was from
the surrounding areas of Florence
756
01:14:00,600 --> 01:14:02,200
around Siena.
757
01:14:02,280 --> 01:14:06,320
We know she married
a certain Francesco del Giocondo
758
01:14:06,400 --> 01:14:10,080
who was a silk merchant
and whose business was doing very well
759
01:14:10,160 --> 01:14:11,920
so it really was a decent marriage.
760
01:14:12,720 --> 01:14:16,840
We can assume that Leonardo had
a special relationship with this family,
761
01:14:16,920 --> 01:14:18,920
maybe with this woman
762
01:14:19,040 --> 01:14:22,440
and that her face and her personality
763
01:14:22,520 --> 01:14:28,840
was of sufficient interest
to encourage him
764
01:14:28,920 --> 01:14:34,080
to paint her and make this
one of his greatest masterpieces.
765
01:14:36,680 --> 01:14:38,720
The extraordinary thing
about the Mona Lisa
766
01:14:38,800 --> 01:14:41,560
is the subtlety of her expression.
767
01:14:42,440 --> 01:14:44,520
People have always said
that she is smiling
768
01:14:44,600 --> 01:14:48,040
but the smile isn't very pronounced.
769
01:14:48,560 --> 01:14:52,680
Some people have seen
a touch of melancholy
770
01:14:52,760 --> 01:14:55,440
or other human expressions.
771
01:14:57,040 --> 01:15:01,840
Leonardo brings this subtle smile
to life
772
01:15:01,920 --> 01:15:07,440
thanks to his technique,
known as sfumato.
773
01:15:10,520 --> 01:15:12,640
No edges can be seen.
774
01:15:12,720 --> 01:15:15,160
There is an initial edge,
or rather lines
775
01:15:15,240 --> 01:15:20,840
but Leonardo blurs these
by overlaying layers of paint in glazes.
776
01:15:20,920 --> 01:15:25,920
These are layers of extremely
transparent oil paint
777
01:15:26,040 --> 01:15:30,240
and this is what creates
this sense of vibration,
778
01:15:30,320 --> 01:15:33,720
this extremely vibrant effect
that the smile has.
779
01:15:33,800 --> 01:15:36,520
And this is what gives subtlety
780
01:15:36,600 --> 01:15:41,160
and mystery to the expression.
781
01:15:42,880 --> 01:15:45,920
I've been lucky enough
to see the Mona Lisa out of its frame
782
01:15:46,040 --> 01:15:48,160
and in a light that penetrated
783
01:15:48,240 --> 01:15:51,200
its current, very brown varnish,
784
01:15:51,280 --> 01:15:56,480
to reveal a range of colour
that is absolutely astonishing.
785
01:15:56,560 --> 01:16:02,280
It has not just the gravity,
the timelessness,
786
01:16:02,360 --> 01:16:05,560
the eternal feminine
that people talk about,
787
01:16:05,640 --> 01:16:11,400
but it has a kind of immediacy,
a sense of a real personality.
788
01:16:11,480 --> 01:16:14,320
So the Mona Lisa
is both Leonardo's ideal
789
01:16:14,400 --> 01:16:19,240
and a real Florentine woman
who he chose to represent that ideal.
790
01:16:19,320 --> 01:16:22,880
I think that's the part
that sometimes gets left out.
791
01:16:23,000 --> 01:16:26,920
She's become so emblematic, so iconic,
792
01:16:27,040 --> 01:16:30,080
that we don't see
the human being anymore.
793
01:16:31,480 --> 01:16:33,800
Artists work in a number
of different ways
794
01:16:33,880 --> 01:16:37,880
and one thing that one can say
unquestionably about Leonardo
795
01:16:38,000 --> 01:16:42,480
is that he worked slowly
and extraordinarily thoughtfully,
796
01:16:42,560 --> 01:16:44,200
as well as erratically.
