Quotes About Art

It was yet another example of Jobs consciously positioning himself at the intersection of the arts and technology. In all of his products, technology would be married to great design, elegance, human touches, and even romance.

While at Windsor Castle looking at the swirling power of the "Deluge drawings" that he made near the end of his life, I asked the curator, Martin Clayton, whether he thought Leonardo had done them as works of art or of science. Even as I spoke, I realized it was a dumb question. "I do not think that Leonardo would have made that distinction," he replied.

His scientific understanding of optics thus enhanced the three-dimensional illusion of the painting.8

Like many aspects of the digital age, this idea that innovation resides where art and science connect is not new. Leonardo da Vinci was the exemplar of the creativity that flourishes when the humanities and sciences interact.

The fifteenth century of Leonardo and Columbus and Gutenberg was a time of invention, exploration, and the spread of knowledge by new technologies. In short, it was a time like our own. That is why we have much to learn from Leonardo. His ability to combine art, science, technology, the humanities, and imagination remains an enduring recipe for creativity. So, too, was his ease at being a bit of a misfit: illegitimate, gay, vegetarian, left-handed, easily distracted, and at times heretical.

Human ingenuity," wrote Leonardo da Vinci, whose Vitruvian Man became the ultimate symbol of the intersection of art and science, "will never devise any inventions more beautiful, nor more simple, nor more to the purpose than Nature does.

Finally, I was struck by how the truest creativity of the digital age came from those who were able to connect the arts and sciences.

Thus he became the archetype of the Renaissance Man, an inspiration to all who believe that the "infinite works of nature," as he put it, are woven together in a unity filled with marvelous patterns.2 His ability to combine art and science, made iconic by his drawing of a perfectly proportioned man spread-eagle inside a circle and square, known as Vitruvian Man, made him history's most creative genius.

They kept evolving, moving, refining their art. That's what I've always tried to do—keep moving. Otherwise, as Dylan says, if you're not busy being born, you're busy dying.

Leonardo fue pionero en un nuevo estilo que trataba los cuadros narrativos, e incluso los retratos, como explicaciones psicológicas.

It's in Apple's DNA that technology alone is not enough. We believe that it's technology married with the humanities that yields us the result that makes our heart sing.

A left-hander, Leonardo wrote from right to left on a page

Leonardo's dedication to portraying the outward manifestations of inner emotions would end up driving not only his art but some of his anatomical studies. He needed to know which nerves emanated from the brain and which from the spinal cord, which muscles they activated, and which facial movements were connected to others.

Walter Isaacson

By exalting the interplay between art and science, Leonardo wove an argument that was integral to understanding his genius: that true creativity involves the ability to combine observation with imagination, thereby blurring the border between reality and fantasy. A great painter depicts both, he said.

But to me, nothing could be further from the meaning of design. Design is the fundamental soul of a man-made creation that ends up expressing itself in successive outer layers.

If you stand far enough away from a picture, even a large one, the problem of the edges being at a different distance from you diminishes. Leonardo determined that a proper vantage point for a large picture should be ten to twenty times its width or height. "Stand back until your eye is at least twenty times as far off as the greatest height and width of your work

Painting a conventional portrait for a pushy patron did not interest him. Nor did money motivate him. He painted portraits if the subject struck his fancy, such as the Musician, or if a powerful ruler demanded it, as in the case of Ludovico with his mistresses. But he didn't dance to the music of patrons.

The front of the white lectern has a slight blue tinge, since it is lit mainly by the refracted light of the sky rather than the yellowish direct glow of the setting sun.59 "Shadows will vary," Leonardo explained in his notebooks. "The side of an object that receives a reflected light from the azure of the air will be tinged with that hue, and this is particularly observable in white objects. That side that receives the light from the sun will partake of that color.

The branches of the leafless tree merge into the man's body, then into the conical geometrical pattern, and finally into the mountainous landscape. What Leonardo probably began as four distinct elements ended up woven together in a way that illustrates a fundamental theme in his art and science: the interconnectedness of nature, the unity of its patterns, and the analogy between the workings of the human body and those of the earth.

So that's our approach. Very simple, and we're really shooting for Museum of Modern Art quality. The way we're running the company, the product design, the advertising, it all comes down to this: Let's make it simple. Really simple.

Picasso Good authors copy, great artists steal-Picassco

I wanted to buy it because I was really into computer graphics," Jobs recalled. "I realized they were way ahead of others in combining art and technology, which is what I've always been interested in.

También quería crear un panteón para él y su familia; para ello eligió un pequeño pero elegante convento, con su correspondiente iglesia, situado en el centro de Milán (Santa Maria delle Grazie), e hizo que un amigo de Leonardo, Donato Bramante, lo reconstruyera. Para la pared norte del nuevo comedor de los frailes, o refectorio, encargó a Leonardo que pintara una última cena, una de las escenas más populares del arte religioso.