篇一:《五年级作文：我班的达芬奇》
五年级作文：我班的达芬奇
五年级作文：我班的达芬奇
我的同桌范同学其貌不扬，学习成绩名列前茅，不过是倒数。同学们对他漠不关心，但他却是我们身边的美术奇才。
范同学特别喜欢上美术课。每次美术老师走进教室，他顿时神采飞扬。
第一次发现范同学的绘画天赋，是在三年级刚开学的一节美术课上。老师让我们自由作画，同学们有的愁眉苦脸，有的交头接耳，还有的依葫芦画瓢，只有范同学胸有成足，拿起笔来认真作画。他寥寥几笔，就画了一座连绵起伏、巍峨壮丽的长城，再添几笔，那是秀丽的青山。美术老师发觉以后，惊喜万分。老师把范同学的作品放到投影仪里给大家看，同学们都赞叹不已！这个平时默默无闻，成绩倒数的范同学居然无师自通，画出了如此漂亮的画，大家纷纷向他竖起了大拇指。从此，大家对范同学刮目相看，开始注意起了这个美术天才。
每天一下课，范同学便拿出自己的绘画本，挥毫作画。范同学画画时与众不同，他不像别的画画爱好者那样照着美术书临摹，而是一手托着下巴，一手在本子上随心所欲地勾勾画画。一会儿工夫，一幅精致的画就新鲜出炉了。他画的牧童行歌捕蝉图生动形象，画的动物悠闲栖息图自然逼真，画的青山绿水风光图美不胜收……真是画什么像什么，让人看了打心眼里佩服他。
有一次，范同学生病在家不能来上学。第二天来学校时，同学们发现他的本子上又多了几幅栩栩如生的画。同学们不仅对他的画佩服得五体投地，更为他那份对画画的痴迷所感动。美术老师挑了一幅给他投稿，果然一投就中，得了全国绘画比赛三等奖。
这就是我身边的美术最强大脑——范同学，虽然他在学习上毫无起色，但他在画画方面的天赋足以让大家大开眼界。希望范兄凭着他的美术最强大脑，将来能在绘画领域风生水起。
篇二:《名人故事：达芬奇的故事》{关于达芬奇的作文}.
名人故事：达芬奇的故事
列奥纳多·达芬奇（1452-1519）意大利文艺复兴时期画家，科学家，人类智慧的象征。生于佛罗伦萨郊区的芬奇小镇，因此取名叫芬奇，5岁时能凭记忆在沙滩上画出母亲的肖像，同时还能即席作词谱曲，自己伴奏自己歌唱，引得在场的人赞叹不已。《最后的晚餐》是世界最着名的宗教画，《蒙娜丽莎》则为世界上最着名，最伟大的肖像画。这两件誉满全球的作品使达？芬奇的名字永垂青史。达？芬奇独特的艺术语言是运用明暗法创造平面形象的立体感。他曾说过：“绘画的最大奇迹，就是使平的画面呈现出凹凸感。”{关于达芬奇的作文}.
达芬奇的家庭非常富有，幼时的达是在良好的知识环境下健康成长起来的。到了来该入学的年龄，父亲把他送入学校进行系统的教育，达芬奇聪颖好学，对任何事都很感兴趣，从不以老师讲授的课程为满足，尤其对数学有浓厚的兴趣，常常提出一些疑难问题，使老师瞠目结舌，十分窘迫，在音乐方面，达芬奇善吹笛子，能创作，不仅作词，还会作曲，又有一副好嗓子，能自弹自唱，在为米兰公爵演奏竖琴时，还自制乐器，表演完全超出了其他乐师，一时轰动米兰。{关于达芬奇的作文}.