797
01:16:44,280 --> 01:16:47,480
So all of his pictures, I think,
798
01:16:47,560 --> 01:16:50,400
were the result of tremendous planning
799
01:16:50,480 --> 01:16:56,320
and then a process
that was of continual creativity,
800
01:16:56,400 --> 01:16:59,240
to a point where it was
never really clear
801
01:16:59,320 --> 01:17:02,560
when a picture was actually finished
and when it wasn't.
802
01:17:03,360 --> 01:17:07,680
What happened, to my mind,
in Mona Lisa is it begins as a portrait,
803
01:17:08,440 --> 01:17:11,280
and Leonardo progressively,
over the years,
804
01:17:11,360 --> 01:17:16,680
poured everything he knew
about the painting and poetry
805
01:17:16,760 --> 01:17:18,760
into that single picture.
806
01:17:18,840 --> 01:17:21,840
So it becomes a very remarkable,
complicated thing.
807
01:17:21,920 --> 01:17:23,920
You've got the optics.
808
01:17:24,040 --> 01:17:27,240
He is looking, at that time,
at the complexity of the human eye,
809
01:17:27,320 --> 01:17:31,200
and he says, "The eye does not know
the edge of any body."
810
01:17:31,280 --> 01:17:34,880
This extreme blurring and indefiniteness
is a scientific thing
811
01:17:35,000 --> 01:17:37,080
but it's also a poetic thing.
812
01:17:37,160 --> 01:17:41,040
It also corresponds to this poetic,
beloved lady
813
01:17:41,120 --> 01:17:43,400
who is always out of reach.
814
01:17:43,480 --> 01:17:45,760
You can look at the physics of drapery.
815
01:17:45,840 --> 01:17:48,880
He is interested in how
different thicknesses of drapery
816
01:17:49,000 --> 01:17:51,440
compress and curl, and so on.
817
01:17:52,160 --> 01:17:55,920
You've got the mountainous landscape,
which is full of geology.
818
01:17:56,040 --> 01:17:58,080
You've got a high lake and a low lake,
819
01:17:58,160 --> 01:18:02,080
and he says at one point
"the Arno Valley was like that."
820
01:18:02,160 --> 01:18:06,720
The amount he puts into it in terms
of science is just extraordinary,
821
01:18:06,800 --> 01:18:09,920
the amount he puts into it in terms
of poetry and psychology,
822
01:18:10,040 --> 01:18:11,320
it's just extraordinary.
823
01:18:11,400 --> 01:18:14,800
So it becomes what I call
a "universal picture."
824
01:18:14,880 --> 01:18:18,520
Everything he can do in painting
is all put into that
825
01:18:18,600 --> 01:18:22,680
and even if we only get out
a fraction of it as a spectator,
826
01:18:22,760 --> 01:18:24,640
it is still very remarkable.
827
01:19:58,320 --> 01:20:00,720
To me the extraordinary thing
about the Salvator Mundi
828
01:20:00,800 --> 01:20:04,000
is that it precisely demonstrates
829
01:20:04,080 --> 01:20:07,800
how Leonardo's observation
of natural phenomena
830
01:20:07,880 --> 01:20:12,800
can be used at the service
of the creation of a vision of God.
831
01:20:14,160 --> 01:20:17,000
For example, looking at the hands,
832
01:20:17,080 --> 01:20:19,600
which have an immediacy and a presence,
833
01:20:19,680 --> 01:20:23,760
they practically break out
of the painting into our realm,
834
01:20:23,840 --> 01:20:25,840
and how that's contrasted with this
835
01:20:25,920 --> 01:20:29,080
almost spectral quality
for the face of Christ.
836
01:20:30,640 --> 01:20:33,320
I think what Leonardo's doing there
is showing that,
837
01:20:33,400 --> 01:20:38,600
as an artist whose talent was,
as he would have believed, God-given,
838
01:20:38,680 --> 01:20:44,080
that he has access to a vision of Christ
which was beyond the norm,
839
01:20:44,160 --> 01:20:47,000
which was almost miraculous
in its own right
840
01:20:47,080 --> 01:20:51,680
and he's bringing Christ
into the present,
841
01:20:51,760 --> 01:20:53,840
into our imaginations,
842
01:20:53,920 --> 01:20:57,280
through the power of his imagination.
