Academic literature on the topic 'Battle of Anghiari (Leonardo, da Vinci)'

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Journal articles on the topic "Battle of Anghiari (Leonardo, da Vinci)"

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Boesten-Stengel, Albert. "Leonardos da Vinci Wende in der Schlacht bei Anghiari: Poetik und genetische Kritik der zeichnerischen Entwürfe." Artium Quaestiones 31, no. 1 (2020): 313–67. http://dx.doi.org/10.14746/aq.2020.31.11.

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In 1505 or 1506, Leonardo da Vinci abandoned his project of the Battle of Anghiari, which was to depict the historical victory in 1440 of Florence over Milan. The last traces of the wall painting were obliterated in the 1560s when Giorgio Vasari and his collaborators restructured and redecorated the once Sala del Maggior Consiglio of the Florentine Republic. More or less contemporary foreign copies seem to reproduce what is believed to be the central part of the composition, known even by the same Vasari’s description as the group of horsemen fighting for a standard, “vn groppo di caualli, che
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Pieraccini, M., D. Mecatti, G. Luzi, M. Seracini, G. Pinelli, and C. Atzeni. "Non-contact intrawall penetrating radar for heritage survey: the search of the ‘Battle of Anghiari’ by Leonardo da Vinci." NDT & E International 38, no. 2 (2005): 151–57. http://dx.doi.org/10.1016/j.ndteint.2004.07.010.

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Dr. Ümran BULUT, Prof. "LEONARDO DA VİNCİ ANGHİARİ SAVAŞI RESMİ ÖNCESİ ÇİZİMLERİNDE ANLAM / Leonardo Da Vi̇nci̇ Meaning In Pre-Drawings of The Anghiari War Picture." International Journal of Interdisciplinary and Intercultural Art 10, no. 10 (2020): 281–88. http://dx.doi.org/10.29228/ijiia.126.

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Cassella, Antonio. "Freeing Leonardo da Vinci’s Fight for the Standard in the Hall of the Five Hundred at Florence’s Palazzo Vecchio." International Journal of Social Science Studies 5, no. 10 (2017): 1. http://dx.doi.org/10.11114/ijsss.v5i10.2657.

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In June 2017, the author wrote an article in the International Journal of Social Science Studies in which he hypothesized that the Hall of the Five Hundred at Florence’s Palazzo Vecchio has been protecting the central piece of Leonardo da Vinci’s mural Battle of Anghiari: The Fight for the Standard (La lotta per lo stendardo) under Giorgio Vasari’s painting Battle of Marciano for 512 years now. On the evening of August 10, 2017, the author read a veiled message left by Vasari: The vertical line that passes through the center of the Battle of Marciano also passes through the center of the Fight
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Borgo, Francesca. "Summoned by Bells: The Soundscape of Leonardo da Vinci’s Battle of Anghiari." Source: Notes in the History of Art 42, no. 3 (2023): 170–78. http://dx.doi.org/10.1086/726090.

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Cassella, Antonio. "The Psychological Roots of Creativity in Messages Left by Leonardo da Vinci, Giorgio Vasari, and a Neanderthal Troglodyte." Journal of Arts and Humanities 5, no. 8 (2016): 12. http://dx.doi.org/10.18533/journal.v5i8.966.

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<p>The perfect memory that informs our local autistic facet is insufficient to deal with the unforeseen change that challenges our nonlocal artistic facet. The loss of quantum nonlocality leads autistics to fail tests rooted in overcoming the less-than-perfect ambiguity that elicits our creativity. The psychological structure by which perfect memory and less-than-perfect creativity empower each other remains in darkness. This article broaches the hypothesis that Leonardo da Vinci envisioned the union of local perfection and nonlocal less-than-perfection, and that he hid his insight in th
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Papp, Júlia. "Magyar történelmi témák 18. századi bécsi festői: adatok Wenzel Pohl munkásságához és az August Rumelnek tulajdonított mohácsi csata-képhez." Művészettörténeti Értesítő 71, no. 2 (2023): 233–54. http://dx.doi.org/10.1556/080.2022.00015.

