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关于达芬奇成就的英语作文

2021-01

篇一:《达芬奇英文简介》

LeonardoDiSerPieroDaVinci

LeonardodaVinci(April15,1452-May2,

1519)wasanItalianRenaissancearchitect,

musician,anatomist,inventor,engineer,sculptor,

geometer,andpainter.Hehasbeendescribedasthearchetypeofthe"Renaissanceman"andasa

universalgenius.Leonardoisfamousforhismasterlypaintings,suchas

TheLastSupperandMonaLisa.Heisalso

knownfordesigningmanyinventionsthat

anticipatedmoderntechnology,althoughfew

ofthesedesignswereconstructedinhislifetime.In

addition,hehelpedadvancethestudyofanatomy,

astronomy,andcivilengineering.Renaissance

humanismsawnomutuallyexclusivepolaritiesbetween

sciencesandarts.

篇二:《达芬奇英文介绍》

LeonardodiserPierodaVinci(April15,1452–May2,1519)wasanItalianpolymath:architect,anatomist,sculptor,engineer,inventor,mathematician,musician,scientist,andpainter.Hehasbeendescribedasthearchetypeofthe"Renaissanceman",amaninfinitelycuriousandequallyinventive.Heiswidelyconsideredtobeoneofthegreatestpaintersofalltime,andperhapsthemostintelligentandcapablemantoeverhavelived.

HewasbornandraisedinVinci,Italy.Leonardoisfamousforhisrealisticpaintings,suchastheMonaLisaandTheLastSupper,aswellasforinfluentialdrawingssuchastheVitruvianMan.Heconceivedideasvastlyaheadofhisowntime,notablyconceptuallyinventingahelicopter,atank,theuseofconcentratedsolarpower,acalculator,arudimentarytheoryofplatetectonics,thedoublehull,andmanyothers.Relativelyfewofhisdesignswereconstructedorwerefeasibleduringhislifetime;modernscientificapproachestometallurgyandengineeringwereonlyintheirinfancyduringtheRenaissance.Inaddition,hegreatlyadvancedthestateofknowledgeinthefieldsofanatomy,astronomy,civilengineering,optics,andthestudyofwater(hydrodynamics).Ofhisworks,onlyafewpaintingssurvive,togetherwithhisnotebooks(scatteredamongvariouscollections)containingdrawings,scientificdiagramsandnotes.

Leonardohadnosurnameinthemodernsense;"daVinci"simplymeans"fromVinci".Hisfullbirthnamewas"LeonardodiserPierodaVinci",meaning"Leonardo,sonof(Mes)serPierofromVinci."

Professionallife

TheearliestknowndatedworkofLeonardo'sisadrawingdoneinpenandinkoftheArnovalley,drawnon5August1473.Itisassumedthathehadhisownworkshopbetween1476and1478,receivingtwoordersduringthistime.

Fromaround1482to1498,LudovicoSforza,DukeofMilan,employedLeonardoandpermittedhimtooperatehisownworkshop,pletewithapprentices.ItwasherethatseventytonsofbronzethathadbeensetasideforLeonardo's"GranCavallo"horsestatue(seebelow)wascastintoweaponsfortheDukeinanattempttosaveMilanfromtheFrenchunderCharlesVIIIin1495.

WhentheFrenchreturnedunderLouisXIIin1498,Milanfellwithoutafight,overthrowingSforza.LeonardostayedinMilanforatime,untilonemorningwhenhefoundFrencharchersusinghislife-sizeclaymodelofthe"GranCavallo"fortargetpractice.HeleftwithSalai,hisassistantandintimate,andhisfriendLucaPacioli(thefirstmantodescribedouble-entrybookkeeping)forMantua,movingonafter2monthstoVenice(wherehewashiredasamilitaryengineer),thenbrieflyreturningtoFlorenceattheendofApril1500.