843
01:20:57,360 --> 01:21:02,480
He creates a whole world
around that crystal orb,
844
01:21:02,560 --> 01:21:08,360
and he chooses to both
represent the world as you see it
845
01:21:08,440 --> 01:21:15,040
and to then edit and distort
in order to arrive at a greater truth.
846
01:21:15,120 --> 01:21:22,520
To me, at least, Leonardo is all about
arriving at the greater truth.
847
01:21:31,800 --> 01:21:35,320
The image itself,
the idea of the Salvator Mundi subject
848
01:21:35,400 --> 01:21:38,520
is actually rather archaic,
it's an old one.
849
01:21:38,600 --> 01:21:42,440
That is a frontal portrayal of Christ
blessing with one hand,
850
01:21:42,520 --> 01:21:44,800
holding an orb in the other.
851
01:21:44,880 --> 01:21:49,120
But what Leonardo does is take something
that is very traditional
852
01:21:49,200 --> 01:21:53,400
and creates something much broader
and deeper with it.
853
01:21:53,480 --> 01:21:56,680
In the orb, taking something
which is normally...
854
01:21:56,760 --> 01:21:59,680
Let's say it began as a representation
of the Earth
855
01:21:59,760 --> 01:22:03,040
and then not just turning it
into a glass sphere
856
01:22:03,120 --> 01:22:07,480
but into a crystal sphere and something
that really represents the Universe
857
01:22:07,560 --> 01:22:10,000
rather than just the Earth.
858
01:22:10,080 --> 01:22:15,640
In the same way the image of Christ
is not one of a forbidding figure,
859
01:22:15,720 --> 01:22:20,840
it's one of someone that one
can relate to in this very personal way,
860
01:22:20,920 --> 01:22:22,760
even in an emotional way.
861
01:22:22,840 --> 01:22:27,200
So I think what he's done here
is given this new life and new meaning.
862
01:22:30,000 --> 01:22:32,000
My own sense with this picture is that
863
01:22:32,080 --> 01:22:33,920
it was painted over
a long period of time,
864
01:22:34,040 --> 01:22:36,560
as many of Leonardo's pictures were.
865
01:22:36,640 --> 01:22:39,440
So it may well have begun
as a commission
866
01:22:39,520 --> 01:22:43,080
but it would seem that
it's a picture that began
867
01:22:43,160 --> 01:22:46,280
in the very first years
of the 16th century
868
01:22:46,360 --> 01:22:49,200
and that he had with him when he died.
869
01:22:49,280 --> 01:22:52,480
So if there were a specific patron
at the beginning
870
01:22:52,560 --> 01:22:54,160
there certainly wasn't one at the end
871
01:22:54,240 --> 01:22:58,560
and I think it allowed Leonardo
to do whatever he wanted to.
872
01:23:01,360 --> 01:23:04,360
One aspect I think
that's particularly interesting
873
01:23:04,440 --> 01:23:07,440
is looking at the picture in relation
to The Last Supper,
874
01:23:07,520 --> 01:23:09,160
because, of course, in The Last Supper,
875
01:23:09,240 --> 01:23:12,720
the figure of Christ
is not terribly well preserved.
876
01:23:12,800 --> 01:23:16,560
And early on it was said
in written accounts
877
01:23:16,640 --> 01:23:20,640
that Leonardo couldn't bring himself
to portray Christ,
878
01:23:20,720 --> 01:23:23,240
that it was just somehow beyond him.
