Leonard da Vinci-the breath of expression and anatomy
Leonardo da Vinci was perfectly familiar with the anatomy of the human body through his surgical research on corpses. He was particularly familiar with the laws harmonizing flesh, tendons, muscles, bones and organs, and this in their visible mobility as well as in their postural immobility which I call “the breath of emotional expression”. These laws are very precise and complex. Leonardo da Vinci invented the study of the physiology of visible and invisible movement. He achieved this with the human body as much as he did with machines.
The face, neck, hands and feet are the hardest to reproduce because of the large number of articulated parts. The difficulty of harmonizing the anatomic particularities specific to each and every one of us can be added to this. Why? Everyone has suffered from traumas such as birth, then development and finally life itself. These traumas deform the body so that the different systems can work and also reduce suffering. This leaves a visible imprint. This is what I call the constitutional spiral, unique to everyone.
For example, to represent an expressive neck in harmony with a face requires that each of its anatomical particularities be characterized, thereby balancing the trauma(s) to the head or shoulders. If one of these adaptive particularities is not represented in harmony with the flaw in the shoulder, jaw or cranium, the expression will then be a stiff neck or a grimace. At best, it will be rigid. This is the difficulty in breathing life into a purely figurative work of art. The 4th dimension which emerges from the invisible can vibrate through the matter solely through the observation of harmonization laws.
Having studied the anatomic illogicality of the portrait of Mona Lisa, I would like to suggest my decoding of it => => The Mystery of the painting of the Mona Lisa
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The face, neck, hands and feet are the hardest to reproduce because of the large number of articulated parts. The difficulty of harmonizing the anatomic particularities specific to each and every one of us can be added to this. Why? Everyone has suffered from traumas such as birth, then development and finally life itself. These traumas deform the body so that the different systems can work and also reduce suffering. This leaves a visible imprint. This is what I call the constitutional spiral, unique to everyone.
For example, to represent an expressive neck in harmony with a face requires that each of its anatomical particularities be characterized, thereby balancing the trauma(s) to the head or shoulders. If one of these adaptive particularities is not represented in harmony with the flaw in the shoulder, jaw or cranium, the expression will then be a stiff neck or a grimace. At best, it will be rigid. This is the difficulty in breathing life into a purely figurative work of art. The 4th dimension which emerges from the invisible can vibrate through the matter solely through the observation of harmonization laws.
Having studied the anatomic illogicality of the portrait of Mona Lisa, I would like to suggest my decoding of it => => The Mystery of the painting of the Mona Lisa