Artigos de revistas: "Leonardo , 1452-1519"

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Sterpetti, Antonio V. "Leonardo da Vinci (1452–1519)". Circulation Research 124, n.º 5 (março de 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, n.º 9 (1 de setembro de 1991): 786. http://dx.doi.org/10.1136/jnnp.54.9.786.

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Davies, M. K., e A. Eollman. "Leonardo da Vinci (1452-1519)." Heart 76, n.º 6 (1 de dezembro de 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, n.º 2 (18 de janeiro de 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, n.º 3 (1 de novembro de 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, n.º 7 (13 de julho de 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, n.º 2 (abril de 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, n.º 3 (3 de outubro de 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, n.º 4 (15 de fevereiro de 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, n.º 4 (30 de dezembro de 2022): 623–28. http://dx.doi.org/10.22551/msj.2022.04.19.

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Lazzeri, D., e P. Pozzilli. "“Madonna of the carnation”: Leonardo da Vinci (1452–1519)". Journal of Endocrinological Investigation 41, n.º 7 (6 de fevereiro de 2018): 879–80. http://dx.doi.org/10.1007/s40618-018-0842-z.

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Calabrese, Filomena. "Leonardo’s Profezia: Moral Writings of a Hybrid Kind". Quaderni d'italianistica 32, n.º 2 (9 de abril de 2012): 75–100. http://dx.doi.org/10.33137/q.i..v32i2.16309.

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In the period 1490-99, Leonardo da Vinci (1452-1519) wrote nearly three hundred literary writings that were later compiled by scholars into four primary collections: the Bestiario, Favole, Facezie, and Profezia. This article takes Leonardo’s Profezia as its main subject in order to give due recognition to the generic nature of this collection. Specifically, it examines the texts in the Profezia as examples of mixed genre in an attempt to demonstrate how ethos, context, and generic convention yield to the greater moral statement made by Leonardo in the writings themselves. Unlike Leonardo’s other three literary collections, which subscribe to an easily identifiable literary genre, the Profezia texts are hybrid writings that enjoin its readers to consider instead why and how the mixture of forms might be a necessary means of expression to convey a truth and reality.

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Schultheiss, Dirk, Volker Grünewald e Udo Jonas. "Urodynamics in the anatomical work of Leonardo da Vinci (1452-1519)". World Journal of Urology 17, n.º 3 (18 de junho de 1999): 137–43. http://dx.doi.org/10.1007/s003450050121.

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Martino, Enio, e Paolo Vitti. "Leonardo da Vinci “Design of Lady with Graves’ disease” (1452–1519)". Journal of Endocrinological Investigation 37, n.º 8 (7 de junho de 2014): 781. http://dx.doi.org/10.1007/s40618-014-0099-0.

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Cambiaghi, Marco, e Heidi Hausse. "Leonardo da Vinci (1452–1519) and the legacy of a “Renaissance neurologist”". Neurology 93, n.º 16 (14 de outubro de 2019): 717–18. http://dx.doi.org/10.1212/wnl.0000000000008333.

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Bowen, Garvin, Jocelyn Gonzales, Joe Iwanaga, Christian Fisahn, Marios Loukas, Rod J. Oskouian e R. Shane Tubbs. "Leonardo da Vinci (1452–1519) and his depictions of the human spine". Child's Nervous System 33, n.º 12 (10 de março de 2017): 2067–70. http://dx.doi.org/10.1007/s00381-017-3354-9.

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Del Maestro, Rolando F. "Leonardo da Vinci: the search for the soul". Journal of Neurosurgery 89, n.º 5 (novembro de 1998): 874–87. http://dx.doi.org/10.3171/jns.1998.89.5.0874.

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✓ The human race has always contemplated the question of the anatomical location of the soul. During the Renaissance the controversy crystallized into those individuals who supported the heart (“cardiocentric soul”) and others who supported the brain (“cephalocentric soul”) as the abode for this elusive entity. Leonardo da Vinci (1452–1519) joined a long list of other explorers in the “search for the soul.” The method he used to resolve this anatomical problem involved the accumulation of information from ancient and contemporary sources, careful notetaking, discussions with acknowledged experts, and his own personal search for the truth. Leonardo used a myriad of innovative methods acquired from his knowledge of painting, sculpture, and architecture to define more clearly the site of the “senso comune”—the soul. In this review the author examines the sources of this ancient question, the knowledge base tapped by Leonardo for his personal search for the soul, and the views of key individuals who followed him.