879
01:23:23,320 --> 01:23:26,720
I think that we know that's not
necessarily the case now,
880
01:23:26,800 --> 01:23:32,120
because here he has tackled
this most challenging subject
881
01:23:32,200 --> 01:23:36,200
and created this indelible image
of Christ
882
01:23:36,280 --> 01:23:39,640
as a figure who is both
divine and human.
883
01:23:42,480 --> 01:23:47,320
How one defines Leonardo in looking at
the picture is a hard thing to define.
884
01:23:47,400 --> 01:23:49,800
One aspect is certainly
the quality of the picture
885
01:23:49,880 --> 01:23:54,720
and the absolute phenomenal way
in which optical effects are conveyed,
886
01:23:54,800 --> 01:23:58,720
whether it's the shadow
on the fingernail of the blessing hand
887
01:23:58,800 --> 01:24:04,840
or whether it's the change in tonalities
across the skin tones of Christ.
888
01:24:04,920 --> 01:24:07,840
But beyond that I think it's the effect,
889
01:24:07,920 --> 01:24:12,000
it's this emotional direct connection
that one has
890
01:24:12,080 --> 01:24:18,080
between the viewer and this man
who painted this picture 500 years ago.
891
01:24:18,160 --> 01:24:21,040
That's really something
that can't be imitated.
892
01:26:12,600 --> 01:26:15,800
For a long time it was thought
that the monks of the brotherhood
893
01:26:15,880 --> 01:26:18,320
had rejected the painting
of The Virgin of the Rocks
894
01:26:18,400 --> 01:26:20,800
for iconographic reasons.
895
01:26:20,880 --> 01:26:23,720
But they didn't reject the painting,
896
01:26:23,800 --> 01:26:26,800
they just didn't agree
to pay Leonardo more for it.
897
01:26:28,000 --> 01:26:32,880
Nevertheless he adapted it,
changing it for another buyer.
898
01:26:33,000 --> 01:26:36,160
This painting passed
to another art lover,
899
01:26:36,240 --> 01:26:38,120
possibly the Duke of Milan himself.
900
01:26:38,200 --> 01:26:43,040
But ultimately Leonardo was bound by the
contract from the Immaculate Conception.
901
01:26:43,120 --> 01:26:45,120
So he painted a second picture,
902
01:26:45,200 --> 01:26:48,400
the version which is now
in the National Gallery, London.
903
01:26:49,680 --> 01:26:53,440
One of the key evolutions between
this work and the one in the Louvre
904
01:26:53,520 --> 01:26:56,320
is the fact that he's thought
about the way
905
01:26:56,400 --> 01:26:58,720
he might unify the space
906
01:26:58,800 --> 01:27:01,440
and make a more convincing depiction
of the grotto,
907
01:27:01,520 --> 01:27:04,840
which goes up above,
to the top of the composition.
908
01:27:04,920 --> 01:27:08,720
There's no sky above,
as in the Louvre work,
909
01:27:08,800 --> 01:27:12,840
and the way he can make
quite dramatic use of dappled lighting
910
01:27:12,920 --> 01:27:15,160
to fall across the forms
in certain ways,
911
01:27:15,240 --> 01:27:19,440
like the way it catches
the front of the Baptist's left foot
912
01:27:19,520 --> 01:27:23,280
or falls across the arm of the angel
and you see the void behind.
913
01:27:23,360 --> 01:27:27,040
All those things, I think, are based
and rooted in observation,
914
01:27:27,120 --> 01:27:28,920
and then twisted, I think,
915
01:27:29,040 --> 01:27:31,880
to enhance the kind of
expressive qualities of the work.
916
01:27:33,160 --> 01:27:36,680
The advance in this work has to do with
the kind of guiding intelligence
917
01:27:36,760 --> 01:27:39,360
about how the whole is orchestrated,
918
01:27:39,440 --> 01:27:42,200
how the rich dark-brown under-modelling
919
01:27:42,280 --> 01:27:44,600
that lies beneath the whole thing
is brought up in a way
920
01:27:44,680 --> 01:27:48,000
that it makes the use
of selective colour
921
01:27:48,080 --> 01:27:51,000
much more effective and believable.