达芬奇体格健壮，爱好各种体育活动，善训马，曾力挽狂奔之马，。在辩论中，能使最强的对手甘拜下风，他左右手均能书写作画，他的许多手稿都是左手自右而反写出来的，后人只有借助镜子反射出来才能辨认。
初一:如果巴黎不乐
篇三:《读《达芬奇》有感》
读《达芬奇》有感
这个暑假，我读了《达芬奇》这本书，我被达芬奇深深地折服了！
这个著名的画家是在1452年4月15日出生于佛罗伦萨附近的芬奇镇。他不但是意大利文艺复兴三杰之一，还是一位学识渊博，多才多艺的画家。他的代表作品有《蒙娜丽莎》、《最后的晚餐》、《岩间石母》等。
我最敬佩达芬奇那种细致的精神了！有一次，一个农民有一面用无花果制作的盾牌，他想在上面画一副画，于是请达芬奇的父亲带到城里请画师。但他的父亲却把盾牌交给了达芬奇，想试一试他的画艺。达芬奇决定画一幅惊心动魄，令人望而生畏的盾面画，让它达到盾面画的效果。他首先读了几本关于妖魔鬼怪的书，然后开始构思，当他读到希腊神话中的女妖麦杜萨的传说,深受启发。达芬奇不仅收集了女妖的资料，而且运用一些小动物，综合了这些形象，开始描绘起来，由于长时间的工作以至那些小动物的尸体都腐烂发臭了，但他毫无察觉，最后他终于画成了这幅画。
看看达芬奇，再看看我自己，我感到很惭愧。平时我在家做事马马虎虎，有一次，妈妈让我做家务，我却把垃圾扫到一边，桌子随便擦两下就行了……害得妈妈又要重新清洁一次了。还有，我家是卖雪糕的，所以很多的时候要点货给顾客。我经常把货给点错，不是多了，就是少了。弄得妈妈又要跟顾客道歉，又要赔钱。还有一次，我本来可以考100分，就是因为马虎，把乘号写成加号，结果就不一样{关于达芬奇的作文}.
了。以上的种种错误，都是我粗心大意造成的，我一定要吸取教训，以后再也不犯这样的错误了！
我喜欢《达芬奇》这本书！
篇四:《《达芬奇》读后感》
读《达芬奇》有感
增江街东方小 四年级 王羽婷
以前“达芬奇”这个名字对我来，是一个陌生的名字。自从老师叫我买了关于科学家及科学发明阅读书——《达芬奇》后，让我不再对“达芬奇”感到陌生了，知道他是一位出色的艺术大师，是一位多才多艺的画家、寓言家、雕塑家、发明家、哲学家、音乐家、医学家、生物学家、地理学家、建筑工程师和军事工程师。同时我在书中得知他是一位天才，他少年时代勤奋好学、做事干练、刻苦钻研，最终走向成功的光辉道路。
读了这本书，让我明白了许多道理。其中《达·芬奇画蛋》这篇文章，对我的启发很大。这篇文章主要讲了达·芬奇拜了名画家佛罗基奥为师，佛罗基奥每天让小达·芬奇画鸡蛋，这让小达·芬奇产生了疑感，他问佛罗基奥：“老师，您为什么老是让我画鸡蛋？” 佛罗基奥告诉他：“鸡蛋看似普通，但从来没两个绝对一样的鸡蛋，即使是同一个鸡蛋，如果角度不同，那么投下的光线他也会不同，在任何不同的角度观察鸡蛋，都会有不同的结果。因此，仔细观察鸡蛋，不断重复画鸡蛋是绘画的基本功，基本功要练到应用自如。最后，达·芬奇终于成了一位了不位的画家。
达芬奇画蛋的故事，让我明白了一个道理：任何成功，都要经过勤奋不懈的努力，仔细观察、勤学苦练，才有可能创作出优秀的作品。
篇五:《备考素材 GRE写作之达芬奇_GRE写作》
智课网GRE备考资料
备考素材 GRE写作之达芬奇_GRE写作
GRE写作素材对于提高写作水平有很大的意义，如果您想要在GRE作文考试中游刃有余，就一定要在备考中积累很多的写作素材，下面小编就给大家提供一些GRE写作素材，供大家参考。
本文主要介绍了关于达芬奇的GRE写作素材，希望对大家备考GRE作文有一定的参考作用。
da Vinci, Leonardo 1452 -- 1519
Painter, sculptor, inventor. Born April 15, 1452 near the village of Vinci, Italy. He was the illegitimate son of Ser Piero da Vinci, a prominent notary of Florence, who had no other children until much later. Ser Piero raised his son himself, a common practice at the time, arranging for Leonardo's mother to marry a villager. When Leonardo was 15, his father apprenticed him to Andrea del Verrocchio, the leading artist of Florence and a characteristic talent of the early Renaissance. A sculptor, painter, and goldsmith, Verrocchio was a remarkable craftsman, and his GREat skill and
passionate concern for quality of execution, as well as his interest in expressing the vital mobility of the human figure, were important elements in Leonardo's artistic formation. Indeed, much in Leonardo's approach to art was
evolutionary from tradition rather than revolutionary against it, although the opposite is often true of his results.