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Leguizamón, Milena García. "Orígenes del dibujo anatómico". Armiliar, n.º 7 (29 de novembro de 2023): e050. http://dx.doi.org/10.24215/25457888e050.

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Este artículo indagará en los orígenes del dibujo anatómico como tal, analizando la obra de tres artistas del Renacimiento europeo. El punto de partida para la selección de Jan Von Calcar (1499-1546), Leonardo Da Vinci (1452-1519) y Miguel Ángel Buonarroti (1475-1564) es la obra de Giorgio Vasari, Las vidas de los más excelentes arquitectos, pintores y escultores italianos (1550), considerado el primer libro de Historia del Arte. Asimismo, se revisan las diferentes razones que llevan a la implementación de una mirada más empírica dentro de las artes visuales y los estudios anatómicos, a partir de la revolución de Andrea Vesalio, autor de De Humani Corporis Fábrica (1543).

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de Campos, Deivis, Danielle Coutinho Rodrigues e Luciano Buso. "The right hand of Leonardo da Vinci (1452–1519): ulnar or median nerve palsy?" Journal of the Royal Society of Medicine 112, n.º 11 (novembro de 2019): 452. http://dx.doi.org/10.1177/0141076819865886.

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Soranzo, Alessandro. "Another Ambiguous Expression by Leonardo da Vinci". Gestalt Theory 44, n.º 1-2 (1 de agosto de 2022): 41–60. http://dx.doi.org/10.2478/gth-2022-0001.

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Abstract The Mona Lisa (1503–6) is probably the most celebrated example of ambiguous expression in art. Soranzo and Newberry (2015) demonstrated that a similar ambiguity can be perceived also in La Bella Principessa (1495–6), another portrait credited to Leonardo da Vinci (1452–1519) by many. The paper aims to show that an ambiguous expression can be perceived in a further painting attributed (although not unanimously) to Leonardo: The Lady with Dishevelled Hair, or La Scapigliata. An experiment was conducted whereby participants rated on a 7-point Likert scale the perceived level of contentment of La Scapigliata and that of a comparable painting created by Andrea di Cione, alias Il Verrocchio. The two artworks were presented in random order to two groups of participants. One group could see the artworks from Close (0.6m) whilst the other group from Far (6m) from a Close (0.6 m) or Far (6 m) condition. Results show that the change of distance affected the perceived level of contentment of Leonardo’s figure but not that of Verrocchio’s. Specifically, whilst both artworks received similar ratings of contentment from the close-up condition, La Scapigliata was perceived to be more content from afar. It is concluded that La Scapigliata exhibits an ambiguous expression, and that this ambiguity is similar to the one observed in the Mona Lisa and La Bella Principessa. This result can be only partially interpreted within the spatial frequency hypothesis advanced by Livingstone (2000) and shows that a phenomenological account of Leonardo’s work might be more suited to capture the full extent of the phenomenon. Specifically, it is suggested that the principles of perceptual belongingness (Wertheimer, 1923) may need to be considered to fully capture the extent of the ambiguity depicted by Leonardo.

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RAYNAUD, DOMINIQUE. "LA PERSPECTIVE AÉRIENNE DE LÉONARD DE VINCI ET SES ORIGINES DANS L'OPTIQUE D'IBN AL-HAYTHAM (DE ASPECTIBUS, III, 7)". Arabic Sciences and Philosophy 19, n.º 2 (setembro de 2009): 225–46. http://dx.doi.org/10.1017/s0957423909990038.

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AbstractThe concept of aerial perspective has been used for the first time by Leonardo da Vinci (1452–1519). This article studies its dependence on Ptolemy's Optica and overall on the optical tradition inaugurated by Ibn al-Haytham's Kitāb al-Manāẓir (d. after 1040). This treatise, that was accessible through several Latin and Italian manuscripts, and was the source of many Medieval commentaries, offers a general theory of visual perception emancipated from the case of the moon illusion, in which physical and psychological factors are closely combined. Atmospheric extinction (not refraction, which is sometimes confused with) affects the conjectured size of remote objects. This phenomenon is also the core source for a pictorial rendering of depth, that is based onto a principle different from the diminution of size.