922
01:27:51,080 --> 01:27:54,400
You have here an interest, of course,
in giving the Virgin
923
01:27:54,480 --> 01:27:57,680
the most brightly coloured,
the most strongly saturated hues
924
01:27:57,760 --> 01:28:01,000
but the angels are wearing
similar colours in a lower key.
925
01:28:01,080 --> 01:28:05,200
All of that colour, kind of
being corroded by shadow
926
01:28:05,280 --> 01:28:07,680
is very, very carefully worked out.
927
01:28:08,480 --> 01:28:11,800
I certainly look at the way
the materials are used in the angel,
928
01:28:11,880 --> 01:28:14,720
where it's the concentration of effort
929
01:28:14,800 --> 01:28:16,560
to create the effect that he wishes
930
01:28:16,640 --> 01:28:21,120
when you have this kind of brownish,
almost grisaille under-modelling
931
01:28:21,200 --> 01:28:26,240
that's really exploited and left to tell
very strongly in the angel's costume.
932
01:28:26,320 --> 01:28:29,560
Then it's a selective area
where he's built up the highlights,
933
01:28:29,640 --> 01:28:32,800
and where he's put the fine detail,
and where it's not there.
934
01:28:32,880 --> 01:28:36,160
I think those choices are the things
that are truly thrilling
935
01:28:36,240 --> 01:28:39,080
and speak absolutely
to the hand of Leonardo.
936
01:28:40,000 --> 01:28:43,400
He thought about audience probably less
than many artists
937
01:28:43,480 --> 01:28:47,040
because I think he didn't seem
to be a "people-pleaser"
938
01:28:47,120 --> 01:28:49,800
in terms of looking at the history
of his commissions.
939
01:28:49,880 --> 01:28:54,920
One has the sense that his interests
were his own concerns
940
01:28:55,040 --> 01:28:57,880
and how he might express those.
941
01:28:58,000 --> 01:28:59,440
The paintings themselves
942
01:28:59,520 --> 01:29:02,680
are almost an illustration
of his intellectual endeavour
943
01:29:02,760 --> 01:29:04,040
rather than an end product,
944
01:29:04,120 --> 01:29:06,680
and so I think "finish"
meant something different to him.
945
01:29:06,760 --> 01:29:08,600
It certainly feels that way.
946
01:29:08,680 --> 01:29:11,680
I don't think it's the same
single-minded pursuit
947
01:29:11,760 --> 01:29:15,320
of fame and reputation
you might find in other artists
948
01:29:15,400 --> 01:29:19,680
who were more concerned with success
in the conventional sense.
949
01:29:20,720 --> 01:29:23,640
I think this was a devotional object,
obviously,
950
01:29:23,720 --> 01:29:27,160
but I think it also always
would have been understood
951
01:29:27,240 --> 01:29:30,600
by the more educated
or the more enlightened viewers
952
01:29:30,680 --> 01:29:34,160
in the late 15th century as something
that had these other artistic,
953
01:29:34,240 --> 01:29:36,760
intrinsic artistic interest as well.
954
01:29:36,840 --> 01:29:38,840
We can still pick up on that:
955
01:29:38,920 --> 01:29:43,160
its impact in religious, philosophical,
or psychological terms.
956
01:29:43,240 --> 01:29:46,760
I think in some ways there's an
essential truth that still survives
957
01:29:46,840 --> 01:29:50,240
and comes to us even in a gallery
in the 21st century.
958
01:31:01,520 --> 01:31:05,040
St. John the Baptist
remains quite a mysterious painting
959
01:31:05,560 --> 01:31:08,320
but we can assume that Leonardo
960
01:31:08,400 --> 01:31:11,920
worked out its composition
between 1506 and 1508
961
01:31:12,040 --> 01:31:14,880
when he was living
between Florence and Milan.