InFlorenceheenteredtheservicesofCesareBia,thesonofPopeAlexanderVI,actingasamilitaryarchitectandengineer;withCesarehetravelledthroughoutItaly.In1506hereturnedtoMilan,nowinthehandsofMaximilianSforzaafterSwissmercenarieshaddrivenouttheFrench.

From1513to1516,helivedinRome,wherepainterslikeRaphaelandMichelangelowereactiveatthetime,thoughhedidnothavemuchcontactwiththeseartists.However,hewasprobably

ofpivotalimportanceintherelocationofDavid(inFlorence),oneofMichelangelo'smasterpieces,againsttheartist'swill.MostofhismostprominentpupilsorfollowersinpaintingeitherkneworworkedwithhiminMilan,includingMarcoD'Oggione[1],BernardinoLuini,andGiovanniAntonioBoltraffio.

LeonardodaVincitombinSaintHubertChapel(Amboise).In1515,FrançoisIofFranceretookMilan,andLeonardowasmissionedtomakeacentrepiece(amechanicallion)forthepeacetalksbetweentheFrenchkingandPopeLeoXinBologna,wherehemusthavefirstmettheKing.In1516,heenteredFrançois'service,beinggiventheuseofthemanorhouseClosLucé(alsocalled"Cloux";nowamuseumopentothepublic)nexttotheking'sresidenceattheroyalChateauAmboise,wherehespentthelastthreeyearsofhislife.TheKinggrantedLeonardoandhisentouragegenerouspensions:thesurvivingdocumentlists1,000écusfortheartist,400forCountFranceselzi,(hispupilandallegedlyoneofthegreatlovesofhislife,namedas"apprentice"),and100forSalai("servant").In1518SalaileftLeonardoandreturnedtoMilan,whereheeventuallyperishedinaduel.Françoisbecameaclosefriend.SometwentyyearsafterLeonardo'sdeath,FrançoistoldtheartistBenevenutoCellinithathebelievedthat"Nomanhadeverlivedwhohadlearnedasmuchaboutsculpture,painting,andarchitecture,butstillmorethathewasaverygreatphilosopher."

ClosLucé,inFrancewhereLeonardodiedin1519.LeonardodiedatClosLucé,France,on2ndMay,1519(RomanticlegendsaidthathediedinFrançois'arms).Aordingtohiswish,60beggarsfollowedhiscasket.HewasburiedintheChapelofSaint-HubertinthecastleofAmboise.AlthoughMelziwashisprincipalheirandexecutor,Salaiwasnotfotten;hereceivedhalfofLeonardo'svineyards.

篇三:《达芬奇事迹英文版》

Leonardodicaprio.DaVinci

Leonardodicaprio.DaVinciwasborninItalyFenJidowntown,DaVinciislegitimate,hischildhoodwasspentinhisgrandfather'sfarmstead.Childhood,theDaVinciissmart,diligentandeagertolearn,theinterestisextensive.Hesingsverywell,veryearlytolearnthepipa,hisimpromptuconcert,nomatterthelyricsortune,allareamazingtopeople.Heespeciallylovedpainting,oftenpaintingforneighborhood,hehasaudatoryname"paintingprodigy"l

DaVinci'sfamilyisatthetimeofthefamousfiorentinapedigree,fatherpierrothopeDaVincilikehimselfasalawyer,butthenbecausetherewasathingandmakepierrotchangedidea,decidedtoletthelittleVinciinhisart.Atthattime,hewasentrustedbyafarmertodrawapicturepaintedfaceshield.Heheardthesoncandraw,wantedtotrytheson'sdrawingart,andtookthistasktothesmallVinci.withhisrichimagination,SmallVinciusedamonth'stime,paintedashockingthedevil.Thedevilalongball'seyes,toothymawopen,theirnostrilsandpoisongasflameout,lookveryscary.Afterthe

