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Notes
Anna-Teresa Tymieniecka, Impetus and Equipoise in the Life-Strategies of Reason, Logos and Life: Book 4, Analecta Husserliana Vol. LXX (Dordrecht, Boston, London: Kluwer Academic Publishers, 2000), p. 19.
Carmen Bambach, Leonardo da Vinci: Master Draftsman (New York: Metropolitan Museum, 2003), p. 21.
Kimmel, “Logos: Anna-Teresa Tymieniecka’s Celebration of Life in Search of Wisdom”, in Thinking Through Anna-Teresa Tymieniecka’s Logos and Life, Phenomological Inquiry, Vol. XXVII (October 2003), pp. 22–23.
See Codex Arundel, Ms. 263, British Library, London.
Tymieniecka, op. cit., p. 4.
Art and Agency: An Anthopological Theory (Oxford: Oxford University Press, 1998), p. 236. Thanks to Matthew Landrus for this. Gell would describe his own technique of frission that began by, e.g. reading whole issues of Scientific American with avid interest: “they provided a series of ingredients which can be combined — with luck — by means of pattern-building intuition, to provide some kind of... apparently counter-intuitive solution to some kind of problem which can be stated in a fairly restricted sort of way” (Art of Anthropology (London: Athlone Press, 1999), p. 24.)
Berenson, The Drawings of the Florentine Painters. Amplified Edition, 3 vols. (Chicago: University of Chicago Press, 1938), esp. Vol. 1, p. 170.
Bambach, op. cit., p. 5.
There are many accounts of the dispersal of Melzi’s Leonardo hoard; see Jane Roberts and Carlo Pedretti, “The Critical Fortune of Leonardo’s Drawings” in Bambach, op. cit., pp. 78–109.
Bambach, op. cit., p. 22.
See Bambach, op. cit., pp. 252–55.
Metalpoint partly reworked with pen and dark brown on pink prepared paper, see Bambach, op. cit., cat. 45.
Pietro Marani, Leonardo da Vinci: The Complete Paintings (New York: Abrams, 2000), p. 90.
Sarcophagus is from the early third century A.D., Gardino della Pigna, Musei Vaticani, which Leonardo could have seen in Rome at the end of the fifteenth century; see Bambach, op. cit., p. 513.
Giorgio Vasari, Le vite de’ più eccellenti pittori, scultore ed architettori scritte da Giorgio Vasari, pittore aretino, con nuove annotazioni e commenti di Gaitano Milanese, 1568; (1878–85), 2nd ed. 9 vols, Florence 1906, Vol 4., p. 25.
Codex Atlanticus, fol. 207 (formerly fol. 75r-a); Jean Paul Richter, The Literary Works of Leonardo da Vinci Compiled and Edited from the Original Manuscripts, 1883, 3d ed., 2 vols. London, 1970, para. 20. “Il pittore che ritrae per pratica e giuditio d’ochio, sanza ragione è come lo spechio, che in se imita tutte le a se cōtraposte cose sanza cognitione d’esse.” This note belongs to an early compilation of a “Proemio” for a treatise on painting. When planning his treatise in 1489, he put “great stress on the necessity of investigating the function of the senses to the point of incorporating perspective as part of anatomy” (Carlo Pedretti, The Literary Works of Leonardo da Vinci, Berkeley, University of California Press, 1977, Vol. I, p. 110).
Paris Ms. A, fol. 102v (B.N. 2038, fol. 22v); Richter, op. cit., para. 508.
Vasari, op. cit., Vol. 1, pp. 174–77.
Kimmel, op. cit., p. 28.
Martin Kemp, “Drawing the Boundaries” in Bambach, op. cit., pp. 140–154, esp. 151. See his comment that the framing enhanced the process of compression toward a more expansive sense of figures “breathing in the context of a more expansive landscape vista.”
See Bambach, op. cit., cat. no. 95.
Gary Backhaus in Phenomenology World Wide. Analecta Husserliana Vol. LXXX (2002), ed. Anna-Teresa Tymieniecka, p. 783.
Kemp, op. cit.
Marani, op. cit., pp. 258–64.
Tymieniecka, op. cit., p. 77.
Tymieniecka, op. cit., p. 36.
Tymieniecka, op. cit., p. 6.
Tymieniecka, op. cit., p. 37.
Tymieniecka, ibid.
Tymieniecka, op. cit., p. 6.
Tymieniecka, op. cit., pp. 38–39.
Bambach, op. cit., p. 51.
Tymieniecka, op. cit., p. 39.
Tymieniecka, ibid.
Tymieniecka, op. cit., p. 18.
Thanks to Laurence Kimmel for this phrasing.
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Trutty-Coohill, P. (2006). The Ontopoiesis of Leonardo da Vinci’S Brainstorm Drawings. In: Tymieniecka, AT. (eds) Logos of Phenomenology and Phenomenology of the Logos. Book Five. Analecta Husserliana, vol 92. Springer, Dordrecht. https://doi.org/10.1007/1-4020-3744-9_1
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