962
01:31:15,640 --> 01:31:19,840
St. John the Baptist
was very popular in Florence,
963
01:31:19,920 --> 01:31:22,280
indeed he's one of the patron saints
of the city.
964
01:31:23,160 --> 01:31:26,480
Did he paint this picture
for a Florentine art lover?
965
01:31:26,560 --> 01:31:29,880
Or could it be that he painted
this picture for himself?
966
01:31:30,000 --> 01:31:31,600
As an act of devotion
967
01:31:31,680 --> 01:31:34,200
and also as an act of artistic research?
968
01:31:34,280 --> 01:31:35,280
It's possible.
969
01:31:37,040 --> 01:31:38,920
What is wonderful about
St. John the Baptist
970
01:31:39,040 --> 01:31:44,480
is that it reveals a huge amount about
Leonardo's research into light.
971
01:31:45,160 --> 01:31:49,680
St. John the Baptist is an
extraordinarily economical painting.
972
01:31:50,320 --> 01:31:52,320
There is practically no colour.
973
01:31:52,400 --> 01:31:55,760
There are only transitions
from shadow to light.
974
01:31:57,120 --> 01:32:00,920
And this St. John the Baptist is
perhaps the most beautiful illustration
975
01:32:01,040 --> 01:32:04,440
of the first words
of the Gospel according to St. John,
976
01:32:04,520 --> 01:32:06,800
namely words uniquely centred
977
01:32:06,880 --> 01:32:10,920
on the appearance of light in darkness.
978
01:32:12,040 --> 01:32:15,720
The first light announcing
the arrival of Jesus Christ
979
01:32:15,800 --> 01:32:18,240
but a light that will disappear.
980
01:32:18,320 --> 01:32:21,720
And Leonardo shows us this here.
981
01:32:22,800 --> 01:32:25,920
We are faced with an apparition
982
01:32:26,040 --> 01:32:28,760
but an apparition that is destined
to disappear.
983
01:32:28,840 --> 01:32:30,840
And that is the ambiguity
of this painting.
984
01:32:33,040 --> 01:32:35,400
Is this an appearance
or a disappearance?
985
01:32:35,480 --> 01:32:38,040
Leonardo shows us both.
986
01:32:39,120 --> 01:32:40,880
This is one of the most beautiful
987
01:32:41,000 --> 01:32:44,360
and extraordinary works
from a pictorial perspective
988
01:32:44,440 --> 01:32:46,720
in terms of its economy
989
01:32:46,800 --> 01:32:49,840
and truly as an artistic creation.
990
01:32:54,800 --> 01:33:01,120
Leonardo, from 1507 to 1513,
is in Milan and he is a painter,
991
01:33:01,200 --> 01:33:03,440
an engineer, to the French king,
Louis XII.
992
01:33:03,520 --> 01:33:07,160
So, he has very strong links
with the French.
993
01:33:07,240 --> 01:33:10,000
He then goes to Rome
under Medician patronage.
994
01:33:10,080 --> 01:33:14,600
Leo X, Giovanni de' Medici,
became the very young Pope
995
01:33:14,680 --> 01:33:19,680
and Leonardo's patron was Giuliano,
who was Pope Leo's brother.
996
01:33:21,440 --> 01:33:23,440
You've certainly
got the younger artists.
997
01:33:23,520 --> 01:33:25,520
You've got Michelangelo in Rome,
998
01:33:25,600 --> 01:33:28,800
he had finished the Sistine ceiling
by the time Leonardo arrived,
999
01:33:28,880 --> 01:33:32,360
and Raphael is doing amazing narratives.
1000
01:33:34,320 --> 01:33:40,560
Giuliano dies, he dies quite young,
and Leonardo is left without a patron.
1001
01:33:40,640 --> 01:33:42,480
He then got a very good offer.
1002
01:33:43,240 --> 01:33:47,440
He was paid a huge amount by Francis I,
the French king,
1003
01:33:47,520 --> 01:33:50,880
basically Francis had bought a star,
1004
01:33:51,000 --> 01:33:53,600
like a football club would now buy
a star striker.