pletionoftheworks,smallVincipleasefatheretohisroom.Hecoveredthewindowtohalf,wilthalightfallinaneaseljustinthemonsterontheplace.Hejustwentintotheroom,aneyesawthefaceofferociouslymonster,frightenshouted.withasmileDaVincisaidtohisfather:"pleaseyoutakeit,andthisistheeffectofthis."Pierrotfromthenthoughtthathissonhasthetalentforpainting,andsentthesmallVincitofiorentina,fromthefamousartistmitteetommasorohiMr,startedstudyingsystematicallymodelart.Atthistime,eonardoDaVincijust14yearsold.Tommasorohi'smitteeatthetimeofthefamousfiorentinahouseboatisartcenter,oftenhasItalianhumanistpartyhere,andAcademicdiscussion.LeonardoDaVinciinalargenumberofstrongherewell-knownhumanist,artistsandscientists,startedtoaepttheedificationofhumanism.LeonardoDaVinciat20yearsofagehaveveryhighartisticattainments,hebrushesandtwisttoexpressthenatureandthereallifetruth,beautyandgoodness,passionlifehappinessandpraisethebeautyofnature.{关于达芬奇成就的英语作文}.

DaVinciisoneofthreefamouspainteratRenaissance,therehad"MonaLisa"thelastsupper,thevirginoftherocks,theholyAnnaandthevirginchild",etc.Thelastsupper,leonardoDaVinciisformilanSantamariamonasterydinningroomforthemurals,basedonthebibleJesusbyhisdiscipleofjudahbetraystory."Bylisa"theportraitoftheprototypeisleonardoDaVincifriend'swife.Forthispainting,leonardoDaVincitoherpsychologicalresearch,tokeephermoodalso,usedspecialharpdivisionandsingerforherperformance.LeonardoDaVinciextremelyaurately

capturedbythemomentofthatbylisaattractivesmile,withexquisitestrokesnuancedpaintedhertothesubtlepsychologicalactivities.

Hisdidnotmarriagetoawomanevenhadnotaintimatecontact,hethoughtthetbehivoebetweenmenandwomenwasnasty

Whenhewasold,LeonardoDaVinciwasinvitedbytheFrenchkingtoliveinFrance,andgavehimahighreception,itwillbeplacedintheclothKeLuKeSicastleinthegasmanor,May2,1519,oldleonardoDaVincidiedduetoillness.

篇四:《备考素材GRE写作之达芬奇_GRE写作》

智课网GRE备考资料{关于达芬奇成就的英语作文}.

备考素材GRE写作之达芬奇_GRE写作

GRE写作素材对于提高写作水平有很大的意义,如果您想要在GRE作文考试中游刃有余,就一定要在备考中积累很多的写作素材,下面小编就给大家提供一些GRE写作素材,供大家参考。

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daVinci,Leonardo1452--1519

Painter,sculptor,inventor.BornApril15,1452nearthevillageofVinci,Italy.HewastheillegitimatesonofSerPierodaVinci,aprominentnotaryofFlorence,whohadnootherchildrenuntilmuchlater.SerPieroraisedhissonhimself,amonpracticeatthetime,arrangingforLeonardo'smothertomarryavillager.WhenLeonardowas15,hisfatherapprenticedhimtoAndreadelVerrohio,theleadingartistofFlorenceandacharacteristictalentoftheearlyRenaissance.Asculptor,painter,andgoldsmith,Verrohiowasaremarkablecraftsman,andhisGREatskilland

passionateconcernforqualityofexecution,aswellashisinterestinexpressingthevitalmobilityofthehumanfigure,wereimportantelementsinLeonardo'sartisticformation.Indeed,muchinLeonardo'sapproachtoartwas

evolutionaryfromtraditionratherthanrevolutionaryagainstit,althoughtheoppositeisoftentrueofhisresults.

