Leonardorsquo;s early life was spent in Florence; his maturity in Milan; and the last three years of his life in France. Leonardorsquo;s teacher was Verrocchio. First he was a goldsmith; then a painter and sculptor: as a painter; representative of the very scientific school of draughtsmanship; more famous as a sculptor; being the creator of the Colleoni statue at Venice; Leonardo was a man of striking physical attractiveness; great charm of manner and conversation; and mental accomplishment. He was well grounded in the sciences and mathematics of the day; as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments; ceaselessly pursued during two centuries; by the conquest of the methods of painting; he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing; cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade; a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship; this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but; as no one before him had done; to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration; but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom; who was at the same time an initiator of modern thought; substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements; lines and colours; shadows and lights; compose a subtle tracery converging on a spiritual; a sensuous centre. It was not with the external significance of objects; but with their inward and spiritual significance; that Leonardo was occupied.
#4342905 in eBooks 2011-12-22 2011-12-22File Name: B00CR6D7KK
Review
0 of 0 people found the following review helpful. For Every drummer who wants to be more Musical and technicalBy Philip PierottiThe book has a lot of really good words of wisdom and the few things that is signature to the authors mindset of how to play the drums etc. But there is so much fluff like it was being taught to a complete beginner of drums when the moral of the book is to that double bass is supposed to excel an already complete drummer( which should by now be able to have a somewhat independent left and right foot) So weave around what you already know. I got this book because I wanted to fill in all of the blanks of double bass drumming that I had formed; in other words I wanted to see what I had been missing and honestly see a published point of view rather than my own and every other metal drummer that speaks english on youtube.This book is hard to pinpoint what exactly its about because it goes from how to step on a pedal to using double bass to supplement your musical style(advanced big musician stuff) in a few pages. Its not a big book. It has value for every drummer in it. This book will advance your playing abilities.Drummers if you want to know how to play 16th note triplets at 250 bpm; this book isnt going to tell you how to do that. Go back to you tube.0 of 0 people found the following review helpful. A FavoriteBy Mr MartinThe exercises here are real beats; which kept me more interested than some other books out there. This book is great for someone first learning how to use two pedals. Also; the recommended listening at the back of the book opened up my taste in music.1 of 1 people found the following review helpful. The Websters of Dbl BassBy mpxdrummer77Excellent piece for double bass pedal players who are just starting to get their feet under them (so to speak). The exercises seem like they would be sufficient for any skill level; as they increase in difficulty very quickly. The book has an interesting method that requires you to play the 2nd and 4th 16th notes ("e" and "ah") with your left foot regardless of the pattern laid out in the exercise. Meaning; any double bass pattern that starts with "e" or "ah" will be played left foot lead. This is an interesting concept because I; and probably many drummers; tend to start all bass drum patterns with my right foot; regardless of which note the pattern begins with. Once you wrap your mind around the concept of assigning specific notes to separate feet; it actually made me quite a bit faster; and eliminated the need to play quick doubles with my right (to hit the crash coming out of a double bass pattern; etc.) because I know that the "ah" of any beat will be played with the left foot; and thus I can crash back in on one with my right foot naturally.The book has a good bit of advice in the front for those who care to read it; but after that the book dives straight in to the exercises. I have also really enjoyed the flow of the book thus far. Beginning with a whole section of warm up for two dbl bass notes together; beats with 2 double bass notes together; and fills with 2 bass notes. Then; moving on to 3 double bass notes consecutively; etc. The book flows smoothly; and the exercises are challenging but do-able. I have found myself unable to put this book down. The first time you get that smooth; but powerful flurry of double bass notes and it sounds great within the beat is a great feeling.