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Bem Junior, Luiz Severo, Nilson Batista Lemos, Luís Felipe Gonçalves de Lima, Artêmio José Araruna Dias, Otávio da Cunha Ferreira Neto, Carlos Cezar Sousa de Lira, Andrey Maia Silva Diniz et al. "The anatomy of the brain – learned over the centuries". Surgical Neurology International 12 (28 de junho de 2021): 319. http://dx.doi.org/10.25259/sni_200_2021.

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This article reports the evolution and consolidation of the knowledge of neuroanatomy through the analysis of its history. Thus, we propose to describe in a historical review to summarize the main theories and concepts that emerged throughout brain anatomy history and understand how the socio-historical context can reflect on the nature of scientific knowledge. Therefore, among the diverse scientists, anatomists, doctors, and philosophers who were part of this history, there was a strong influence of the studies of Claudius Galen (AD 129–210), Leonardo da Vinci (1452– 1519), Andreas Vesalius (1514–1564), Franciscus Sylvius (1614–1672), Luigi Rolando (1773–1831), Pierre Paul Broca (1824–1880), Carl Wernicke (1848–1905), Korbinian Brodmann (1868–1918), Wilder Penfield (1891–1976), Mahmut Gazi Yasargil (1925), and Albert Loren Rhoton Jr. (1932–2016) on the fundamentals of neuroanatomy.

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Ozturk, Serefnur. "Leonardo Da Vinci (1452–1519) as a stroke victim: hemiparesis: a result of a vegetarian diet?" Journal of Medical Biography 17, n.º 1 (fevereiro de 2009): 7. http://dx.doi.org/10.1258/jmb.2008.008002.

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Schultheiss, Laurenza, Götte e Jonas. "The Weimar anatomical sheet of Leonardo da Vinci (1452-1519): an illustration of the genitourinary tract". BJU International 84, n.º 6 (25 de dezembro de 2001): 595–600. http://dx.doi.org/10.1046/j.1464-410x.1999.00355.x.

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Laurenza, Domenico. "Images and Theories". Nuncius 33, n.º 3 (26 de novembro de 2018): 442–63. http://dx.doi.org/10.1163/18253911-03303003.

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Abstract The paper examines how images, technological-artistic knowledge and theories interacted with each other in early modern geology. Casting techniques provided Leonardo da Vinci (1452–1519) with an analogical model for the study of fossils, which he expounded using only texts and theories, not images. For painter Agostino Scilla, on the other hand, images of fossils and animals (La Vana speculazione disingannata dal senso, Napoli, 1670) were the key-feature of his approach, intentionally limited to the external aspects of the specimen, the very domain of the painter. Theories and microscopic examination of the internal aspects orientated Robert Hooke’s visual comparisons in Micrographia (London, 1665), aimed at demonstrating the organic origin of fossils, while, in the same period, visual comparisons were used to support opposite interpretations of fossils as well, like in the case of Francesco Stelluti.

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Archer, Renan Battisti, e Consuelo Schilichta. "L.H.O.O.Q. O ESTATUTO DE ARTE EXPLORADO POR MARCEL DUCHAMP - Renan Archer". Art&Sensorium 3, n.º 2 (25 de dezembro de 2016): 12–18. http://dx.doi.org/10.33871/23580437.2016.3.2.12-18.

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O artigo propõe a exploração de um conceito histórico do mundo da arte: o de estatuto de arte. Considerando que qualquer produção artística é associada ao contexto em que é produzida, analisou-se, a partir das reflexões de alguns autores, como Canclini (1984), Benjamin (1994) e Dickie (2007), o que pode conferir a um objeto o estatuto de obra de arte. Para representar o vasto grupo de tais objetos, a Mona Lisa, do italiano Leonardo da Vinci (1452 – 1519), tem papel fundamental para a análise. De forma a exemplificar como a prática artística também pode apropriar-se de conceitos de seu universo - como o de estatuto de arte - ressignificando-os e promovendo conexão entre diferentes momentos históricos, analisou-se o trabalho L.H.O.O.Q., do francês Marcel Duchamp (1887 – 1968), que exemplifica uma prática questionadora e crítica dos paradigmas do mundo da arte

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Buso, Luciano, Danielle Coutinho Rodrigues e Deivis de Campos. "The handedness of Leonardo da Vinci (1452–1519) analyzed from his hidden signature in the Mona Lisa". Journal of Medical Biography 29, n.º 2 (10 de janeiro de 2021): 118–20. http://dx.doi.org/10.1177/0967772020974581.