Afterpletinghisapprenticeship,LeonardostayedonasanassistantinVerrohio'sshop,andhisearliestknownpaintingisaproductofhiscollaborationwiththemaster.InVerrohio'sBaptismofChrist(ca.1475),Leonardo

executedoneofthetwoangels,afactalreadyrecordedinthe16thcentury,aswellasthedistantlandscape,andheaddedthefinaltouchestothefigureofChrist,determiningthetextureoftheflesh.CollaborationonamajorprojectbyamasterandhisassistantwasstandardprocedureintheItalianRenaissance.WhatisspecialisthatLeonardo'sworkisnot,aswasusual,aslightlylessskilledversionofVerrohio'smannerofpaintingbutanoriginalapproachalteringit.ItpletelypossessesallthefundamentalqualitiesofLeonardo'smaturestyleandimpliesacriticismoftheearly

Renaissance.Bychanginghardmetallicsurfaceeffectstosoftyieldingones,makingedgeslesscutting,andincreasingtheslightmodulationsoflightandshade,Leonardoevokedanewflexibilitywithinthefigures.This"softunion,"asGiioVasaricalledit,isalsopresentinthespeciallightingandisemphaticallydevelopedinthespiralturnoftheangel'sheadandbodyandthevastdepthofthelandscape.

ApparentlyLeonardohadpaintedoneextantwork,theAnnunciationinFlorence,beforethis.ItismuchnearertoVerrohiointhestabilityofthetwofiguresshowninprofile,thecleanprecisionofthedecorativedetails,andthelargesimpleshapesofthetrees,butitalreadydiffersinthecreamiermodelingofthefaces.AlittlelaterisLeonardo'sportraitofGinevrade'Benci,theyoungwifeofaprominentFlorentinemerchant,inwhichheroilyfacewithsoftlycontouredlipsisseenagainstabackgroundofmysteriouslydarktreesandapond.{关于达芬奇成就的英语作文}.

About1478Leonardosetuphisownstudio.In1481hereceivedamajorchurchmissionforanaltarpiece,theAdorationoftheMagi.Inthisunfinishedpainting,Leonardo'snewapproachisfarmoredeveloped.Acrowdof

spectators,withoddandvariedfaces,fluttersaroundandpeersatthemaingroupoftheVirginandChild,andthereisastrongsenseofcontinuingmovement.Inthebackgroundthethreehorsesofthekingspranceamongintricate

architecturalruins.However,thepaintingalsoillustratesLeonardo'sstrongsenseoftheneedforacountervailingorder:

heplacedinthecenterofthepositiontheVirginandChild,whotraditionallyinpaintingsofthisthemehad{关于达芬奇成就的英语作文}.

appearedatonesideofthepicture,approachedbythekingsfromtheotherside.Similarly,thepicturesqueruinsarerenderedinsharpperspective.

ThesimultaneousincreaseinboththelevelofactivityandtheanizedsystemwhichcontrolsitwillclimaxlaterinLeonardo'sLastSupper,anditshowsushisbasicallyscientifictemperamentneconcernedwithnotonlyaddingtothequantityofaurateobservationsofnaturebutalsosubjectingtheseobservationstonewlyinferredphysicalor

mathematicallaws.IntheirpaintingsearlierRenaissanceartistshadappliedtherulesoflinearperspective,bywhichobjectsappearsmallerinproportionastheyarefartherawayfromtheeyeofthespectator.Leonardojoinedthis

principletotwoothers:perspectiveofclarity(distantobjectsproGREssivelylosetheirseparatenessandhencearenotdrawnwithoutlines)andperspectiveofcolor(distantobjectsproGREssivelytendtoauniformgraytone).Hewroteaboutbothofthesephenomenainhisnotebooks.

TheAdorationoftheMagiwas,asnotedabove,leftunfinished.InhislatercareerLeonardooftenfailedoveraperiodofyearstofinishawork,essentiallybecausehewouldnotaeptestablishedanswers.Forexample,inhisprojectforabronzeequestrianstatuehebeganhisworkbydelvingintosuchmattersastheanatomyofhorsesandthemethodbywhichtheheavymonumentcouldbetransportedfromhisstudiotoitspermanentlocation.InthecaseoftheMagialtarpiece,however,theunfinishedstatemaymerelyresultfromthefactthatLeonardoleftFlorencein1482toaeptthepostofcourtartisttotheDukeofMilan.Inleaving,LeonardofollowedatrendsetbytheleadingFlorentinemastersoftheoldergeneration,VerrohioandAntonioPollaiuolo,whowenttoVeniceandRometoexecutemissionslargerthananyavailableintheirnativeFlorence.

