500 години живот. Изобретения и изкуство в наследството...

Библиотека

ул. Монтевидео № 21, 1618 София, България

тел.:+359 2 8110 296, [email protected]

500 години живот. Изобретения и изкуство в

наследството на Леонардо да Винчи

Избрана библиография от колекциите на Библиотеката на НБУ

КЛЮЧОВИ ДУМИ:

На български език: Леонардо да Винчи, Ренесанс, ренесансов човек, ренесансово

изкуство, ренесансова живопис, ренесансова наука, изобретения на Леонардо да Винчи

На английски език: Leonardo da Vinci, Renaissance, Renaissance Man, Renaissance art,

Renaissance painting, Renaissance science, Leonardo da Vinci's inventions

ДОКУМЕНТИ: книги, статии, видеа

ХРОНОЛОГИЧЕН ОБХВАТ: 1867 г. – 2019 г.

БИБЛИОГРАФСКИ ИЗТОЧНИЦИ:

1. Каталог на библиотеката на НБУ

ЕЛЕКТРОННИ РЕСУРСИ:

1. Alexander Street: Academic Video Online

2. Central and Eastern European Online Library (CEEOL)

3. EBSCO: Academic Search Complete

4. JSTOR

5. Leisure and Tourism

6. Sage Journals

7. Web of Science

май 2019

КНИГИ

БИЦИЛИ, Петър Михайлович. Леонардо да Винчи. Идеен увод в светогледа и

творчеството му написал професор Петър М. БИЦИЛЛИ; Художествената анализа на

Леонардовите произведения, биографическия и културно-историческия очерк съставил

проф. Кирил ЦОНЕВ. София: Българска книга, 1946.

Съдържание

Източник: Библиотечен каталог НБУ сигнатура ГТ 75.07 / 265336

БИЧЕВ, Милко. Архитектурата на Ренесанса в Италия и в другите

западноевропейски страни. София: Наука и изкуство, 1954.


Източник: Библиотечен каталог НБУ сигнатура 72 / Б 467

БОГДАНОВ, Иван. Другото лице на Леонардо да Винчи: Исторически очерк. София:

Медицина и физкултура, 1979.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / Б 544

БОЯНОВ, Слави Иванов. Жреци на човешкия дух. София: Народна просвета, 1986.


Източник: Библиотечен каталог НБУ сигнатура 141 / 22190

ВАЗАРИ, Джорджо. Животът на Леонардо да Винчи: Флорентински живописец и

скулптор 1452-1519. Прев. от итал. Божан ХРИСТОВ. София: Български художник,

1980.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / В 141

ВАЛЕРИ, Пол. Реч за естетиката и други есета. Подбор на текстовете, уводни думи и

прев. от фр. език Лидия ДЕНКОВА. София: Нов български университет, 2011. ISBN

978-954-535-686-5.


Източник: Библиотечен каталог НБУ сигнатура 18 / В 184

ГАЛЪНД, Ричард Улфрик. Леонардо да Винчи: Кодекс на загадките : Гатанки,

загадки и главоблъсканици, вдъхновени от ренесансовия гений. Прев. Кънчо

КОЖУХАРОВ. София: Книгомания, 2015. ISBN 978-619-195-047-8.


Източник: Библиотечен каталог НБУ сигнатура 75.07 / Г 186

ГОЛОВИНСКИ, Евгени Викторов. Многостранните таланти. София: Академично

издателство „Проф. Марин Дринов“, 2014. ISBN 978-954-322-754-9.


Източник: Библиотечен каталог НБУ сигнатура 00 / Г 637

https://qopac.nbu.bg/xeon_Linked_Documents/Cataloging/Sadarjania/2019/02/265336.pdf

https://qopac.nbu.bg/XEON_Linked_Documents/Cataloging/Sadarjania/2016/03/233021.pdf

https://qopac.nbu.bg/XEON_Linked_Documents/Cataloging/Sadarjania/2011/12/68672-1.pdf

https://qopac.nbu.bg/XEON_Linked_Documents/Cataloging/Sadarjania/2012/01/rech%20za%20estetikata.pdf



ГУБЕР, А. Леонардо да Винчи: 1452-1519. Москва: Искусство, 1952.


ГУКОВСКИЙ, М. А. Мадонна Литта: Картина Леонардо да Винчи в Эрмитаже.

Ленинград: Искусство, 1959.


ДЖИВЕЛЕГОВ, Алексей Карпович. Леонардо да Винчи. Москва: Искусство, 1974.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / Д 515

ЕЛЕНСКИ, Шчепан. По стъпките на Питагор: Забавна математика. Прев. Н.

МЪНКОВ и др. София: Техника, 1964.



ЕЛЮАР, Пол. Мисли върху изкуството. София: Български художник, 1962.


Източник: Библиотечен каталог НБУ сигнатура 7.01 / Е 565

Животът на Леонардо Да Винчи. Ред. Мария АРАБАДЖИЕВА, Борис

АЛЕКСАНДРОВ. София: Мария Арабаджиева, 2006. ISBN 954-584-347-0.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / Ж 496

ЗУБОВ, Василий Павлович. Леонардо Да Винчи. Прев. от рус. език Емилия

ПРОХАСКОВА. София: Наука и изкуство, 1980.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / З-935

Изкуството на италианския Ренесанс: Архитектура. Скулптура. Живопис. Рисунки.

Под ред. на Ролф ТОМАН; Прев. Мария ДОНЕВА. б.м.: Colibri, 2007. ISBN 978-954-

529-521-8.

Източник: Библиотечен каталог НБУ сигнатура 7.03 / И 416

ИЛИЕВ, Атанас. История на естетиката. София: Наука и изкуство, 1958.


Източник: Библиотечен каталог НБУ сигнатура 18 / И 521

ЙОХАНСЕН, Ролф Х. [Петдесет] 50 класически живописни творби: Най-значимите

картини в историята на изкуството. София: Просвета, 2004. ISBN 954-011-654-6.


