Bibliographies thématiques / Leonardo , 1452-1519

Littérature scientifique sur le sujet « Leonardo , 1452-1519 »

Auteur : Grafiati
Publié le 25 juillet 2024
Mis à jour le 31 juillet 2024

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Articles de revues sur le sujet "Leonardo , 1452-1519"

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Sterpetti, Antonio V. « Leonardo da Vinci (1452–1519) ». Circulation Research 124, no 5 (mars 2019) : 681–83. http://dx.doi.org/10.1161/circresaha.118.314391.

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Haas, L. F. « Leonardo da Vinci 1452-1519. » Journal of Neurology, Neurosurgery & ; Psychiatry 54, no 9 (1 septembre 1991) : 786. http://dx.doi.org/10.1136/jnnp.54.9.786.

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Davies, M. K., et A. Eollman. « Leonardo da Vinci (1452-1519). » Heart 76, no 6 (1 décembre 1996) : 464. http://dx.doi.org/10.1136/hrt.76.6.464.

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Sterpetti, Antonio V. « Cardiovascular Research by Leonardo da Vinci (1452–1519) ». Circulation Research 124, no 2 (18 janvier 2019) : 189–91. http://dx.doi.org/10.1161/circresaha.118.314253.

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Dunn, P. M. « Leonardo Da Vinci (1452-1519) and reproductive anatomy ». Archives of Disease in Childhood - Fetal and Neonatal Edition 77, no 3 (1 novembre 1997) : F249. http://dx.doi.org/10.1136/fn.77.3.f249.

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Bayat, Michael. « Pioneers in neurology : Leonardo da Vinci (1452–1519) ». Journal of Neurology 267, no 7 (13 juillet 2019) : 2176–78. http://dx.doi.org/10.1007/s00415-019-09465-z.

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Dietrich, H. « Leonardo da Vinci’s (1452–1519) urologisch-anatomische Zeichnungen ». Der Urologe B 37, no 2 (avril 1997) : 143–45. http://dx.doi.org/10.1007/s001310050073.

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Richardson, Philip L. « Leonardo da Vinci's discovery of the dynamic soaring by birds in wind shear ». Notes and Records : the Royal Society Journal of the History of Science 73, no 3 (3 octobre 2018) : 285–301. http://dx.doi.org/10.1098/rsnr.2018.0024.

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Although Leonardo da Vinci (1452–1519) is well known to have studied bird flight, few people realize that he was the first to document flight manoeuvres now called dynamic soaring. Birds use these manoeuvres to extract energy from the gradient of wind velocity (wind shear) for sustained flight. In his Manuscript E ( ca 1513–1515) Leonardo described land birds performing flight manoeuvres that match those of albatrosses and other seabirds when they are engaged in dynamic soaring over the ocean. His description pre-dates by almost 400 years the first generally accepted explanation of the physics of this soaring technique by Lord Rayleigh in 1883. Leonardo's early description of dynamic soaring is one of his major aerodynamic discoveries.
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Sterpetti, Antonio V. « Cardiovascular Physio-Pathology by Leonardo Da Vinci (1452–1519) ». Circulation Research 124, no 4 (15 février 2019) : 472–74. http://dx.doi.org/10.1161/circresaha.118.314390.

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Ciurea, A. V. « LEONARDO DA VINCI (1452-1519) : OVERVIEW OF NEUROANATOMY CONTRIBUTION ». Revista Medico-Chirurgicala 126, no 4 (30 décembre 2022) : 623–28. http://dx.doi.org/10.22551/msj.2022.04.19.

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Thèses sur le sujet "Leonardo , 1452-1519"

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Calabrese, Filomena. « Il Bestiario : scienza e letteratura in Leonardo da Vinci ». Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82691.