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Waitzberg, Dan L. "Man and the animals are merely a passage and channel for food: Leonardo da Vinci, 1452-1519". Revista do Hospital das Clínicas 58, n.º 1 (2003): 1–4. http://dx.doi.org/10.1590/s0041-87812003000100001.

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Pasipoularides, Ares. "Emulating Leonardo da Vinci (1452–1519): the convergence of science and art in biomedical research and practice". Cardiovascular Research 115, n.º 14 (31 de outubro de 2019): e181-e183. http://dx.doi.org/10.1093/cvr/cvz275.

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De Gastyne, Michèle. "Creative and Critical Thinking, and Ways to Achieve It". Journal of Interdisciplinary Studies in Education 9, SI (11 de agosto de 2020): 152–77. http://dx.doi.org/10.32674/jise.v9is(1).1785.

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This paper discusses creative and critical thinking across wide cultural and historical frameworks. It begins with an exploration of Socratic Dialectics in multiple contexts, highlighting the need for innovative views and investigative practices using Art and Culture. A major objective of this project is to use the Arts for finding the universal sources of culture through exploring diversity, with a particular focus on the role of Africa as the cradle of humanity and dynamic initiatives on the continent. Through collaborative advocacy and the interdisciplinary approach of Leonardo daVinci (1452-1519), relevant generalities for human rights education and humanitarian efforts, this paper contextualizes intercultural dialogue for universal equity in young people’s development. The paper also explores how education influences the political developments of learners. The paper then shows how humanistic and intercultural approaches to education are fostering creative and critical thinkers worldwide.

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West, John B. "Leonardo da Vinci: engineer, bioengineer, anatomist, and artist". American Journal of Physiology-Lung Cellular and Molecular Physiology 312, n.º 3 (1 de março de 2017): L392—L397. http://dx.doi.org/10.1152/ajplung.00378.2016.

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Leonardo da Vinci (1452–1519) enjoys a reputation as one of the most talented people of all time in the history of science and the arts. However, little attention has been given to his contributions to physiology. One of his main interests was engineering, and he was fascinated by structural problems and the flow patterns of liquids. He also produced a large number of ingenious designs for warfare and a variety of highly original flying machines. But of particular interest to us are his contributions to bioengineering and how he used his knowledge of basic physical principles to throw light on physiological function. For example, he produced new insights into the mechanics of breathing including the action of the ribs and diaphragm. He was the first person to understand the different roles of the internal and external intercostal muscles. He had novel ideas about the airways including the mode of airflow in them. He also worked on the cardiovascular system and had a special interest in the pulmonary circulation. But, interestingly, he was not able to completely divorce his views from those of Galen, in that although he could not see pores in the interventricular septum of the heart, one of his drawings included them. Leonardo was a talented anatomist who made many striking drawings of the human body. Finally, his reputation for many people is based on his paintings including the Mona Lisa that apparently attracts more viewers than any other painting in the world.

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Hidalgo García, David, Juan Manuel Santiago, Sergio García, Julián Arco e Raúl Saucedo. "Los sistemas de representación arquitectónicos en los manuscritos de Leonardo da Vinci: Duomo de Milán". EGE-Expresión Gráfica en la Edificación, n.º 7 (31 de outubro de 2012): 72. http://dx.doi.org/10.4995/ege.2012.12502.