Източник: Библиотечен каталог НБУ сигнатура





КЕНИНС, Анн. Леонардо да Винчи: Избрани рисунки. Прев. от англ. език Рая

ЙОТОВА. ICON, 2013.

Източник: Библиотечен каталог НБУ сигнатура 74 / К 543

КЛАРК, Кенет. Леонардо да Винчи: Разказ за художника. София: Наука и изкуство,

1980.


Източник: Библиотечен каталог НБУ сигнатура 75.07 / К 634

КУЮМДЖИЕВА, Полина и Стефанка ГЕОРГИЕВА, състав. Антология по естетика

за музиканти. Пловдив: Макрос, 1995. ISBN 954-561-044-1.


Източник: Библиотечен каталог НБУ сигнатура 78 / А 752

Леонардо да Винчи: 1452-1519. Прев. от англ. език Рая ЙОТОВА. б.м.: Икон, 2008.

ISBN 978-954-851-744-7.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / Л 462

ЛЕОНАРДО ДА ВИНЧИ. Бележниците на Леонардо. Ред. и увод Ема ДИКЕНС; Прев.

[от англ. език] Крум БЪЧВАРОВ. София: Бард, 2005. ISBN 954-585-680-7.


ЛЕОНАРДО ДА ВИНЧИ. Леонардо да Винчи: 1452-1519: Избранные произведения в

двух томах: Т. 1. Под общ. ред. Б. В. ЛЕГРАН, А. М. ЭФРОС; Пер., стат. и комент. А.

А. ГУБЕР и др. Санкт-Петербург,: Издательский Дом "Нева",, Москва: Олма-пресс,

2000. ISBN 576-540-471-5.


ЛЕОНАРДО ДА ВИНЧИ. Леонардо да Винчи: 1452-1519: Избранные произведения в

двух томах: Т. 2. Под общ. ред. Б. В. ЛЕГРАН, А. М. ЭФРОС; Пер., стат. и комент. А.

А. ГУБЕР и др. Санкт-Петербург,: Издательский Дом "Нева",, Москва: Олма-пресс,

2000. ISBN 522-400-613-9.


ЛЕОНАРДО ДА ВИНЧИ. Трактат за живописта. Прев. от итал. език Владимир

СВИНТИЛА; Ред. Петьо АНГЕЛОВ. София: Изток-Запад, 2014. ISBN 978-619-152-500-

3.


Източник: Библиотечен каталог НБУ сигнатура 75 / Л 462

Леонардо да Винчи: учен и изобретател = Leonardo da Vinci: scientist and inventor. б.м.:

Otto LETZE, б.г.





ЛЕОНАРДО ДА ВИНЧИ. Фрагменти. Състав. и прев. от итал. език Сава СЛАВЧЕВ.

София: Изток-Запад, 2015. ISBN 978-619-152-695-6.


Източник: Библиотечен каталог НБУ сигнатура 850 / Л 462

МЮНЦ, Йожен. Леонардо да Винчи: Художник, мислител и учен: Т. 1. Прев. Мария

КОНДАКОВА. б.м.: A&T Publishing, 2008. ISBN 978-954-943-642-6.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / М 985

МЮНЦ, Йожен. Леонардо да Винчи: Художник, мислител и учен: Т. 2. Прев. Мария

КОНДАКОВА. б.м.: A&T Publishing, 2008. ISBN 978-954-943-642-6.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / М 985

НИКОЛОВ, Страцимир. Курс по обща култура: Ч. 1. София: б.и., 2017. ISBN 978-954-

020-335-5.


Източник: Библиотечен каталог НБУ сигнатура 930.85 / Н 748

НИКЪЛ, Чарлс. Леонардо да Винчи: Полетите на мисълта. Прев. от англ. език Мария

КОНДАКОВА. София: Изток-Запад, 2006. ISBN 954-321-200-7.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / Н 785

ПЕДРЕТТИ, Карло. Леонардо. Москва: Детская литература, 1986.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / П 324

ПИРЬОВ, Генчо Димитров. Научно и художествено творчество. София:

Университетско издателство "Св. Климент Охридски", 1996. ISBN 954-070-959-8.


Източник: Библиотечен каталог НБУ сигнатура 159.95 / П 539

ПИТЕВ, Христо Николов. До Питагор и напред: Ново музикално познание :

Мотивация, идеи, творество. В. Търново: Фабер, 2010. ISBN 978-954-400-355-5.


Източник: Библиотечен каталог НБУ сигнатура 78 / П 562

ПОПОВ, Здравко. Идеята за времето: Антология. Състав. и авт. на встъп. статия

Здравко ПОПОВ, Цочо БОЯДЖИЕВ. София: Наука и изкуство, 1985.


Източник: Библиотечен каталог НБУ сигнатура 11 / П 760

РОМЕИ, Франческа. Леонардо да Винчи: Художник, откривател и учен от епохата

[на] Ренесанса. Франческа РОМЕИ; Ил. Серджо Андрея РИЧАРДИ; Прев. Виолета

ДАСКАЛОВА. София: Кибеа, 1996. ISBN 954-474-071-6.




https://qopac.nbu.bg/XEON_Linked_Documents/Cataloging/Sadarjania/2012/01/do%20pitagor%20i%20napred.pdf


Източник: Библиотечен каталог НБУ сигнатура 75.07 / Р 838

САНТИ, Бруно. Леонардо Да Винчи. Москва: Слово, 1997. ISBN 585-050-147-9.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / С 188

СВИНТИЛА, Владимир Николов. Аз бях Леонардо. София: Клио, 1996. ISBN 954-950-

003-9.

Източник: Библиотечен каталог НБУ сигнатура 75.03 / С 265

ТАЛЕВ, Братислав Димитров. Съвременник на вековете. София: Народна младеж,

1980.

Източник: Библиотечен каталог НБУ сигнатура 7.03 / Т 257

ТЕНЕВ, Драган. Малки разкази за велики художници. София: Български художник,

1987. София: Български художник, 1987.