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Le Bestiaire de Leonard de Vinci (datable aux alentours de 1493-1494) est une oeuvre qui s'inscrit dans le cadre de la complexe tradition litteraire-scientifique tout en etant, de plusiers facons, differenciee par rapport au corpus a facettes des ouvrages de Vinci. L'analyse des sources (le Fiore di virtu, l'Acerba de Cecco d'Ascoli, l'Histoire naturelle de Pline, et d'autres textes inspires au Physiologus grec) constitue la premiere partie de l'etude, ou grande place est donnee aux innovations de Leonard. Dans la deuxieme partie les aspects scientifiques et litteraires, qui sont presents simultanement dans l'oeuvre, viennent ainsi examines minutieusement dans l'intention de demontrer que le Bestiaire ne constitue pas simplement un emprunt aux sources, mais est plutot une contribution originale a la tradition dont elle fait partie et dont on ressent la touche creative de Leonard et l'universalite de sa pensee.
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Wright, Christopher M. « Mona Lisa's lover ». Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61765.

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Kickhofel, Eduardo Henrique Peiruque. « A ciencia anatomica de Leonardo da Vinci ». [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278846.

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Orientador: Luiz Cesar Marques Filho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-07-28T16:15:08Z (GMT). No. of bitstreams: 1 Kickhofel_EduardoHenriquePeiruque_M.pdf: 14003217 bytes, checksum: d3b83a70a1c00ad4919421bb6d3ada7d (MD5) Previous issue date: 1999
Resumo: Não informado.
Abstract: Not informed.
Mestrado
Mestre em História
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Economides, Aliki. « Everything comes from everything, and everything is made out of everything, and everything returns into everything : Leonardo's analogical (re)search ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29559.

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This thesis explores the foundations of the complex and multifaceted work of Leonardo da Vinci as a whole. What underscores the universality of his research and transcends the artificial divisions of his vast body of work into modern categories of specialization, is the operation of analogy, which is grounded in a mimetic imagination. Leonardo's search is ultimately one of understanding the underlying causes that animate the universe and through analogy, his work and his world hold together. Central to my investigation of the continuity of Leonardo's analogical mode of thinking and making, are questions pertaining to the body, architecture and representation. I put forth that only by appreciating the analogical nature of Leonardo's (re)search, can one access the meaning and value of his efforts and contribution.
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Barone, Juliana. « O paragone do tratado da Pintura de Leonardo da Vinci : introdução a comparação entre as artes e tradução anotada ». [s.n.], 1996. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278838.

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Orientador: Luiz C. Marques Filho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-07-21T19:33:46Z (GMT). No. of bitstreams: 1 Barone_Juliana_M.pdf: 8694668 bytes, checksum: 178e3c052d289b5128b2ae56d5f6e7ee (MD5) Previous issue date: 1996
Resumo: Não informado.
Abstract: Not informed.
Mestrado
Mestre em História
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Marinho, Fernanda 1982. « Leonardo da Vinci e Giampietrino : a Virgem amamentando o menino e São João Batista criança em adoração, do Museu de Arte de São Paulo ». [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278853.

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Orientadores: Luiz Cesar Marques Filho, Maria Cristina Louro Barbara
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-13T06:34:11Z (GMT). No. of bitstreams: 1 Marinho_Fernanda_M.pdf: 9334262 bytes, checksum: 7cd8fafbe43e835ea1582ddaa49ff168 (MD5) Previous issue date: 2009
Resumo: A pintura Virgem amamentando o Menino e São João Batista criança em adoração, do Museu de Arte de São Paulo, atribuída a Giovanni Pietro Rizzoli, conhecido como Giampietrino aponta relações com o cenário produtivo do Cinquecento Lombardo caracterizado pela presença de Leonardo da Vinci. No entanto, a partir desta pintura podemos ampliar as possibilidades de diálogos artísticos traçados por este autor, enriquecendo a sua trajetória ainda pouco conhecida
Abstract: The painting Virgin nursing the Child and Saint John the Baptist in adoration, of the Museu de Arte de São Paulo, attributed to Giovanni Pietro Rizzoli, known as Giampietrino points out relations with the productive scenario of the Lombard Cinquecento characterized by the presence of Leonardo da Vinci. However, by this painting we can amplify the possibilities of the aesthetics dialogs traced by this author, improving the knowledge of his trajectory still obscure
Mestrado
Historia da Arte
Mestre em História
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Vila, Colldeforns Jordi. « I cavalli di Leonardo Da Vinci : La utopía pactada ». Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/404014.

