Based on thousands of pages from Leonardo da Vinci's astonishing notebooks and new discoveries about his life and work, Walter Isaacson "deftly reveals an intimate Leonardo" (San Francisco Chronicle) in a narrative that connects his art to his science. He shows how Leonardo's genius was based on skills we can improve in ourselves, such as passionate curiosity, careful observation, and an imagination so playful that it flirted with fantasy.
He produced the two most famous paintings in history, The Last Supper and the Mona Lisa. With a passion that sometimes became obsessive, he pursued innovative studies of anatomy, fossils, birds, the heart, flying machines, botany, geology, and weaponry. He explored the math of optics, showed how light rays strike the cornea, and produced illusions of changing perspectives in The Last Supper. His ability to stand at the crossroads of the humanities and the sciences, made iconic by his drawing of Vitruvian Man, made him history's most creative genius.
In the "luminous" (Daily Beast) Leonardo da Vinci, Isaacson describes how Leonardo's delight at combining diverse passions remains the ultimate recipe for creativity. So, too, does his ease at being a bit of a misfit: illegitimate, gay, vegetarian, left-handed, easily distracted, and at times heretical. His life should remind us of the importance to be imaginative and, like talented rebels in any era, to think different. Here, da Vinci "comes to life in all his remarkable brilliance and oddity in Walter Isaacson's ambitious new biography...a vigorous, insightful portrait" (The Washington Post).
Based on thousands of pages from Leonardo da Vinci's astonishing notebooks and new discoveries about his life and work, Walter Isaacson "deftly reveals an intimate Leonardo" (San Francisco Chronicle) in a narrative that connects his art to his science. He shows how Leonardo's genius was based on skills we can improve in ourselves, such as passionate curiosity, careful observation, and an imagination so playful that it flirted with fantasy.
He produced the two most famous paintings in history, The Last Supper and the Mona Lisa. With a passion that sometimes became obsessive, he pursued innovative studies of anatomy, fossils, birds, the heart, flying machines, botany, geology, and weaponry. He explored the math of optics, showed how light rays strike the cornea, and produced illusions of changing perspectives in The Last Supper. His ability to stand at the crossroads of the humanities and the sciences, made iconic by his drawing of Vitruvian Man, made him history's most creative genius.
In the "luminous" (Daily Beast) Leonardo da Vinci, Isaacson describes how Leonardo's delight at combining diverse passions remains the ultimate recipe for creativity. So, too, does his ease at being a bit of a misfit: illegitimate, gay, vegetarian, left-handed, easily distracted, and at times heretical. His life should remind us of the importance to be imaginative and, like talented rebels in any era, to think different. Here, da Vinci "comes to life in all his remarkable brilliance and oddity in Walter Isaacson's ambitious new biography...a vigorous, insightful portrait" (The Washington Post).
Reviews-
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Starred review from September 11, 2017
Praising the subject of this illuminating biography as “history’s most creative genius,” Isaacson (The Innovators) uses observations and insights in the 7,200 extant pages of notes Leonardo da Vinci left behind as interpretive touchstones for assessing the artist’s life and work. The key to da Vinci’s genius as an innovator, as Isaacson presents it, was his “ability to make connections across disciplines—arts and sciences, humanities, and technology” coupled with “an imagination so excitable that it flirted with the edges of fantasy.” Proceeding chronologically through the artist’s life—from his apprenticeship at age 14 in Florence under Andrea del Verrochio to his later years in the court of Ludovico Sforza in Milan and his death in France in 1519—Isaacson shows how da Vinci’s inquisitiveness set him apart from his contemporaries but frequently distracted him from completing commissions or projects. The author portrays da Vinci’s minor works and major works such as Vitruvian Man and The Last Supper as steps toward his execution of Mona Lisa, “a quest to portray the complexities of human emotion” that represents “the culmination of a life spent perfecting an ability to stand at the intersection of art and nature.” Isaacson’s scholarship is impressive—he cites not only primary sources but secondary materials by art critics, essayists, and da Vinci’s other biographers. This is a monumental tribute to a titanic figure. Color illus. -
Alfred Molina's narration is easy to follow as the author, drawing heavily on Leonardo da Vinci's journals, describes the painter's work as art built on a scaffold of science. He dissects several of da Vinci's paintings and drawings to show how the artist's insatiable curiosity manifested itself in his art and engineering. The author's sometimes detailed passages seem natural, and Molina's cultured accent adds to the listening pleasure without seeming like an affectation. His fluency with Italian names helps keep the reading flowing. The PDF is a visual treat and is referenced throughout the work, so listeners will want to refer to it regularly to get the full benefit of the author's analysis. Nonetheless, the reading stands on its own. R.C.G. Winner of AudioFile Earphones Award © AudioFile 2017, Portland, Maine
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January 22, 2018
Screen, television, and stage actor Molina (Raiders of the Lost Ark, Not Without My Daughter), elegantly narrates Isaacson’s sweeping biography of Leonardo da Vinci. Molina effortlessly navigates Italian place names and surnames, and there is a sharp intelligence throughout his performance, as he joins Isaacson in peeling back the layers of a man whose surviving notebooks are crammed with fantastic designs but only contain tantalizing hints of a personal life. Isaacson manages to piece together chronologically the artist’s life from his apprenticeship at age 14 in Florence under Andrea del Verrochio to his death in France in 1519, focusing primarily on his evolution as an artist. Isaacson reads the foreword and the conclusion, in which he ruminates on the legacy of an artist whose trail of unfinished projects vastly outnumbers his completed works. The only hiccup in this excellent audio production is that the nearly 150 illustrations mentioned throughout are available in PDF form but are not easily accessible for those listening on the go. Still, it’s a great performance by Molina and a pleasure to listen to. A Simon & Schuster hardcover.
