The thesis deals with vaiious aspects of the study of anatomy by artists in Italy in the sixteenth century. Emphasis has been placed on the evaluation of original sources rather than on an analysis of the anatomy displayed in depicted nudes of this period. How and why artists studied anatomy is revealed through contemporary literature, documents, drawings, prints and sculpture. While Leonardo da Vinci is considered, greater attention is paid to other artists who had an interest in anatomy, some of them lesser known, in an effort to gain a wider view. The first chapter deals with the positive and negative perception of anatomy and art as represented through writings on art of the period. Chapter two focuses on the issue of the frequency of dissection by artists as well as by anatomists at this time, with an examination of contemporary references to dissections, including new documentary material. The study of the skeleton by artists is considered in chapter three and a new transcription of Cellini's discourse on the study of the skeleton as the correct introduction to art is provided. By far the most abundant source of evidence for the study of anatomy by artists is anatomical drawings. In the fourth chapter various types are analyzed with attention paid to the high incidence of copies amongst them. Separate studies are made of both Michelangelo and Alessandro Allori and their anatomical drawings. In chapter five, the history of Michelangelo's study of anatomy as represented in the sources is discussed and in chapter six the surviving manuscript writings of Allori on anatomy are considered. In the final chapter an examination is made of the origins of the écorch model, leading up to Cigoli's Scorticato at the turn of the century. This is followed by a conclusion, bibliography and indices of drawings and artists.

This thesis explores the foundations of the complex and multifaceted work of Leonardo da Vinci as a whole. What underscores the universality of his research and transcends the artificial divisions of his vast body of work into modern categories of specialization, is the operation of analogy, which is grounded in a mimetic imagination. Leonardo's search is ultimately one of understanding the underlying causes that animate the universe and through analogy, his work and his world hold together. Central to my investigation of the continuity of Leonardo's analogical mode of thinking and making, are questions pertaining to the body, architecture and representation. I put forth that only by appreciating the analogical nature of Leonardo's (re)search, can one access the meaning and value of his efforts and contribution.

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No description available.

Esta tese compreende uma edição dos estudos de anatomia de Leonardo da Vinci, em torno da qual estão textos que visam interpretá-los sob o ponto de vista da epistemologia. Parte-se de uma visão ampla a respeito do problema do conhecimento e localiza-se a seguir parte desse problema no âmbito de cultura em que Leonardo se formou, com uma análise das fontes de época que tratam das questões relativas à aproximação entre as artes e as ciências do período. Apresenta-se a seguir uma edição significativa dos estudos de anatomia de Leonardo, na qual se discute principalmente sua elaboração ao longo dos trinta anos em que Leonardo investigou a anatomia. Retorna-se a Leonardo e seu âmbito de formação em vista de pensar a aproximação que Leonardo fez entre arte e ciência, superando seus contemporâneos artífices e, assim, colocando-se fora de sua cultura de origem sem alcançar à cultura letrada e colocando um ponto de interrogação na classificação dos saberes de sua época. Por fim, retoma-se as considerações amplas a respeito de conhecer, associando-as ao conhecer sui generis de Leonardo. / This thesis presents an edition of Leonardo da Vincis anatomical studies, which is surrounded by comments whose aim is to interpret these studies with respect to an epistemological point of view. Departing from a broad view about the problem of knowledge, this thesis then presents this problem in the culture in which Leonardo was educated, with an analysis of the sources in which the relations between the arts and sciences are presented and explored. It is followed by an important selection his anatomical studies, in which it is discussed the development of Leonardos work as an anatomist during thirty years. This thesis then return to Leonardos culture in order to think his synthesis between art and science that surpassed the aims and ambitions of his contemporaries, but making him a strange in his own culture and at the same time questioning the cultural establishment of his time. In the end, this thesis comes back to the broad view on the problem of knowledge and associates it to the sui generis knowledge of Leonardo da Vinci.

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Le Bestiaire de Leonard de Vinci (datable aux alentours de 1493-1494) est une oeuvre qui s'inscrit dans le cadre de la complexe tradition litteraire-scientifique tout en etant, de plusiers facons, differenciee par rapport au corpus a facettes des ouvrages de Vinci. L'analyse des sources (le Fiore di virtu, l'Acerba de Cecco d'Ascoli, l'Histoire naturelle de Pline, et d'autres textes inspires au Physiologus grec) constitue la premiere partie de l'etude, ou grande place est donnee aux innovations de Leonard. Dans la deuxieme partie les aspects scientifiques et litteraires, qui sont presents simultanement dans l'oeuvre, viennent ainsi examines minutieusement dans l'intention de demontrer que le Bestiaire ne constitue pas simplement un emprunt aux sources, mais est plutot une contribution originale a la tradition dont elle fait partie et dont on ressent la touche creative de Leonard et l'universalite de sa pensee.

Esta tese compreende uma edição dos estudos de anatomia de Leonardo da Vinci, em torno da qual estão textos que visam interpretá-los sob o ponto de vista da epistemologia. Parte-se de uma visão ampla a respeito do problema do conhecimento e localiza-se a seguir parte desse problema no âmbito de cultura em que Leonardo se formou, com uma análise das fontes de época que tratam das questões relativas à aproximação entre as artes e as ciências do período. Apresenta-se a seguir uma edição significativa dos estudos de anatomia de Leonardo, na qual se discute principalmente sua elaboração ao longo dos trinta anos em que Leonardo investigou a anatomia. Retorna-se a Leonardo e seu âmbito de formação em vista de pensar a aproximação que Leonardo fez entre arte e ciência, superando seus contemporâneos artífices e, assim, colocando-se fora de sua cultura de origem sem alcançar à cultura letrada e colocando um ponto de interrogação na classificação dos saberes de sua época. Por fim, retoma-se as considerações amplas a respeito de conhecer, associando-as ao conhecer sui generis de Leonardo. / This thesis presents an edition of Leonardo da Vincis anatomical studies, which is surrounded by comments whose aim is to interpret these studies with respect to an epistemological point of view. Departing from a broad view about the problem of knowledge, this thesis then presents this problem in the culture in which Leonardo was educated, with an analysis of the sources in which the relations between the arts and sciences are presented and explored. It is followed by an important selection his anatomical studies, in which it is discussed the development of Leonardos work as an anatomist during thirty years. This thesis then return to Leonardos culture in order to think his synthesis between art and science that surpassed the aims and ambitions of his contemporaries, but making him a strange in his own culture and at the same time questioning the cultural establishment of his time. In the end, this thesis comes back to the broad view on the problem of knowledge and associates it to the sui generis knowledge of Leonardo da Vinci.

No description available.

No description available.