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Mi primera aproximación a este trabajo de investigación se basó en la voluntad de interpretar y analizar el caballo Sforza pero en el transcurso de la investigación descubrí otros dos proyectos ecuestres adicionales que, como en el caso de la citada obra, no pudieron llevarse finalmente a cabo, lo que me llevó a optar por el título de I Cavalli. A través de estas obras ecuestres de Leonardo podemos además observar el pacto de un artista con una realidad que se resiste a su idea original. En los tres casos, la propuesta creativa de Leonardo topó con dificultades técnicas, económicas y políticas que impidieron al autor alcanzar plenamente su objetivo, lo que me indujo a hablar de una utopía pactada. Escogí el concepto de utopía como recurso literario para explicar cómo la realidad se acabó imponiendo a la ori¬ginalidad y una calidad plástica que, de haber triunfado, podría haber significado un zénit en la obra escultórica del Renacimiento. Cualquier recreación de una época, de una obra generada en otros contextos históricos y artísticos es, cuando menos, incompleta. Puede fácilmente llegar a compararse con la ingenuidad de un antropólogo que intenta estudiar con sus referencias propias y actuales un pueblo primitivo sin ser capaz de utilizar los parámetros e idiosincrasia propios de dicho pueblo. Por lo tanto es el fracaso el principio básico que constituye la libertad teórica y práctica de la presente tesis. Quiero presentar el fracaso como elemento de conocimiento. También pretende ser la tesis de un escultor que habla sobre otro escul¬tor. Por ello, que no se espere encontrar en ella una rigurosa y excelsa calidad científica, ni una sesuda investigación sobre historia del arte, sino las hipótesis de alguien formado en los talleres y fundiciones que pretende intentar comprender, entender y explicar cómo Leonardo haría su estatua del caballo.
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Corry, Maya. « Masculinity and spirituality in Renaissance Milan : the role of the beautiful body in the art of Leonardo da Vinci and Leonardeschi ». Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669816.

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Walker, Wendy. « Three Feminist Artists Respond to The Last Supper ». Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/732.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf
Bachelors
Arts and Sciences
Humanities
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Le, Palec Anne. « L'art et les plantes : les dessins de léonard de Vinci ». Paris 5, 1996. http://www.theses.fr/1996PA05P198.

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Livres sur le sujet "Leonardo , 1452-1519"

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1452-1519, Leonardo da Vinci, dir. Leonardo : 1452-1519. Firenze - Italia : Giunti, 2018.

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s, Robert Uolle i. Mir Leonardo : 1452-1519. Moskva : Terra-knizhnyi klub, 1997.

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Zöllner, Frank. Leonardo da Vinci : 1452-1519. Warszawa : Edipresse Polska, 2005.

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Zöllner, Frank. Leonardo da Vinci, 1452-1519. Köln [etc.] : Taschen, 2005.

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Zöllner, Frank. Leonardo da Vinci, 1452-1519. 2e éd. Köln : Taschen, 2011.

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Moorcroft, Christine. Leonardo da Vinci 1452-1519. London : Channel Four Learning, 1998.

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(Family), Tallone. Leonardo da Vinci, 1452-1519. Alpignano, Italy] : Tallone Editore, 1999.

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Xia, Youzhi. Leonardo da Vinci, còn gọi Leonard de Vinci, 1452-1519. Hà Nuoi : NXB Văn hóa thông tin, 2004.