LeonardopresentedhimselftotheDukeofMilanasskilledinmanycrafts,butparticularlyinmilitaryengineering,assertingthathehadworkedoutimprovedmethodsforshootingcatapultsanddivertingrivers.Suchinventions,aswellastheremarkablemachinerythatLeonardoproducedinMilanforstagepageants,pointtohisprofoundinterestinthelawsofmotionandpropulsion,afurtheraspectofhisinterestinlivingthingsandtheirworkings.Again,thispreoupationdiffersfromolderartistsonlyindeGREe.

Leonardo'sfirstMilanesepaintingisthealtarpieceVirginoftheRocks.Itexistsintwoversions:theoneinParisisearlierandwasexecutedbyLeonardo;theoneinLondonislater,andthereiscontroversyastowhetherLeonardoparticipatedinitsexecution.AreligiousbrotherhoodinMilanmissionedanaltarpiecefromLeonardoin1483,anditisalsoamatterofargumentastowhichversionistheonemissioned.SomescholarsbelievethatitistheLondonworkandthattheParisversionwaspaintedwhileLeonardowasstillinFlorence.Butthisviewrequiressome{关于达芬奇成就的英语作文}.

remarkablecoincidences,andthemoreusualopinionisthatthepictureinParisistheoriginaloneexecutedfortheMilanesemissionandthatitwastakenawaybyLeonardo'sadmirerthekingofFranceandreplacedinMilanbythesecondpainting.

AlthoughtheVirginoftheRocksisaveryoriginalpainting,itmakesuseofavenerabletraditioninwhichtheHolyFamilyisshowninacave.ThissettingbeesavehicleforLeonardo'sinterestsindepictingnatureandindimmedlight,whichfusestheoutlinesofseparateobjects.Theartistoncementedthatoneshouldpracticedrawingatduskandincourtyardswithwallspaintedblack.Thefiguresinthepaintingaregroupedinapyramid.

TheothersurvivingpaintingofLeonardo'sMilaneseyearsistheLastSupper(1495-1497),missionedbythedukefortherefectoryoftheconventofS.MariadelleGrazie.Insteadofusingfresco,thetraditionalmediumforthistheme,Leonardoexperimentedwithanoil-basedmedium,becausepaintingintruefresakesareasofcolorappearquitedistinct.Unfortunately,hisexperimentwasunsuessful;thepaintdidnotadherewelltothewall,andwithin50yearsthescenewasreducedtoaconfusedseriesofspots.Whatweseetodayislargelyalaterreconstruction,butthedesign

isreliableandremarkable.Thesceneseemsatfirsttobeoneoftumultuousactivity,inresponsetothedramaticstimulusofChrist'swords"Oneofyouwillbetrayme,"whichisacontrasttothetraditionalstaticrowoffigures.Butthe12disciplesformfourequalclustersaroundChrist,isolatedasafifthunitinthemiddle.Thus,Leonardoonceagainenrichestheempiricalobservationofvitalactivitybutsimultaneouslydevelopsacontainingformulaandemphasizesthecenter.Thisblendoftheimmediaterealityofthesituationandtheunderlyingorderofthepositionisperhapsthereasonthepaintinghasalwaysbeenextraordinarilypopularandhasremainedthestandardimageofthesubject.