ТИШ, Джесика. Леонардо Да Винчи for dummies. Джесика ТИШ, Трейси БАР; Прев.

Мариета ГЛУХАРОВА. София: АлексСофт, б.г. ISBN 954-656-144-4.


УОЛЛЭЙС, Роберт. Мир Леонардо: 1452-1519. Пер. с англ. М. КАРАСЕВ. ISBN 530-

001-431-1.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / 3531

ФРЕЙД, Зигмунд. Психоанализ и культура : Леонардо да Винчи. Санкт-Петербург:

Алетейя, 2000. ISBN 5-89329-020-4.

Източник: Библиотечен каталог НБУ сигнатура 159.96 / Ф 822

ФРОЙД, Зигмунд. Естетика, изкуство и литература. София: Университетско

издателство „Св. Климент Охридски”, 1991. ISMN 8394706.


Източник: Библиотечен каталог НБУ сигнатура 159.96 / Ф 855

ХЕЗЪЛУД, Джулиет. История на европейската живопис. Прев. [от англ.] Елика

РАФИ. София: Абагар Холдинг, Белайта Прес, 1995. ISBN 954-584-126-5.

Източник: Библиотечен каталог НБУ сигнатура 75.03 / Х 384

[Хиляда и един] 1001 отговора от света на науката: Отговори на 1001 въпроса защо

и как се променя днешният свят. Прев. от англ. език Калина ДАСКАЛОВА. б.м.:

Рийдърс Дайджест, 2010. ISBN 978-954-993-559-2.


Източник: Библиотечен каталог НБУ сигнатура 00 / Х 499


https://qopac.nbu.bg/XEON_Linked_Documents/Cataloging/Sadarjania/2013/03/1001%20otgovora.pdf

Хуманизмът и изкуството на Ренесанса: Антология. Състав. Тодор Т. ПЕТЕВ; Науч.

ред. Елия МАРИНОВА; Прев. от англ. език Димана ИЛИЕВА и др. София: Агата-А,

2016. ISBN 978-954-540-064-3.


Източник: Библиотечен каталог НБУ сигнатура 7.03 / Х 942

ЦЬОЛНЕР, Франк. Леонардо да Винчи 1452-1519. Прев. Кристин РАЗСОЛКОВА.

София: Алианс-97, 2006. ISBN 954-9817-30-X.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / Ц 979

ЧАНКИ, Марко. Леонардо да Винчи : [Альбом]. Текст М. ЧАНКИ; Пер. и ред. А.

САБАШНИКОВА, Е. САБАШНИКОВА. Москва: Белый город, 2000. ISBN 5-7793-

0100-Х.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / Ч 251

AMES-LEWIS, Francis. Drawing in early renaissance Italy. New Haven: Yale University

Press, 2000. ISBN 0300079818.

Източник: Библиотечен каталог НБУ сигнатура 75.03 / 86167

BERENCE, Fred. Leonardo da Vinci. Paris: Galerie Somogy, б.г.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / B 45

CAMPBELL, Stephen J. A new history of Italian renaissance art. Stephen CAMPBELL,

Michael COLE. London: Thames & Hudson, 2012. ISBN 978-050-023-886-8.

Източник: Библиотечен каталог НБУ сигнатура 7.03 / C 18

CRISPINO, Enrica. Leonardo. Florence: Giunti, 2002. ISBN 8809025482.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / C 89

HARTT, Frederick. History of Italian Renaissance art : painting, sculpture, architecture :

[Справочник]. Frederick HART; Revised by David G. WILKINS; Ed. by Joanne

GREENSPUN. New Jersey: Prentice Hall, New York: Harry N. Abrams, 1994. ISBN 0-13-

393380-6.

Източник: Библиотечен каталог НБУ сигнатура С 7.03 / H 31

Italienische Malerei : die Meisterwerke vom 14. bis zum 20. Jahrhundert. Texte und

Bildrecherche Stefano ZUFFI und Francesca CASTRIA; Red. und Satz Elke Linda

BUCHHOLZ et al. Kooeln: Konemann, 1998. ISBN 382-900-489-3.

Източник: Библиотечен каталог НБУ сигнатура 75.05 / I-87

LANDAU, David. The Renaissance print, 1470-1550. David LANDAU and Peter

PARSHALL. New Haven: Yale University Press, 1994. ISBN 0-300-05739-3.


Източник: Библиотечен каталог НБУ сигнатура 76 / L 23

Leonardo : art and science. Ed. by Claudio PESCIO. Firenze: Giunti, 2000. ISBN

8809015118.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / L 55

Leonardo da Vinci. New York: Phaidon Publishers, 1954. ISMN 42870249.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / L 55

Painters of reality : the legacy of Leonardo and Caravaggio in Lombardy. Edited by Andrea

BAYER. New York: Metropolitan Museum of Art, New Haven: Yale University Press, 2004.

ISBN 1588391167.

Източник: Библиотечен каталог НБУ сигнатура 75.03 / P 15

Renaissance art. Ed. by Creighton GILBERT. New York: Harper Torghbooks, 1970. ISMN

42870551. Източник: Библиотечен каталог НБУ сигнатура 7.03 / 98093

TURNER, A. Richard. Renaissance Florence : The invention of a new art. London: Prentice

Hall, Harry N. Abrams, 1997. ISBN 013-618-448-0.

Източник: Библиотечен каталог НБУ сигнатура 7.03 / T 95

WADE, David. Geometry and art : How mathematics transformed. Art during the

Renaissance. New York: Shelter Harbor Press, 2017. ISBN 978-162-795-105-0.

Източник: Библиотечен каталог НБУ сигнатура 7.03 / W 11

WUNDRAM, Manfred. Renaissance. Ed. Ingo WALTHER. Koeln : Taschen, 2009. ISBN

978-382-285-296-5.