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<div class="et_pb_row et_pb_row_4"><div class="et_pb_column et_pb_column_1_2 et_pb_column_6 et_pb_css_mix_blend_mode_passthrough"><div class="et_pb_module et_pb_text et_pb_text_6 et_pb_bg_layout_light et_pb_text_align_left"><div class="et_pb_text_inner"><p>Leonardo da Vinci (1452-1519) encarna el ideal humanista del saber universal y es considerado como uno de los personajes más significativos del Renacimiento Europeo. Su faceta más conocida es la de pintor, pero probablemente se trata del mayor talento en múltiples disciplinas que se haya dado en la historia de la humanidad. Sus estudios e investigaciones desarrollaron ideas muy avanzadas para su tiempo y han sido tomadas como referencias esenciales en los grandes descubrimientos posteriores de la ciencia moderna. La mayoría de sus legados y estudios fueron destruidos o se encuentran en colecciones privadas, lo que ha supuesto que no se puedan conocer con detalle todos los campos de estudio llevados a cabo por él, por ejemplo en la arquitectura, el urbanismo, el diseño, los inventos, etc.</p></div></div></div><div class="et_pb_column et_pb_column_1_2 et_pb_column_7 et_pb_css_mix_blend_mode_passthrough et-last-child"><div class="et_pb_module et_pb_text et_pb_text_7 et_pb_bg_layout_light et_pb_text_align_left"><div class="et_pb_text_inner"><p>El objetivo de este artículo es analizar y describir los sistemas de representación utilizados en el Renacimiento dentro del campo de la Arquitectura, haciendo un estudio específico de las representaciones empleadas por Leonardo para el proyecto del cimborrio del Duomo de Milán. Durante el estudio de estos elementos es necesario entrar en el debate de “Leonardo no Arquitecto” o “Leonardo Si Arquitecto”, del cual se pueden encontrar diferentes teorías.</p></div></div></div></div>

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Lazzeri, Davide, e Carlo Rossi. "The right hand palsy of Leonardo da Vinci (1452–1519): new insights on the occasion of the 500th anniversary of his death". Journal of the Royal Society of Medicine 112, n.º 8 (3 de maio de 2019): 330–33. http://dx.doi.org/10.1177/0141076819848115.

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"Leonardo da Vinci as Anatomist (1452-1519)". JAMA 322, n.º 8 (27 de agosto de 2019): 788. http://dx.doi.org/10.1001/jama.2018.15484.

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Ferretti, Annalisa, Francesco Vezzani e Marco Balini. "Leonardo da Vinci (1452–1519) and the birth of stratigraphy". Newsletters on Stratigraphy, 1 de novembro de 2019. http://dx.doi.org/10.1127/nos/2019/0564.

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"“Estudio del embrión humano”, Leonardo da Vinci (1452-1519)". Revista Médica Clínica Las Condes 27, n.º 4 (julho de 2016): 564. http://dx.doi.org/10.1016/j.rmclc.2016.07.019.

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"“El hombre de Vitrubio” 1490, Leonardo da vinci (1452-1519)". Revista Médica Clínica Las Condes 25, n.º 1 (janeiro de 2014): 173. http://dx.doi.org/10.1016/s0716-8640(14)70026-4.

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Hutchings, Ian M. "Leonardo da Vinci's writings on sliding bearings, lubrication and wear". Proceedings of the Institution of Mechanical Engineers, Part J: Journal of Engineering Tribology, 19 de fevereiro de 2024. http://dx.doi.org/10.1177/13506501241232036.

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This article provides the first comprehensive study of the material relating to sliding bearings, lubrication and wear within the writings of Leonardo da Vinci (1452–1519). While in many instances he was evidently describing contemporary practice, in other cases he demonstrated great innovation and insight. His descriptions of plain journal and pivot bearings and their materials are far richer than those of any other Renaissance engineer. His ability to classify and analyse his observations led him to highly perceptive conclusions about the effect of loading direction on wear rate and the mechanisms of wear in sliding contacts. In deducing the dependence of wear on load and sliding duration, Leonardo's thinking anticipated that of Reye, Preston and Archard by more than 350 years.

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Hutchings, Ian M. "Leonardo da Vinci's studies of rolling-element, disc and sector bearings". Proceedings of the Institution of Mechanical Engineers, Part J: Journal of Engineering Tribology, 28 de novembro de 2023. http://dx.doi.org/10.1177/13506501231217022.

