Tag Archives: illustration
the High Renaissance, who was also celebrated as a painter, sculptor,
architect, engineer, and scientist. His profound love of knowledge and
research was the keynote of both his artistic and scientific endeavors.
His innovations in the field of painting influenced the course of
Italian art for more than a century after his death, and his scientific
studies—particularly in the fields of anatomy, optics, and hydraulics—
anticipated many of the developments of modern science.Early Life in Florence
Leonardo was born on April 15, 1452, in the small Tuscan town
of Vinci, near Florence. He was the son of a wealthy Florentine
notary and a peasant woman. In the mid-1460s the family settled in
Florence, where Leonardo was given the best education that Florence,
the intellectual and artistic center of Italy, could offer. He rapidly
advanced socially and intellectually. He was handsome, persuasive
in conversation, and a fine musician and improviser. About 1466 he
was apprenticed as a garzone (studio boy) to Andrea del Verrocchio,
the leading Florentine painter and sculptor of his day. In Verrocchio’s
workshop Leonardo was introduced to many activities, from the
painting of altarpieces and panel pictures to the creation of large
sculptural projects in marble and bronze. In 1472 he was entered in
the painter’s guild of Florence, and in 1476 he is still mentioned as
Verrocchio’s assistant. In Verrocchio’s Baptism of Christ (circa 1470,
Galleria degli Uffizi, Florence), the kneeling angel at the left of the
painting is by Leonardo.
In 1478 Leonardo became an independent master. His first
commission, to paint an altarpiece for the chapel of the Palazzo
Vecchio, the Florentine town hall, was never executed. His first large
painting, The Adoration of the Magi (begun 1481, Galleria degli
Uffizi), left unfinished, was ordered in 1481 for the Monastery of San
Donato a Scopeto, Florence. Other works ascribed to his youth are the
so-called Benois Madonna (c. 1478, Hermitage, Saint Petersburg), the
portrait Ginerva de’ Benci (c. 1474, National Gallery, Washington,
D.C.), and the unfinished Saint Jerome (c. 1481, Pinacoteca, Vatican).
Newell Convers Wyeth was born on October 22, 1882, in Needham, Massachusetts. Growing up on a farm, he developed a deep love of nature. His mother, the daughter of Swiss immigrants, encouraged his early artistic inclinations in the face of opposition from his father, a descendant of the first Wyeth to arrive in the New World in the mid-17th century. His father encouraged a more practical use of his talents, and young Convers attended Mechanic Arts High School in Boston through May 1899, concentrating on drafting. With his mother’s support he transferred to Massachusetts Normal Art School and there instructor Richard Andrew urged him toward illustration. He studied with Eric Pape and Charles W. Reed and then painted with George L. Noyes in Annisquam, Massachusetts, during the summer of 1901.
On the advice of two friends, artists Clifford Ashley and Henry Peck, Wyeth decided to travel to Wilmington, Delaware, in October 1902, to join the Howard Pyle School of Art. Howard Pyle, one of the country’s most renowned illustrators, left a teaching position at Drexel Institute of Art, Science and Industry in Philadelphia to open his own school of illustration in Wilmington. Pyle was an inspired teacher and Wyeth an attentive pupil. The master emphasized the use of dramatic effects in painting and the importance of sound, personal knowledge of one’s subject, teachings Wyeth quickly assimilated and employed throughout his career. The astute young man recognized the value of Pyle’s instruction, writing to his mother just after his arrival, “the composition lecture…opened my eyes more than any talk I ever heard.” (BJW, p. 21) In less than five months, Wyeth successfully submitted a cover illustration to the Saturday Evening Post.