Leonardo’s Lips and Lines


My takeaway from Walter Isaacson’s Leonard da Vinci biography is that hypervigilance is not a switch an artist turns on to create. Artistic creations are often a display of one’s genuine curiosity about the world, a culmination of obsessive research into the miniscule details that others missed, and a portal through which the artist can reveal their findings. Did Leonardo da Vinci’s obsessions drive him to be an artist, or did he become obsessed with the small details of life to become a better artist?

Da Vinci might have started obsessively studying various elements, such as water, rock formations, and all of the other natural elements to inform his art, but he became so obsessed with his initial findings that he pursued them for reasons beyond art. He pursued them, the author states, for the sake of knowledge.

I don’t think I’ve ever read a book capture an artist’s artistic process as well as this one did. The thesis of the book is that da Vinci’s artistic creations were not merely the work of a gifted artist, but of an obsessive genius honing in on scientific discoveries to inform the minutiae of his process. Some reviews argue that this bio focuses too much on the minutiae of da Vinci’s work, but after reading the book, I don’t see how an author could capture the essence of what da Vinci’s accomplished without focusing on his obsessions, as focusing and obsessing on the finer details separated him from all of the brilliant artists that followed.

Some have alluded to the idea that da Vinci just happened to capture Lisa Gherardini, or Lisa del Giocondo, in the perfect smile for his famous painting The Mona Lisa. The inference is that da Vinci asked her to do a number of poses, and that his gift was merely in working with Lisa to find that perfect pose and then capture it, in the manner a photographer might. Such theories, Isaacson illustrates, shortchange the greatest work of one of history’s greatest artists.

Isaacson also discounts the idea that da Vinci’s finished products were the result of a divine gift, and I agree in the sense that suggesting his work was a result of a gift discounts everything da Vinci did to inform his work. There were other artists with similar gifts in da Vinci’s time, and there have been many more since, yet da Vinci’s work maintains a rarified level of distinction in the art world.

As an example of Leonardo’s obsessiveness, he dissected cadavers to understand the musculature elements involved in producing a smile. Isaacson provides exhaustive details of Leonardo’s work, but writing about such endeavors cannot properly capture how tedious this research must have been. Writing that da Vinci spent years exploring cadavers to discover all the ways the brain and spine work in conjunction to produce expression, for example, cannot capture the trials and errors da Vinci must have experienced before finding the subtle muscular formations inherent in the famous, ambiguous smile that captured the deliberate effect he was trying to achieve. (Isaacson’s description of all the variables that inform da Vinci’s process regarding The Mona Lisa’s ambiguous smile that historians suggest da Vinci used more than once is the best paragraph in the book.) One can only guess that da Vinci spent most of his time researching for these artistic truths alone, and that even his most loyal assistants pleaded that he not put them on the insanely tedious lip detail.

Isaacson also goes to great lengths to reveal Leonardo’s study of lights and shadows, in the sfumato technique, to provide the subjects of his paintings greater dimension and realistic and penetrating eyes. Da Vinci then spent years, sometimes decades, putting changes on his “incomplete projects”. Witnesses say that he could spend hours looking at an incomplete project only to add one little dab of paint.

The idea of a gift implies that all an artist has to do is apply their gift to whatever canvas stands before them and that they should do it as often as possible to pay homage to that gift until they achieve a satisfactory result. As Isaacson details this doesn’t explain what separates da Vinci from other similarly gifted artists in history. The da Vinci works we admire to this day were but a showcase of his ability, his obsessive research on matters similarly gifted artists might consider inconsequential, and the application of that knowledge he attained from the research.

Why, for example, would one spend months, years, and decades studying the flow of water, and its connections to the flow of blood in the heart? The nature of da Vinci’s obsessive qualities belies the idea that he did it for the sole purpose of fetching a better price for his art. He also, as the author points out, turned down more commissions than he accepted. This coupled with the idea that while he might have started an artistic creation on a commissioned basis, he often did not give the finished product to the one paying him for the finished product. As stated with some of his works, da Vinci hesitated to do this because he didn’t consider it finished, completed, or perfect. As anyone who understands the artistic process understands, the idea that art has reached a point where it cannot be improved upon is often more difficult to achieve for the artist than starting one. Some might suggest that achieving historical recognition drove him, but da Vinci had no problem achieving recognition in his lifetime, as most connoisseurs of art considered him one of the best painters of his era. We also know that da Vinci published little of what would’ve been revolutionary discoveries in his time, and he carried most of his artwork with him for most of his life, perfecting it, as opposed to selling it, or seeking more fame with it.

After reading all that informed da Vinci’s process, coupled with the appreciation we have for the finished product, I believe we can now officially replace the meme that uses the Sgt. Pepper’s Lonely Hearts Club Band album to describe an artist’s artistic peak with The Mona Lisa.

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