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The notebooks of Leonardo da Vinci (1452–1519) represent a unique source of information on Renaissance technology. They contain numerous references to tribological topics, including designs for bearings based either on rolling elements on axles (disc, cone, and sector bearings) or on freely rolling balls, cones or rollers. This paper provides the first comprehensive study of this material and its context, based on all of Leonardo's surviving manuscripts. While some of his bearing designs (such as the use of sector bearings to support bells) were clearly based on pre-existing technology, he showed a deep understanding of the principles behind them and remarkable ingenuity in developing them further. In some cases, however, these developments suffered from intrinsic defects or were completely impractical for other reasons. Although roller bearings pre-dated the work of Leonardo, the concept of using freely rolling balls in axial bearings appears to have originated with him.

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Reiche, Ina, Lucile Beck e Ingrid Caffy. "New results with regard to the Flora bust controversy: radiocarbon dating suggests nineteenth century origin". Scientific Reports 11, n.º 1 (15 de abril de 2021). http://dx.doi.org/10.1038/s41598-021-85505-x.

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AbstractMany works of art have been attributed to Leonardo da Vinci (1452–1519), the great artist-scientist-engineer of the Italian Renaissance; however, art historians have struggled to find definitive proof to connect Leonardo to these art pieces. The Flora wax bust in the Bode Museum, Berlin, was attributed to Leonardo because her face resembles several Leonardo portraits, but this attribution has the subject of intense debate since the bust’s acquisition in 1909. Using new chemical analyses and absolute 14C dating, we are able to resolve the question of authenticity. We show that the Flora wax bust is made primarily of spermaceti which was extracted from sperm whales. Therefore, 14C dating must consider the Marine Reservoir Effect. We have generated a new calibration method and dated the bust to the 19th c. This proves that the bust was not produced during the Renaissance, and thus cannot be attributed to da Vinci, and illustrates that 14C dating can be applied to unusual materials.

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Gonzalez, Victor, Selwin Hageraats, Gilles Wallez, Myriam Eveno, Elisabeth Ravaud, Matthieu Réfrégiers, Mathieu Thoury, Michel Menu e Didier Gourier. "Microchemical analysis of Leonardo da Vinci’s lead white paints reveals knowledge and control over pigment scattering properties". Scientific Reports 10, n.º 1 (dezembro de 2020). http://dx.doi.org/10.1038/s41598-020-78623-5.

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AbstractLeonardo da Vinci (1452–1519) is a key artistic and scientific figure of the Renaissance. He is renowned for his science of art, taking advantage of his acute observations of nature to achieve striking pictorial results. This study describes the analysis of an exceptional sample from one of Leonardo’s final masterpieces: The Virgin and Child with St. Anne (Musée du Louvre, Paris, France). The sample was analyzed at the microscale by synchrotron-based hyperspectral photoluminescence imaging and high-angular X-ray diffraction. The results demonstrate Leonardo’s use of two subtypes of lead white pigment, thus revealing how he must have possessed a precise knowledge of his materials; carefully selecting them according to the aesthetical results he aimed at achieving in each painting. This work provides insights on how Leonardo obtained these grades of pigment and proposes new clues regarding the optical and/or working properties he may have tried to achieve.

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Koževņikova, Jeļena. "Evolution of Ink Drawing in History of Art". Arts and Music in Cultural Discourse. Proceedings of the International Scientific and Practical Conference, 8 de setembro de 2015, 118. http://dx.doi.org/10.17770/amcd2015.1358.

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Drawings created by ink, have a long history of constant developing and evolving, in the result establishing itself as a self-contained drawing technique. Many giants of art, such as Leonardo da Vinci (1452 – 1519), Titian (~1488 – 1576), Albrecht Dürer (1471 – 1528), Marc Chagall (1887 - 1985), Pablo Picasso (1881- 1973) and Salvador Dalí (1904-1989) are well known for theirs artworks made with ink. The aim of the research: Trace and analyze evolution of ink drawing technique, through in ink created artworks of some well-known painters of 15-20 centuries.

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Rocker, Chacartes. "Pingente com moeda e pedra polida e frisada." Caderno de Física da UEFS 21, n.º 01 (20 de dezembro de 2023). http://dx.doi.org/10.13102/cad.fs.uefs.v21i01.10424.