Източник: Библиотечен каталог НБУ сигнатура 7.03 / W 92

ZOLLNER, Frank. Leonardo da Vinci 1452-1519. Koeln: Taschen, 2000. ISBN 382-2859-

796.

Източник: Библиотечен каталог НБУ сигнатура 75.07 / Z 82

ЕЛЕКТРОННИ РЕСУРСИ

СТАТИИ

BECK, James. The Dream of Leonardo Da Vinci. Artibus Et Historiae [online]. 1993, vol. 14

(27), pp. 185-198 [viewed 23 April 2019]. JSTOR. ISSN 03919064. Available from:

http://www.jstor.org

Abstract: Leonardo da Vinci's dream of a nibbio, or kite, a rapacious carrion bird, opening his mouth

with its tail while he lay in the cradle, has been the subject of several psychoanalytical studies. This

article is the first attempt to evaluate the dream within the larger context of the artist's interest in

dreams and fantasies, as well as in bestiaries and fables. Many emblematic descriptions of kites were

http://www.jstor.org/

in Leonardo's possession, suggesting that the bird held personal significance for him. Some of the

virtues symbolized by the kite, such as self-restraint and moderation, crop up in other contexts, for

example in the "Portrait of a Lady with an Ermine" (Czartoryski Collection, Cracow), and in his fables

involving monkeys. Like the nibbio dream, these instances can be understood as Leonardo's reminders

to himself of the need to exercise restraint in order to continue undistracted in his mission as a guide of

art.

Източник: JSTOR

CARLETON, David L. A Comparison of the Artistic Theories of Leonardo Da Vinci and of

Wassily Kandinsky. Leonardo [online]. 1974, vol. 7 (1), pp. 33–35 [viewed 23 April 2019].

JSTOR. ISSN 0024094X. Available from: http://www.jstor.org


DE GIROLAMI CHENEY, Liana. Leonardo Da Vinci's Uffizi Annunciation: The Holy

Spirit. Artibus Et Historiae [online]. 2011, vol. 32 (63), pp. 39–53 [viewed 23 April 2019].

JSTOR. ISSN 03919064. Available from: http://www.jstor.org

Abstract: In his Notebooks, Leonardo da Vinci explains how our knowledge has its formation in our

perceptions. "The eyes, which are called the windows of the soul, are the chief mean whereby the

understanding may most full and abundantly appreciate the infinite works of nature". Leonardo

continues: "all true sciences are the result of experiences which has passed through our senses". He

invites the observer to first experience nature and then with reason investigates the causes and effects

of the experience. The presentation focuses on an aspect of creativity, the similarity between artistic

and scientific creativity as espoused in Leonardo's Notebooks and, in particular, visualized in his

Annunciation of 1472 at the Galleria degli Uffizi. In analyzing Leonardo's Annunciation, one is able to

reflect on Leonardo's concept of creativity as well as on his theory on painting. This earlier painting in

Leonardo's artistic career is fundamental and serves as a fulcrum in the history of art and science in

Italian Renaissance art. In the Annunciation, the young Leonardo begins to conceptualize his theories

on optics and perception, fusing natural phenomena with spiritual signification. For all that Leonardo

wrote it is to his visual explorations that he entrusts the primary task of representing nature. Because

for Leonardo art is an instrument of discovery, a form of knowing and not merely an illustration of

what is already known, the application of color and tone reveal a process of visual reasoning, a science

of painting.


FRESHFIELD, Douglas W. The Alpine Notes of Leonardo Da Vinci. Proceedings of the

Royal Geographical Society and Monthly Record of Geography [online]. 1884, vol. 6(6), pp.

335–340 [viewed 23 April 2019]. JSTOR. ISSN 0266626X. Available from:



GOETHE, D. SNIDER, T. DAVIDSON. Leonardo da Vinci's "Last supper". The Journal of

Speculative Philosophy [online]. 1867, vol. 1 (4), pp. 243–250 [viewed 23 April 2019].

JSTOR. ISSN 0891625X. Available from: http://www.jstor.org






HART, Ivor B. The physical science of Leonardo da Vinci: a survey. The Monist [online].

1925, vol. 35 (3), pp. 464–485 [viewed 23 April 2019]. JSTOR. ISSN 00269662. Available

from: http://www.jstor.org


HEYDENREICH, Ludwig H. Leonardo Da Vinci, Architect of Francis I. The Burlington

Magazine [online]. 1952, vol. 94 (595), pp. 277–285 [viewed 23 April 2019]. JSTOR. ISSN

00076287. Available from: http://www.jstor.org


HUYLEBROUCK, Dirk. Lost in Enumeration: Leonardo da Vinci's Slip-Ups in Arithmetic

and Mechanics. Mathematical Intelligencer [online]. 2012, vol. 34 (4), pp. 15-20 [viewed 23

April 2019]. EBSCOhost. ISSN 0343-6993. Available from: http://web.b.ebscohost.com

Abstract: The article offers information on the discovery of an erroneous drawing by Italian

Renaissance polymath Leonardo da Vinci in the book of Luca Pacioli entitled "(De) Proportione

Divina." It mentions that da Vinci correctly carried out the drawings for all polyhedra that had been

asked by Pacioli to draw, but he made an error for the rhombicutoctahedron. Pacioli aimed to list all

the recognized polyhedra, and the mistakenly suggested polyhedron is never been mentioned.

Източник: EBSCO: Academic Search Complete

ISAACSON, Walter. How Leonardo Made Mona Lisa Smile. Atlantic [online]. 2017, vol. 320

(4), pp. 50-58 [viewed 23 April 2019]. EBSCOhost. ISSN 1072-7825. Available from:

http://web.b.ebscohost.com

Abstract: The article focuses on analysis of painter Leonardo Da Vinci's approach for

depiction of smile in the Mona Lisa painting. Topics discussed include application of primer

coat conditions in the painting's wood panel by da Vinci; interest of da Vinci over

involvement of human brain and nervous system in translation of emotions with body

movement; and administration of research on optics with association of fovea in light rays

movement to eye.