Initsowntime,theLastSupperwasperhapslesswellknownthantheprojectforabronzeequestrianstatueofthepreviousDukeofMilan,onwhichLeonardoworkedduringmostofhisMilaneseyears.Hewantedtoshowthehorseleaping,atechnicalproblemofbalanceinsculpturethatwassolvedonlyinthe17thcentury.Numerousdrawingsoftheprojectexist.Besidesapparatusforpageantsandartillery,architecturalprojectsalsooupiedLeonardoinMilan.HeandtheGREatarchitectDonatoBramante,alsoarecentarrivalatthecourt,clearlyhadamutuallystimulatingeffect,anditishardtoattributecertaininnovativeideastooneofthemratherthantheother.ThearchitecturaldrawingsofLeonardo,verysimilartothebuildingsofBramante,marktheshiftfromtheearlyRenaissancetotheHighRenaissanceinarchitectureandshowanewinterestinandmandofscaleandgrandeurwithinthebasicharmoniousgeometryofRenaissancestructure.NobuildingscanbeattributedwithcertaintytoLeonardo.

WhenLeonardo'spatronwasoverthrownbytheFrenchinvasionin1499,LeonardoleftMilan.HevisitedVenicebriefly,wheretheSenateconsultedhimonmilitaryprojects,andMantua.HeplannedaportraitofIsabellad'Este,DuchessofMantua,oneofthemoststrikingpersonalitiesandGREatartpatronsoftheage.ThesurvivingdrawingforthisportraitsuggeststhattheconceptofthelaterMonaLisahadalreadybeenformulated.

In1500LeonardoreturnedtoFlorence,wherehewasreceivedasaGREatman.FlorentinepaintersofthegenerationimmediatelyfollowingLeonardowereexcitedbyhismodernmethods,withwhichtheywerefamiliarthroughthe

unfinishedAdorationoftheMagi,andhealsonowhadapowerfuleffectonastillyoungergroupofartists.ThusitwasthatayoungermasterpassedontoLeonardohisownmissionfortheVirginandChildwithSt.Anne,andthemonkswhohadordereditgaveLeonardoaworkroom.Leonardo'slargepreparatorydrawingwasinspectedbycrowdsofviewers.ThisthemehadtraditionallybeenpresentedinaratherdiagrammaticfashiontoillustratethefamilytreeofChrist;sometimesthiswasdonebyrepresentingAnne,thegrandmother,inlargescalewithherdaughterMaryonherkneeandwithMaryinturnholdingtheChristChild.Leonardosoughttoretainareferencetothisconceptualpatternwhiledrawingsinuous,smilingfiguresinafluidanicinterrelationship.Severalvaryingdesignsexist,thelastversionbeingthepaintingofabout1510inParis;thisvarietysuggeststhatLeonardocouldnotfusethetwoqualitieshedesired:anabstractformulaandtheimmediacyoflife.

DuringhisyearsinFlorence(1500-1506),eventhoughtheywereinterruptedin1502byatermasmilitaryengineerforCesareBia,Leonardopletedmoreprojectsthaninanyotherperiodofhislife.Inhisworksoftheseyears,theemphasisisalmostexclusivelyonportrayinghumanvitality,asintheLedaandtheSwan(lost;knownonlythroughcopies),aspiralingfigurekneelingamongreeds,andtheMonaLisa,theportraitofaFlorentinecitizen'syoungthirdwife,whosesmileismysteriousbecauseitisintheprocessofeitherappearingordisappearing.

Leonardo'sGREatproject(begun1503)wasthebattlescehatthecitymissionedtoadornthenewlybuiltCouncilHallofthePalazzoVehio.Inthechoiceoftheme,theBattleofAnghiari,patrioticreferencesandthewishtoshowoffLeonardo'sspecialskillswerebothapparentlyrequired.LeonardodepictedacavalrybattleofsmallskirmishwonbyFlorentiroopsinwhichhorsemenleapateachother,churningupdust,inquickinterlockingmotion.Theworktodayisknownthroughsomerapidroughsketchesofthegroupsofhorsemen,carefuldrawingsofsingleheadsofmenwhichareextraordinarilyvividinsuggestingimmediateresponsetoastimulus,andcopiesoftheentire{关于达芬奇成就的英语作文}.

position.Leonardobegantopaintthescene,experimentingwithencaustictechnique(thepaintisfusedintohot

waxonthesurfaceofthepanel),but