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Sobre a Arte: A Arte, é um Pingente, na forma de pingo, feita e criada exclusivamente por mim, Chacartes, utilizando meu cérebro, meus olhos, e demais sentidos, sendo, esse pingente único e exclusivo!!! Ele consta: (i) de uma moeda de um Euro (2006), com a “cara” do desenho icônico do “Homem Vitruviano” (1490) de Leonardo da Vinci; (ii) de uma pedra polida, frisada, lapidada e castroada na filigrana; e (iii) de aço inox cirúrgico e cobre (observando que o Aço inox cirúrgico, não enferruja e não mareia nunca, podendo molhar tranquilo). O Homem Virtruano é o nome de um desenho icônico feito por Leonardo da Vinci (1452 - 1519), e representa o ideal clássico do equilíbrio, da beleza, da harmonia e da perfeição das proporções do corpo humano. Também conhecido como "O Homem de Vitrúvio", esta ilustração foi criada por inspiração a partir do conceito desenvolvido pelo arquiteto romano Marcos Vitrúvio Polião.

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Calvo Díaz, Andrea. "Arte y Ciencia: Tres anotaciones epistémicas para un estudio interdisciplinario". Estudios, 20 de fevereiro de 2019, 274–91. http://dx.doi.org/10.15517/re.v0i0.36272.

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El presente artículo analiza desde una perspectiva epistémica y reflexiva la importancia de la praxis académica en el arte y la ciencia respecto a los estudios interdisciplinarios enunciados por Rolando García. Para ello, se han formulado tres objetivos de estudio: la apreciación disciplinaria, el rigor metodológico y la dimensión humanista y ética en el ejercicio interdisciplinario. Además, se toma en consideración el proceder intelectual de Leonardo da Vinci (1452-1519) y Galileo Galilei (1564-1642) para justificar las elucidaciones a esgrimir. De ese modo, se concluye que el arte y la ciencia asumen puntos convergentes en el quehacer disciplinario, sin dejar de lado, que cada área mantiene un acerbo diferente en el modo de abordar un experimento, un problema o un proceso. Por su parte, a pesar de la relación entre ambas disciplinas (un ejemplo, el empleo del dibujo) persiste un rigor metodológico diferente en el abordaje de estudio. Por último, ambas disciplinas asumen un quehacer humanista en la elaboración de sus enunciados y resultados.

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Biz, Carlo, Mariachiara Cerchiaro, Fabiana Mori, Alessandro Rossin, Mattia Ponticiello, Alberto Crimì e Pietro Ruggieri. "Flatfoot over the centuries: the background of current conservative and operative treatments". International Orthopaedics, 24 de maio de 2023. http://dx.doi.org/10.1007/s00264-023-05837-3.

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Abstract Purpose Although flatfoot is a widespread human condition, historical medical texts and ancient illustrations on this deformity are extremely rare. Nowadays, doubts regarding its management remain unsolved. This historical review aims to identify the presence of pes planus since the prehistoric era and examine the treatments proposed over the centuries up to the present. Method For this propose, we performed an extensive electronic search of the relevant literature, complemented by a manual search of additional sources from archaeological to artistic, literary, historical, and scientific accounts, describing flatfoot and its treatment in different eras. Results Flatfoot accompanied the evolutionary timeline of human species: from Lucy Australopithecus to Homo Sapiens. It was described among various diseases suffered by Tutankhamun (1343–1324 B.C.), while the first anatomical description dates to Emperor Trajan (53–117 A.D.) and the medical studies of Galen (129–201 A.D.). It was also represented in the anatomical drawings of Leonardo da Vinci (1452–1519) and Girolamo Fabrici d'Acquapendente (1533–1619). Historically, the conservative treatment by insoles was the only one proposed until the nineteenth century. Since then, the most popular surgical procedures performed for correction have been osteotomies, arthrodesis, arthrorisis, and tendon lengthening and transfer. Conclusion During the centuries, conservative therapeutic strategies have not radically changed in their substance, while operative ones have become the protagonists during the twentieth century up to the present. Nevertheless, after more than 2000 years of history, there is no consensus regarding the best indication for the flatfoot and if it really needs to be treated.

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