1005
01:33:53,680 --> 01:33:55,760
You had bought your star artist.
1006
01:33:58,600 --> 01:34:00,440
Leonardo crossed the Alps
1007
01:34:00,520 --> 01:34:03,360
and he carried three masterpieces
1008
01:34:03,440 --> 01:34:06,920
which are the Mona Lisa, St. Anne,
and St. John the Baptist.
1009
01:34:08,000 --> 01:34:13,280
It was a long journey
and certainly his last.
1010
01:34:14,120 --> 01:34:19,320
The king gave him the use of the château
1011
01:34:19,400 --> 01:34:23,120
with an income of a thousand écus
which was a fortune
1012
01:34:23,200 --> 01:34:29,000
and the freedom to work
on royal commissions.
1013
01:34:30,920 --> 01:34:32,360
He was expected to do things,
1014
01:34:32,440 --> 01:34:35,440
but the pressure in Florence
was for hand to mouth,
1015
01:34:35,520 --> 01:34:37,760
you know, of doing a painting
and being paid.
1016
01:34:37,840 --> 01:34:39,200
He wasn't well suited for that.
1017
01:34:39,280 --> 01:34:44,280
So, being an ornament of the great
Renaissance court of Francis I
1018
01:34:44,360 --> 01:34:45,680
suited him very well.
1019
01:34:46,400 --> 01:34:48,120
Like Henry VIII in Britain,
1020
01:34:48,200 --> 01:34:52,440
part of Francis' ambition
was to attract in big artists.
1021
01:34:52,520 --> 01:34:55,840
They saw themselves
as great Renaissance princes
1022
01:34:55,920 --> 01:34:58,880
buying into the new learning
in visual arts,
1023
01:34:59,000 --> 01:35:01,280
in literature, in music, and so on.
1024
01:35:01,360 --> 01:35:04,200
So Francis is immensely important,
1025
01:35:04,280 --> 01:35:06,600
and I think a very gracious patron
to Leonardo
1026
01:35:06,680 --> 01:35:09,400
in the last three years of his life.
1027
01:35:14,000 --> 01:35:17,800
"The king, who had often
lovingly visited him,
1028
01:35:17,880 --> 01:35:21,440
arrived one day, and out of reverence,
1029
01:35:21,520 --> 01:35:25,240
Leonardo raised himself in bed
to a sitting position,
1030
01:35:25,320 --> 01:35:29,080
speaking of his illness and the symptoms
he was exhibiting,
1031
01:35:29,160 --> 01:35:32,160
and above all
how he had given offense to God
1032
01:35:32,240 --> 01:35:33,680
and to the people of the world
1033
01:35:33,760 --> 01:35:36,880
for not having worked on his art
as he should have done.
1034
01:35:38,400 --> 01:35:44,520
Leonardo expired
in the arms of the king."
1035
01:35:45,880 --> 01:35:47,320
Giorgio Vasari.
1036
01:37:00,880 --> 01:37:03,600
Of Leonardo's last paintings
1037
01:37:03,680 --> 01:37:06,360
The Virgin and Child with St. Anne
is doubtless the most ambitious.
1038
01:37:07,800 --> 01:37:09,400
The picture has three protagonists:
1039
01:37:09,480 --> 01:37:12,280
St. Anne, the Virgin Mary
and the Infant Jesus.
1040
01:37:14,080 --> 01:37:17,800
And Leonardo kept on working
on this history scene
1041
01:37:17,880 --> 01:37:19,400
right up to the end of his life.
1042
01:37:22,160 --> 01:37:25,240
This painting is also
hugely important because
1043
01:37:25,320 --> 01:37:26,760
of Leonardo's last paintings
1044
01:37:26,840 --> 01:37:30,360
it is this one that offers
an extremely rich
1045
01:37:30,440 --> 01:37:32,280
and global vision of nature.