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Boussel, Patrice. Leonardo da Vinci. London : Tiger Books, 1992.

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1452-1519, Leonardo da Vinci, Marani Pietro C. editor, Fiorio Maria Teresa editor et Palazzo reale di Milano, dir. Leonardo da Vinci, 1452-1519 : The design of the world. Milano : Skira, 2015.

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Chapitres de livres sur le sujet "Leonardo , 1452-1519"

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Duhem, Pierre. « Leonardo da Vinci (1452–1519) ». Dans The Origins of Statics, 16–29. Dordrecht : Springer Netherlands, 1991. http://dx.doi.org/10.1007/978-94-011-3730-0_2.

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Thimann, Michael. « Leonardo da Vinci (1452–1519) ». Dans Goethe Handbuch, 509–11. Stuttgart : J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00206-8_52.

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Gotti, Roberto. « The Dynamic Sphere : Thesis on the Third State of the Vitruvian Man ». Dans Martial Culture and Historical Martial Arts in Europe and Asia, 93–147. Singapore : Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2037-0_4.

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AbstractThe subject of this paper is the basic principles of a martial art that has been perfected over millennia of social strata, skirmishes, and settlements, and is the amalgamation of different cultures and traditions which flourished during the Renaissance. We can learn this art today thanks to the texts written and printed during that period. In his most famous drawing, Leonardo da Vinci (1452–1519) shows a man drawn inside two geometrical shapes: the square with the center at his groin and the circle with the center at his navel. But there is another possible representation that provides an anthropometric revelation with his center at the solar plexus. That is the man I define as dynamic. Many traces of him may be found in the Masters’ texts and we have magnificent examples of him in daily life: the man who, through performing perfect combat moves, is able to move and “become” a sphere, the “Palla,” or ball, as Camillo Agrippa calls it, with changing circumference and surface. He can move his center within his own body and outside of it, to the palm of his hand, to the blade of his sword, and even to inside his enemy. The dynamic man represents the development upon both the natural man, depicted in a square with his groin at the center and the speculative man, depicted in a circle with his navel at the center. This man creates a sphere around himself, with the solar plexus at its center. He has the ability to move that center to any part of his body, even to his blade and as far as the blade’s end, thus modifying the circumference of his sphere as he pleases. The findings presented here are the fruit of over twenty years of research and practice, reflecting my own progression in the theoretical and practical understanding of Italian martial arts.
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Shlain, L. « Leonardo da Vinci 1452–1519 ». Dans Encyclopedia of Creativity, e17-e22. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00065-0.

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« Leonardo da Vinci (1452-1519) ». Dans Vignettes on Surgery, History and Humanities, 54–56. CRC Press, 2005. http://dx.doi.org/10.1201/9781498713870-17.

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Sautter, Udo. « Leonardo da Vinci (1452–1519) ». Dans Die 101 wichtigsten Personen der Weltgeschichte, 43. C.H.Beck, 2015. http://dx.doi.org/10.17104/9783406679483-43.

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« Leonardo da Vinci (1452–1519) ». Dans Encyclopedia of Lesbian and Gay Histories and Cultures, 890–96. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-109.

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Whitehead, Alfred North. « Dynamics ». Dans An Introduction To Mathematics, 27–38. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195002119.003.0004.

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Abstract The World had to wait for eighteen hundred years till the Greek mathematical physicists found successors. In the sixteenth and seventeenth centuries of our era great Italians, in particular Leonardo da Vinci, the artist (born 1452, died 1519), and Galileo (born 1564, died I 642), rediscovered the secret, known to Archimedes, of relating abstract mathematical ideas with the experimental investigation of natural phenomena. Meanwhile the slow advance of mathematics and the accumulation of accurate astronomical knowledge had placed natural philosophers in a much more advantageous position for research.
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Bowden, F. P., et D. Tabor. « Introduction ». Dans The Friction and Lubrication of Solids, 1–4. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198507772.003.0001.