ISAACSON, Walter. Learning from Leonardo. Saturday Evening Post [online]. 2018, vol.

290 (3), pp. 42-45 [viewed 23 April 2019]. EBSCOhost. ISSN 0048-9239. Available from:

http://web.b.ebscohost.com

Abstract: The article focuses on the lessons that people may learn on the life of Italian Renaissance

polymath Leonardo da Vinci. Among of these lessons include being relentlessly curious, seeking

knowledge for its own sake, and creating for oneself, not just for patrons. The willingness of da Vinci

to pursue whatever subject caught his eye that has made his mind richer and filled with more

connections is also explored.


KEELE, K. D. Leonardo Da Vinci on Vision. Journal of the Royal Society of Medicine

[online]. 1955, vol. 48 (5), pp. 384-390 [viewed 23 April 2019]. Sage Journals. ISSN 0141-

0768. Available from: https://journals.sagepub.com



http://web.b.ebscohost.com/


Източник: Sage Journals

LEADER, Anne. 'In the tomb of Ser Piero': death and burial in the family of Leonardo da

Vinci. Renaissance Studies [online]. 2017, vol. 31 (3), pp. 324-345 [viewed 23 April 2019].

EBSCOhost. ISSN 0269-1213. Available from: http://web.b.ebscohost.com

Abstract: The origins of Leonardo da Vinci (1452-1519) have fascinated scholars for well over a

century. Archival research has revealed much about Leonardo's origins and his complex family that

included four stepmothers and twenty-three half-brothers and half-sisters and their offspring. One

source, however, has been overlooked by scholars - a Libro dei defunti, or necrology, kept by the

Benedictine monks of the Badia Fiorentina, where Leonardo's father installed a family tomb in the late

fifteenth century. This book of the dead, which lists burials from 1499 through the late eighteenth

century, not only offers precious information about which of Leonardo's relatives found their final rest

in Florence at the Badia but also provides invaluable help in reconstructing the disposition of the

church interior. This article traces the history of the Da Vinci tomb from its first burial in 1474 to its

last in 1614 and provides a transcription and analysis of relevant notices found in the Badia's Libro dei

defunti.


MCCURDY, Edward. Leonardo Da Vinci's Notebooks. The Burlington Magazine for

Connoisseurs [online]. 1925, vol. 46 (267), pp. 260–266 [viewed 23 April 2019]. JSTOR.

ISSN 09510788. Available from: http://www.jstor.org


MORLEY, Brian. The Plant Illustrations of Leonardo Da Vinci. The Burlington Magazine

[online]. 1979, vol. 121 (918), pp. 553–562 [viewed 23 April 2019]. JSTOR. ISSN



NICHOLSON, Paul J. The Proportions of the Human Figure (after Vitruvius), c 1490.

Occupational Medicine [online]. 2019, vol. 69 (2), pp. 86-88 [viewed 23 April 2019].



OLSON, Lois, Helen L. EDDY. Leonardo Da Vinci: The First Soil Conservation Geologist.

Agricultural History [online]. 1943, vol. 17 (3), pp. 129–134 [viewed 23 April 2019].

JSTOR. ISSN 00021482. Available from: http://www.jstor.org


PALMA, Fernanda. Leonardo or of art: the meeting of Leo Ferrero with Leonardo di Vinci.

Rassegna della letteratura italiana [online]. 2014, vol. 118(2), pp. 478-492 [viewed 23 April

2019]. Web of science. ISSN 0033-9423. Available from: http://apps.webofknowledge.com

Abstract: In the first three decades of the twentieth century, Leonardo da Vinci was portrayed in

literature as a mythical and legendary figure, and his works were neglected by critics as they were

considered incomplete and fragmentary. During this period, Leo Ferrero published Leonardo o

dell'arte (1929) in Italy (in France with the tide of Leonard de Vinci ou l'oeuvre d'art), a work in which






http://apps.webofknowledge.com/

the author evoked the aesthetic thought of Leonardo da Vinci throughout an indepth analysis of his

manuscripts of the author. This work, starting from the unpublished notebooks of Ferrero (detained at

the Fondazione Primo Conti di Fiesole) and following the genesis of Leonardo o dell'arte, reconstructs

the iter vinciano of the literary man.

Източник: Web of science

PANDURU, Ioana-Andra. Leonardo da Vinci and human anatomy. Original communication.

Romanian Journal of Functional & Clinical, Macro- & Microscopical Anatomy & of

Anthropology [online]. vol. 14(2), pp. 358-361 [viewed 23 April 2019]. EBSCOhost. ISSN

1583-4026. Available from: http://web.b.ebscohost.com

Abstract: After the medieval period, when anatomical drawing was just a decoration (a miniature) of

anatomical treatises, in the XIVth century there was a revival of interest in anatomical drawing more

among artists than among doctors. Unlike his contemporaries, Leonardo's interest went beyond the

simple analysis of the skinless figure (écorché). For him, anatomy is not just an auxiliary tool for his

art that would facilitate understanding and faithful representation of the human form, but a separate

discipline, hence its anatomical studies being used for scientific knowledge of the human body. He is

interested in the superficial and deep anatomical structures, in the development of the human body, in

the functioning of the anatomical systems and apparatuses. Leonardo dissects, observes and represents

in the form of diagrams and demonstrative drawings of at least four different views. The drawings

have certain educational value and are accompanied by explanatory notes. For better understanding

and representation, he uses the cross section method and makes the first molds by injecting melted

wax. Even though he is not an anatomist in the true sense, being interested only in some anatomical

aspects and providing unsystematized studies, however Leonardo will approach in the highest degree

the art to anatomy. His artistic qualities, remarkable observation spirit, perseverance, imagination and

curiosity, allowed him to realize the first scientific study on the human body. His interest regards

almost all of the branches of human anatomy: descriptive anatomy, living anatomy, functional

anatomy, topographical anatomy, embryology, comparative anatomy, artistic anatomy, anthropology.