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Media news made the name of Wenzel Pohl known in Hungary in the early 2000s, for the two large history paintings (The Battle of Mohács, Saint Stephen converting the Hungarians to the christian faith), which had cropped up in the art trade and which were purchased by the Hungarian state and deposited in the Hungarian embassy in Vienna, were attributed to him. Although more recent research has proposed that the painter of the cycle once consisting of six pieces was most probably August Rumel and not Pohl, it is worth knowing of Pohl’s artistic activity irrespective of the Hungarian relevance, to
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Barone, Juliana. "La Sala Grande di Palazzo Vecchio e la “Battaglia di Anghiari” di Leonardo da Vinci: Dalla configurazione architettonica all'apparato decorativo. Roberta Barsanti, Gianluca Belli, Emanuela Ferretti, and Cecilia Frosinini, eds. Biblioteca Leonardiana. Studi e Documenti 8. Florence: Olschki, 2019. xxiv + 608 pp. €60." Renaissance Quarterly 75, no. 1 (2022): 232–34. http://dx.doi.org/10.1017/rqx.2022.18.

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Keshelava, Grigol. "Hidden Brain Anatomy in Peter Paul Rubens’s Copy of “The Battle of Anghiari” by Leonardo da Vinci: “The Battle of Anghiari” and Brain Anatomy." Neuroscientist, April 22, 2022, 107385842210947. http://dx.doi.org/10.1177/10738584221094748.

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The object of this article is a drawing by Peter Paul Rubens, a copy of “The Battle of Anghiari” by Leonardo da Vinci in 1503–1506. This work, created in 1603, was based on an engraving of 1553 by Lorenzo Zacchia, which was taken from a cartoon by Leonardo da Vinci. The original fresco itself is lost. The analysis of the drawing shows that the Peter Paul Rubens’s copy of “The Battle of Anghiari” by Leonardo da Vinci, which was created six centuries ago, includes double content. The drawing depicting the battle secretly describes the three-dimensional image of the brain.
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Keshelava, Grigol. "Artificial intelligence's interpretation of the neuroanatomical aspect of Peter Paul Rubens's copy of “The Battle of Anghiari” by Leonardo da Vinci." Perception, March 22, 2023, 030100662311659. http://dx.doi.org/10.1177/03010066231165915.

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We tested to see how Ruben’s copy of “The Battle of Anghiari” by Leonardo da Vinci would be interpreted by AI in a neuroanatomical aspect. We used WOMBO Dream, an artificial intelligence (AI)-based algorithm that creates images based on words and figures. The keyword we provided for the algorithm was “brain” and the reference image was Ruben’s drawing. AI interpreted the whole drawing as a representation of the brain. The image generated by the algorithm was similar to our interpretation of the same painting.
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Books on the topic "Battle of Anghiari (Leonardo, da Vinci)"

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artist, Morandini Francesco 1544-1597, ed. Reonarudo da Vinchi, ushinawareta daihekiga no kioku: "Tavora Dōria" tettei kenkyū. Tōkyō Bijutsu, 2021.

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Castello, Dionisio. L'allogazione di Anghiari: Leonardo da Vinci investigatore d'eccezione. Firenze libri, 2007.

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1452-1519, Leonardo da Vinci, ed. Il fascino dell'opera interrotta: La Battaglia di Anghiari di Leonardo da Vinci. CB Edizioni, 2012.

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The fascination of the unfinished work: The Battle of Anghiari by Leonardo da Vinci. CB, 2012.

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Leonardo da Vinci and the Battle of Anghiari: Its origin through the Timbal panel. CB edizioni, 2018.

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Reonarudo da Vinchi to "Angiāri no Tatakai" ten: Nihon hatsu kōkai "Tavora Dōria" no nazo = Leonardo da Vinci and the Battle of Anghiari : the mystery of Tavola Doria. Tōkyō Fuji Bijutsukan, 2015.

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La Sala Grande Di Palazzo Vecchio E La Battaglia Di Anghiari Di Leonardo Da Vinci. Casa Editrice Leo S. Olschki, 2020.

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