1046
01:37:34,440 --> 01:37:38,280
The painting contains
Leonardo's finest landscape
1047
01:37:38,360 --> 01:37:41,360
because it has a monumental quality
that is extraordinary,
1048
01:37:41,440 --> 01:37:44,080
even more imposing than the landscape
in the Mona Lisa.
1049
01:37:45,200 --> 01:37:48,040
And the ground,
made up of layers of rock,
1050
01:37:48,120 --> 01:37:49,720
is absolutely extraordinary.
1051
01:37:51,360 --> 01:37:52,760
Without doubt
1052
01:37:52,840 --> 01:37:54,840
if you want to study Leonardo da Vinci
1053
01:37:54,920 --> 01:37:57,160
when you look at his work as a whole
1054
01:37:57,240 --> 01:37:59,240
The Virgin and Child with St. Anne
should be regarded
1055
01:37:59,320 --> 01:38:00,880
as the culmination of his research
1056
01:38:01,000 --> 01:38:02,680
and the work that best reveals
1057
01:38:02,760 --> 01:38:07,080
his scientific, poetic
and artistic investigations.
1058
01:38:10,040 --> 01:38:12,240
But I would say
that there's a second aspect
1059
01:38:12,320 --> 01:38:14,400
that I particularly like
in this painting
1060
01:38:14,480 --> 01:38:16,280
and that is the Virgin Mary's face.
1061
01:38:17,400 --> 01:38:21,000
Here again Leonardo
has achieved something extraordinary,
1062
01:38:21,080 --> 01:38:23,280
this understanding
of the human expression.
1063
01:38:24,880 --> 01:38:28,200
Leonardo died before he could put
1064
01:38:28,280 --> 01:38:32,240
the final layers of glaze
on the Virgin Mary's face.
1065
01:38:32,320 --> 01:38:36,320
It was the most subtle face
and expression in the entire painting
1066
01:38:36,400 --> 01:38:41,240
and he was trying to express the moment
of the Virgin Mary's conversion.
1067
01:38:41,320 --> 01:38:44,040
The moment when the mother of Jesus
1068
01:38:44,120 --> 01:38:46,840
accepts the death of her son.
1069
01:38:46,920 --> 01:38:48,040
From being a mother,
1070
01:38:48,120 --> 01:38:50,520
someone who wishes
to prevent this death,
1071
01:38:50,600 --> 01:38:52,840
she becomes instead the mother of God.
1072
01:38:52,920 --> 01:38:56,560
She accepts this destiny
and his journey towards death.
1073
01:38:57,760 --> 01:39:00,600
And so we have this smile
1074
01:39:00,680 --> 01:39:03,680
which emerges
from an expression of sadness
1075
01:39:03,760 --> 01:39:07,680
and it's only Leonardo,
with his understanding of humanity,
1076
01:39:07,760 --> 01:39:09,600
of the human expression,
1077
01:39:09,680 --> 01:39:12,920
who is capable, with this poetry,
this simplicity
1078
01:39:13,040 --> 01:39:14,840
of revealing such sentiments.
1079
01:39:16,800 --> 01:39:18,280
It was incredibly moving
1080
01:39:18,360 --> 01:39:22,440
when we restored the painting
between 2010 and 2012
1081
01:39:22,520 --> 01:39:27,440
to discover Leonardo's
final brushstrokes
1082
01:39:27,520 --> 01:39:32,640
on the Virgin Mary
and on St. Anne's dress.
1083
01:39:33,720 --> 01:39:37,720
This really was for him
his ultimate work
1084
01:39:38,600 --> 01:39:41,040
and the painting
for which he never stopped
1085
01:39:41,120 --> 01:39:45,480
imagining additional refinements
and new ideas
1086
01:39:45,560 --> 01:39:48,400
each one more sublime than the last.
1087
01:39:49,305 --> 01:40:49,537
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