PEVSNER, Jonathan. Leonardo da Vinci's studies of the brain. Lancet [online]. 2019, vol.

393(10179), pp. 1465-1472 [viewed 23 April 2019]. EBSCOhost. ISSN 0099-5355. Available

from: http://web.b.ebscohost.com

Abstract: Leonardo da Vinci (1452–1519) contributed to the study of the nervous system. His earliest

surviving anatomical drawings (circa 1485–93) included studies of the skull, brain, and cerebral

ventricles. These works reflected his efforts to understand medieval psychology, including the

localisation of sensory and motor functions to the brain. He was also the first to pith a frog, concluding

that piercing the spinal medulla causes immediate death. After a 10-year interval in the early 1500s

Leonardo resumed his anatomical studies and developed a method to inject hot wax into the

ventricular system, creating a cast that showed the shape and extent of the ventricles. During this

period he also progressed in his understanding of the anatomy of the cranial nerves. Besides being the

first to identify the olfactory nerve as a cranial nerve, his dissections showed him that contrary to

previous theories, the nerves do not converge on the lateral or third ventricles. Leonardo also

performed detailed studies of the peripheral nervous system. Although his discoveries had little

influence on the development of the field of anatomy, they represent an astonishingly sharp break

from the field that had seen little if any progress in the previous 13 centuries. His work reflects the

emergence of the modern scientific era and forms a key part of his integrative approach to art and

science.




PISANO, Raffaele. Details on the mathematical interplay between Leonardo da Vinci and

Luca Pacioli. BSHM Bulletin: Journal of the British Society for the History of Mathematics

[online]. 2016, vol. 31(2), pp. 104-111 [viewed 23 April 2019]. EBSCOhost. ISSN 1749-

8430. Available from: http://web.b.ebscohost.com

Abstract: Leonardo da Vinci (1452–1519) maintained a strong relationship with mathematics, but the

benefits of this connection unfortunately had little impact in his time. His meeting with Luca Pacioli

(1445–1517) in Milan in 1496 was crucial: the two men would become friends and a deep mutual

respect would preside over Leonardo da Vinci's improving his mathematical knowledge while

contributing to the drawings of Pacioli'sDe divina proportione(Milano, 1496–98) (Pacioli 1509a).

Based on my recent works on the relationship between mathematics and physics during the

Renaissance, here I resume some results on the conceptual mathematical frameworks between two

Italian scholars.


PROTIĆ, Miloš, Ljiljana MILOŠEVIĆ, Ljiljana JOVANOVIĆ. Leonardo da Vinci as an

anatomist. Timočki Medicinski Glasnik [online]. 2015, vol. 40(2), pp. 71-78 [viewed 23 April

2019]. Leisure and Tourism. ISSN 0350-2899. Available from: https://www.cabi.org/

Abstract: Leonardo da Vinci (1452-1519), a famous painter and sculptor of the Renaissance, is also

known for his work in architecture, anatomy, geology, music, cartography, mathematics, botany,

literature, engineering, and science. The Renaissance is a period in art and literature during the 15th

and 16th century, the cultural movement in Western Europe, which lead to a breakthrough in the fields

of science, philosophy, literature and fine arts. During the so-called High Renaissance in the first half

of the 16th century, there was an ingenious idea of the artist, the individual inspired by God, who had

been successful in different art forms - types of art - a Renaissance man or a Universal man (ital. uomo

universale). This was the time of two geniuses, Leonardo da Vinci and Michelangelo Buonarroti.

Leonardo had left us more than 240 individual notes and drawings on the human body. Objective: To

explore and describe Leonardo's contribution to anatomy through his notes and drawings, primarily his

groundbreaking studies of human body. Method and material: Overview of the available Internet

resources (PubMed, Cochrane Collaboration, Wikipedia) of Leonardo's drawings, through the articles

and papers published in both medical and art history databases. Royal Collection Trust, United

Kingdom presented in 2012 in London several exhibitions of Leonardo's drawings he made during

dissections of human corps. Result: Anatomical notes and drawings like: a sketch of man's figure with

outstretched hands and feet that shows heart, lungs and major blood vessels, then drawing of the neck

and right arm, showing muscles of the body and the bones of the left foot, then a sketch of the

cardiovascular system and major female organs, and a sketch of the fetus in the womb are just some of

the many Leonardo had made during more than 30 dissections performed in his life. Da Vinci was left-

handed and most of his observations are written on drawings from right to left, in mirror script.

Leonardo started to learn about anatomy at an early age when apprenticed to Andrea del Verrocchio, a

famous sculptor. As a successful artist, he gained permission from authorities, to make dissections of

human cadavers and research at the Hospital of Santa Maria Nuova in Florence and later at hospitals in

Milan and Rome. He worked with Marcantonio della Torre, Professor of Anatomy at the University of

Padua. Conclusion: Leonardo da Vinci was a versatile artist, a real Polymath (from greek - meaning a

person of versatile interests) and with his sketches he most certainly contributed to the anatomy of his

time, and the anatomy of today.

Източник: Leisure and Tourism


https://www.cabi.org/

PUCEKOVIĆ, Branko. Leonardo da Vinci and His Contributions to Cartography.

Cartography & Geoinformation [online]. 2013, vol. 12 (20), pp. 34-52 [viewed 23 April

2019]. EBSCOhost. ISSN 1333-896X. Available from: http://web.b.ebscohost.com

Abstract: The archetypal Renaissance figure Leonardo da Vinci was truly a universal man (Ital. --

uomo universale). There is no area of human activity that failed to attract his attention, or that does not

bear a trace of his deliberations. In the field of fine art, Leonardo is famous for his masterpieces: the

Mona Lisa, the Last Supper, the Virgin of the Rocks, and other, unfinished works, for example, St.

