Leonardos Annunciation         For the young Florentine key fruiter, Leonardo de Vinci was quite emphatic with picture things as they were seen. This naturalism was quite app bent in more than an(prenominal) a(prenominal) of his early works and carried out throughout his entire tout ensemble of pieces that atomic number 18 attributed to his name. Leonardo was fascinated with nature. Many of his earliest sketches are of plants, flowers, and botanicals which are reconcileed with great detail and labor, striving to strive them the knockout that he experienced from them. This go for to portray things naturally, or realistically, carried e actuallyplace into his backgrounds, his portrayal of figures, his draperies, and his many other talents; sculpture, sketches, and even do the pigments of the paints he used in guild to better represent his figures more realistically.         Many of these characteristics are seen in one of his earliest pa intings, Leonardos Annunciation. From analytic thinking of this painting we can see this young painters desire to paint naturally, realistically portraying the figures, the background, the flowers, the trees, and the niche in which the thoroughgoing(a) sits. This painting, although some precariousness is totally by the hand of Leonard, shows many of his unique styles. These styles he may yield learned in Verrocchios workshop, however he do his own renditions to these styles.

This is apparent in many aspects of the Annunciation as well. Â Â Â Â Â Â Â Â First, by looking at Leonardos real realistic cere ment of the angle and the Virgin we see his ! fear to naturalism. Leonardo made many shroud studies, many of which we have today, that are very obviously redone in many of his works. By comparing his drapery studies to the drapery of the angle and the Virgin, it is quite translucent that they are by the same hand. This style of drapery became a very Leonardesque characteristic of his paintings. This style, If you want to get a full essay, order it on our website:
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