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Abstract The two basic laws of friction, that the frictional resistance is proportional to the load and that it is independent of the area of the sliding surfaces, have been known for a long time. It would seem that Leonardo da Vinci (1452-1519) with his astonishing practical genius and insight was clear about them and had verified them experimentally, for he writes: ‘Friction produces double the amount of effort if the weight be doubled’, and ‘The friction made by the same weight will be of equal resistance at the beginning of the movement although the contact may be of different breadths or lengths.’
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Actes de conférences sur le sujet "Leonardo , 1452-1519"

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Jesus, Sara Tatiane de. « Os Leonardianos : a influência artística de Leonardo da Vinci no século XVI em Florença e Milão ». Dans Encontro da História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4600.

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Esse artigo tem como proposito discutir a influência de Leonardo Da Vinci (1452-1519) na Itália tendo em foco as duas cidades em que ele viveu por um período de tempo maior e desenvolveu boa parte das suas pesquisas e obras, sendo Florença, onde residiu de 1464 á 1482 depois retornou de 1500 á 1506 e Milão de 1482 á 1499 retornando em 1506 a 1513. Sendo assim, será analisado especificamente um grupo de jovens pintores que tiveram suas obras influenciadas diretamente por Da Vinci, como: Giovanni Ambrogio de Predis (1455-1508), Francesco Melzi (c.1491-1570), Salaí (1480-1524), Bernado Luini (1482- 1532), Marco d’ Oggiono (c.1470-1549), e também pintores que a priori iriam ter como referência o Mestre renascentista, Rafael Sanzio (1483-1520) a título de exemplificação.
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Engeda, Abraham. « Early Historical Development of the Centrifugal Impeller ». Dans ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-022.

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The centrifugal impeller has been in existence for over two hundred years but its perfection and rapid development occurred only in the last sixty years. This paper deals with the early development of the centrifugal impeller in the last and early this century. The centrifugal impeller is found in centrifugal pumps and compressors. Next to the electric motor, centrifugal pumps and compressors are believed to be the most widely used machines of our time. The field of application of these rotary machines has been continually widening, as they are developed for handling a wider range of liquids and gases at higher pressure and greater temperatures, and whole industries become more and more dependent on them. The first centrifugal impeller with ten wooden double curved blades and dating back to the fifth century was found in 1772 in an abandoned Portuguese copper mine in San Dominigos. Centrifugal fans had been used for mine ventilation as early as in the sixteenth century. The invention of the centrifugal impeller is a disputed issue whether the credit goes to Leonardo Da Vinci (1452–1519), who suggested the idea of using centrifugal force for lifting liquid, or to Johann Jordan about 1680. Most place the origin of the centrifugal impeller with Denis Papin in 1689. The importance of Papin’s contribution lies in his understanding of the concept of creating a forced vortex within a circular, or spiral casing by means of blades. Following Papin, Kernelien Le Demour in 1732 and Daniel Gabriel Fahrenheit in 1736 described other designs for centrifugal impellers, but there is no evidence of their practical use. Euler presented in his 1754 memoir an idealized theoretical application of Newton’s law to centrifugal impellers, based on a conceptualization of his tubular turbine run backwards and now universally known as the “Euler equation”. His publication caused a great development of hydraulic turbines in the eighteenth century, but did little to influence the development of centrifugal impellers, which had to gradually develop through tedious cut-and-try methods. The one thing Euler contributed was to initiate a true mathematical inquiry into the employment of centrifugal force as a means of raising fluid. About the same time as Euler, John Smeaton introduced in 1752 the study of turbomachinery by models. He also defined power as equivalent to the rate of lifting of a weight, a concept that is still fundamental in thermo-fluids. Today both centrifugal pumps and compressors have reached efficiency levels above 90% and are built in sizes from a few Watts to Megawatts. This paper traces the early historical development of the centrifugal impeller. Factors that promoted and hindered the early development are also discussed.
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