Jerome in the Wilderness, and the Adoration of the Magi. He did not leave any works of sculpture,

though he did create sketches and drawings. His legacy includes approximately 13,000 sheets of notes

and drawings of anatomy, architecture, war and flying machines, plants and animals, all annotated in a

reversed mirror-script. In his works of art, he brought his compositions to perfection by using the

principles of perspective and the techniques of chiaroscuro and sfumato. Leonardo designed war

machines and produced several plans and topographical maps for the powerful men of his time, under

whose patronage he worked, such as dukes, kings and popes. This article presents a brief account of

his most famous cartographical works: the plan of Imola, three topographic maps of Tuscany, the

Chiana valley, the Pontine Marshes and western Tuscany, and a world map (Mappa Mundi). Leonardo

skilfully made use of his fascination with landscapes, incorporating them as backdrops in his

masterpieces.


SQUERI, Robert. Leonardo Da Vinci: Innovator. Art Education [online]. 1961, vol. 14(9), pp.

6-15 [viewed 23 April 2019]. JSTOR. ISSN 00043125. Available from: http://www.jstor.org


STERPUL, Maksym. Anthropocentrism of the "Vitruvian man" by Leonardo da Vinci:

exoteric-philosophical interpretation. Культура і сучасність [online]. 2008, (2), pp. 40-44

[viewed 23 April 2019]. CEEOL. ISSN 2226-0285. Available from: https://www.ceeol.com/

Abstract: Analysis of «Vitruvian man» by Leonardo da Vinci, and is philosophical-exoteric basis, as

important influence on understanding of place of man, and his value in the universe of the world (the

universe).

Източник: CEEOL

STITES, Raymond S. The Bronzes of Leonardo Da Vinci. The Art Bulletin [online]. 1930,

vol. 12(3), pp. 254–269 [viewed 23 April 2019]. JSTOR. ISSN 00043079. Available from:



UNDERHILL, Justin. The Twilight of Presence: Pictorialized Illumination in Leonardo da

Vinci's Last Supper. Leonardo [online]. 2019, vol. 52(1), pp. 44-53 [viewed 23 April 2019].

EBSCOhost. ISSN 0024-094X. Available from: http://web.b.ebscohost.com

Abstract: This essay explores the relationship between pictures and the lighting conditions in which

they were originally viewed. The theoretical interrelationship between brightness, illumination and

depiction is explored in a case study of Leonardo da Vinci's Last Supper mural at the refectory of

Santa Maria delle Grazie in Milan. Advanced rendering software allows for the reconstruction of the


https://www.ceeol.com/



refectory as it stood when Leonardo painted The Last Supper and demonstrates the complex

interaction between light and space in the mural. This analysis illustrates how digital humanities might

bridge traditional art-historical methods and forensic visualization.


VEZZOSI, A. Leonardo Da Vinci and his Family from the 14th Century until the Present-

Day. Human Evolution [online]. 2016, vol. 31(3), pp. 169-189 [viewed 23 April 2019].


Abstract: The article offers information on the research conducted by historians, biologists and

anthropologists on the family history of Italian polymath Leonardo Da Vinci which was started in

1973 and still in progress as of 2016. The Leonardo Project aims to trace the origins of Leonardo, the

places he frequently visit and to identify the still living direct descendants of his father using a DNA

analysis.


WOLK-SIMON, Linda. The 'Cartones of Leonardo Da Vinci'. The Burlington Magazine

[online]. 2011, vol. 153(1296), pp. 148–155 [viewed 23 April 2019]. JSTOR. ISSN



ВИДЕА

60 Minutes, The Last Supper [Video file]. produced by John TIFFIN, 1930-2010, Columbia

Broadcasting System, in 60 Minutes (New York, NY: Columbia Broadcasting System, 1999),

13 mins [viewed 23 April 2019]. Available from: https://search.alexanderstreet.com

Description: Morley Safer reports on the controversy surrounding the restoration of Leonardo da Vinci's 'The

Last Supper.' Renaissance historian James Beck charges that rather than preserving the masterpiece, the costly

repair work is actually destroying it.

Източник: Alexander Street: Academic Video Online

60 Minutes, The Lost Leonardo [Video file]. produced by David BROWNING, fl. 1993-2015,

Columbia Broadcasting System; interview by Morley SAFER, 1931-2016, in 60 Minutes

(New York, NY: Columbia Broadcasting System, 2008), 13 mins [viewed 23 April 2019].

Available from: https://search.alexanderstreet.com

Description: April 17, 2008 - The Leonardo da Vinci masterpiece, 'The Battle of Anghiari,' is thought to be

lost forever, but an art detective thinks he has solved the mystery of the missing mural. Morley Safer reports.


Beauty of Diagrams, Episode 1, Vitruvian Man & DNA [Video file]. directed by Steven

CLARKE, fl. 1999; presented by Marcus DU SAUTOY, 1965-; produced by Steven

CLARKE, fl. 1999, Tern Television Productions, in Beauty of Diagrams, Episode 1 (London,

England: BBC Worldwide, 2010), 49 mins [viewed 23 April 2019]. Available from:

https://search.alexanderstreet.com


Description: Internationally acclaimed mathematician Marcus du Sautoy illustrates that, far from being a

reluctant visual medium, science is actually at the forefront of many of the world's most iconic and revolutionary

designs. Creatively navigating his way through numerous diagrams, graphs and sketches, from Newton's Prism

and Da Vinci's Vitruvian Man to Watson and Crick's extraordinary diagram of the Double Helix, he shows how

they defined and shaped complex scientific theories, and came to be accepted as astonishing images in their own

right.


Collection: Live Artists, Juvenile [Video file]. directed by Michel PATIENT, fl. 1971;

produced by AMELIA Films, in Collection: Live Artists (Paris, Ile-de-France: Windrose

(Film distributor), 2010), 1 hour [viewed 23 April 2019]. Available from:


Description: These art classes by masters teaching different fine art techniques focus on drawing with pastels,

charcoal or redchalk, painting, clay modeling, sculpture & copy of masterpieces such as 'La Belle Ferronnière'

by Leonardo da Vinci.


