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The contribution intends to analyze Leonardo da Vinci’s idea and representation of the landscape at different scales.Drawing 8P of the Uffizi Gallery of 1473, the first documented drawing by Leonardo, recently analyzed by the Opificio delle Pietre Dure, constitutes - with the two landscapes on the front and back - a constant for the backgrounds of his subsequent paintings. "The fonds of histories" are matched by the scientific representations of the territory, whether they are drawn, as in the case of the ‘red series’ of Windsor, or written, such as the description of Lake Como, Valtellina and Valsassina, on which the study and analysis of important scientists is concentrated: Gustavo Uzielli (Research on Leonardo da Vinci of 1872), Gilberto Govi in the essay Leonardo, man of letters and scientist and Mario Cermenati in Leonardo da Vinci in Valsassina of 1910.If in the cases seen above we pass from a landscape painting to a scientific representation, with Leonardo we can simultaneously arrive at an objective and analytical painting of roots, branches and leaves that envelops us in an illusory way, as happens in the decoration of the Sala delle Asse of the north tower of the Visconti-Sforza castle in Milan, the point of contact between the fort and the "barco" that developed from it towards the north-west, as represented in the Sforza Grammar (Cod. Triv. 2167, c. 26r). External landscapes created illusionistically inside call celestial landscapes made artificially, as in the case of the provisional apparatuses for the wedding between Giangaleazzo Sforza and Isabella d’Aragona, the feast of Paradise on January 13, 1490, based on the text by Bernardo Bellincioni or the mass in scene by Leonardo of Poliziano’s Orfeo for Isabella Gonzaga (or for Charles D’Amboise).Keywords: Leonardo da Vinci, Landscape, Overview.
pagine: 133-137
DOI: 10.4399/978882553986812
data pubblicazione: Dicembre 2020
editore: Aracne