Da Vinci: The Lost Treasure [Video file]. presented by Fiona BRUCE, 1964-; produced by

Roger PARSONS and Julian BIRKETT, fl. 1997 (London, England: BBC Worldwide, 2011),

51 mins [viewed 23 April 2019]. Available from: https://search.alexanderstreet.com

Description: Leonardo da Vinci is considered by many to be one of the greatest artists who ever lived. Yet his

reputation rests on only a handful of pictures - including the world's most famous painting, the Mona Lisa. As

the National Gallery in London prepares to open its doors on a remarkable exhibition of Leonardo's work, Fiona

Bruce travels to Florence, Milan, Paris and Warsaw to uncover the story of this enigmatic genius - and to New

York, where she is given an exclusive preview of a sensational discovery: a new Leonardo.


Masterworks: Italian Renaissance, Portrait of Ginerva De' Benci, 1474-78 [Video file].

directed by Reiner MORITZ, 1938-, in Masterworks: Italian Renaissance (Germany: ArtHaus

Musik, 1993), 10 mins [viewed 23 April 2019]. Available from:


Description: This documentary, by director Reiner Moritz, is about Leonardo da Vinci's painting 'Portrait of

Ginerva De' Benci' from 1474-78.


Modern Marvels, Season 12, Episode 485, Da Vinci Tech [Video file]. produced by Bruce

NASH, 1947-, in Modern Marvels, Season 12, Episode 485 (New York, NY: A&E Television

Networks, 2005), 2 hours 1 mins [viewed 23 April 2019]. Available from:


Description: Examine the engineering accomplishments of the ultimate Renaissance man. The ultimate

celebration and investigation of engineering excellence. Examine the engineering accomplishments of the

ultimate Renaissance man. For over a decade, MODERN MARVELS has brought grand stories to life.

Celebrating ingenuity, invention and imagination brought to life on a grand scale, MODERN MARVELS® tells

the fascinating stories of the doers, dreamers and sometime-schemers who created everyday items, technological

breakthroughs and man-made wonders. Nearly 500 years after his death, Leonardo da Vinci still intrigues us.

Though best known as a great artist, but he was also a remarkable scientist and inventor. His love of mechanics

was unparalleled and he filled his notebooks with pages of incredible machines--from weapons of war to "Ships

https://search.alexanderstreet.com/




of the Skies", submarines to scuba suits, robots to an analog computer, and even contact lenses and alarm clocks!

How did a 15th-century man envision such modern innovations? MODERN MARVELS® travels back in time

to probe the mysteries of the man whose genius truly could not be confined to a single discipline.


The Drawings of Leonardo da Vinci [Video file]. directed by Adrian de POTIER, fl. 1953;

produced by Basil WRIGHT, 1907-1987, Leonardo Film Committee (England: Arts Council

England, 1953), 24 mins [viewed 23 April 2019]. Available from:


Description: Reproductions of images from the notebooks of Italian Renaissance artist and inventor, Leonardo da

Vinci (1452-1519).


The Renaissance: When the World Was Reborn [Video file]. directed by Liv THOMSEN

(Falls Church, VA: Landmark Media, 2010, originally published 2010), 51 mins [viewed 23

April 2019]. Available from: https://search.alexanderstreet.com

Description: What happened in Europe at the time of the renaissance and how has it influenced modern man?

This historical documentary takes us back to one of history's most intriguing and crucial chapters of Europe's

history when doors opened to whole new worlds; when man explored the stars, and traveled to the ends of the

earth. The geniuses of the renaissance created a completely new understanding of the world and of mankind.

This film tells the story of how it unfolds, and how the ideas came to affect the lives of Europeans. The

Renaissance began in Italy during the 14th & 15th centuries where the perceived belief that all things great and

small are controlled by God, was challenged. The thirst for knowledge prevailed and everything between heaven

and earth was questioned. The next 200 years, this spread across Europe, leaving deep tracks in the fields of art,

politics and ideas. However during this period, humanism and its ideals concerning the individual's rights and

reciprocal respect and tolerance between people existed side by side with widespread persecution and

intolerance. Until a few years ago the period has been presented as a pronounced break with the Middle Ages'

gloomy church autonomy and narrow-mindedness. Today, we know there are many more sides and that the true

story of this unique chapter in history has to be made up of the light and the dark. The program takes us on a

journey through the renaissance; from Florence in the South, to London and Amsterdam to Scandinavia in the

North. It discusses the influences of great thinkers such as from Michelangelo and Leonardo da Vinci to

Copernicus, Tycho Brahe and Luther.


Universal Newsreels, Release 85, October 21, 1965 [Video file]. in Universal Newsreels,

Release 85 (Los Angeles, CA - Hollywood: Universal Pictures Company, 1965, originally

published 1965), 6 mins [viewed 23 April 2019]. Available from:


Description: GADGET PAGEANT: In Washington, D.C., where the Patent Office is celebrating 175 years of

service protecting inventors, Leonardo da Vinci, one of the most inventive minds of all time, is honored. The

form is an exhibit of the great Florentine's many anticipatory ideas, such as a jack that foresees the flat tire and

an airplane that suggests 20th Century aviation....the display concludes with a demonstration even he didn't foresee: A self-contained flying man who cavorts in the air before the Washington Monument.

INTERNATIONAL AUTO SHOW: London's 50th International Motor Show - a gleaming, dazzling display of

the world's latest cars, equipped with some amazing labor saving devices and automotive engineering

advancements - proves to be an irresistible display for compulsive car buyers. GOBBLE, GOBBLE, GOBBLE:

From a Canadian Turkey ranch, a report that shows its feathered population is readying perfection....a promise of

festive awards from Nome to Key West - come the Holidays. SPORTS FOOTBALL FORTY-NINERS.........45

RAMS.........21 The highlights of pro football's latest classic rivalry...the all-California clash between the Los




Angeles Rams and the San Francisco 49ers, at the Los Angeles Memorial Stadium. A series of thrill-packed

shots that sees the 49ers overwhelm the Rams by a score of 45 to 21.