After completing his apprenticeship, Leonardo stayed on as an assistant in Verrocchio's shop, and his earliest known painting is a product of his collaboration with the master. In Verrocchio's Baptism of Christ (ca. 1475), Leonardo
executed one of the two angels, a fact already recorded in the 16th century, as well as the distant landscape, and he added the final touches to the figure of Christ, determining the texture of the flesh. Collaboration on a major project by a master and his assistant was standard procedure in the Italian Renaissance. What is special is that Leonardo's work is not, as was usual, a slightly less skilled version of Verrocchio's manner of painting but an original approach altering it. It completely possesses all the fundamental qualities of Leonardo's mature style and implies a criticism of the early
Renaissance. By changing hard metallic surface effects to soft yielding ones, making edges less cutting, and increasing the slight modulations of light and shade, Leonardo evoked a new flexibility within the figures. This "soft union," as Giorgio Vasari called it, is also present in the special lighting and is emphatically developed in the spiral turn of the angel's head and body and the vast depth of the landscape.
Apparently Leonardo had painted one extant work, the Annunciation in Florence, before this. It is much nearer to Verrocchio in the stability of the two figures shown in profile, the clean precision of the decorative details, and the large simple shapes of the trees, but it already differs in the creamier modeling of the faces. A little later is Leonardo's portrait of Ginevra de' Benci, the young wife of a prominent Florentine merchant, in which her oily face with softly contoured lips is seen against a background of mysteriously dark trees and a pond.
About 1478 Leonardo set up his own studio. In 1481 he received a major church commission for an altarpiece, the Adoration of the Magi. In this unfinished painting, Leonardo's new approach is far more developed. A crowd of
spectators, with odd and varied faces, flutters around and peers at the main group of the Virgin and Child, and there is a strong sense of continuing movement. In the background the three horses of the kings prance among intricate
architectural ruins. However, the painting also illustrates Leonardo's strong sense of the need for a countervailing order:
he placed in the center of the composition the Virgin and Child, who traditionally in paintings of this theme had
appeared at one side of the picture, approached by the kings from the other side. Similarly, the picturesque ruins are rendered in sharp perspective.
The simultaneous increase in both the level of activity and the organized system which controls it will climax later in Leonardo's Last Supper, and it shows us his basically scientific temperamentne concerned with not only adding to the quantity of accurate observations of nature but also subjecting these observations to newly inferred physical or
mathematical laws. In their paintings earlier Renaissance artists had applied the rules of linear perspective, by which objects appear smaller in proportion as they are farther away from the eye of the spectator. Leonardo joined this
principle to two others: perspective of clarity (distant objects proGREssively lose their separateness and hence are not drawn with outlines) and perspective of color (distant objects proGREssively tend to a uniform gray tone). He wrote about both of these phenomena in his notebooks.
The Adoration of the Magi was, as noted above, left unfinished. In his later career Leonardo often failed over a period of years to finish a work, essentially because he would not accept established answers. For example, in his project for a bronze equestrian statue he began his work by delving into such matters as the anatomy of horses and the method by which the heavy monument could be transported from his studio to its permanent location. In the case of the Magi altarpiece, however, the unfinished state may merely result from the fact that Leonardo left Florence in 1482 to accept the post of court artist to the Duke of Milan. In leaving, Leonardo followed a trend set by the leading Florentine masters of the older generation, Verrocchio and Antonio Pollaiuolo, who went to Venice and Rome to execute commissions larger than any available in their native Florence.
Leonardo presented himself to the Duke of Milan as skilled in many crafts, but particularly in military engineering, asserting that he had worked out improved methods for shooting catapults and diverting rivers. Such inventions, as well as the remarkable machinery that Leonardo produced in Milan for stage pageants, point to his profound interest in the laws of motion and propulsion, a further aspect of his interest in living things and their workings. Again, this preoccupation differs from older artists only in deGREe.{关于达芬奇的作文}.
Leonardo's first Milanese painting is the altarpiece Virgin of the Rocks. It exists in two versions: the one in Paris is earlier and was executed by Leonardo; the one in London is later, and there is controversy as to whether Leonardo participated in its execution. A religious brotherhood in Milan commissioned an altarpiece from Leonardo in 1483, and it is also a matter of argument as to which version is the one commissioned. Some scholars believe that it is the London work and that the Paris version was painted while Leonardo was still in Florence. But this view requires some
remarkable coincidences, and the more usual opinion is that the picture in Paris is the original one executed for the Milanese commission and that it was taken away by Leonardo's admirer the king of France and replaced in Milan by the second painting.
Although the Virgin of the Rocksis a very original painting, it makes use of a venerable tradition in which the Holy Family is shown in a cave. This setting becomes a vehicle for Leonardo's interests in depicting nature and in dimmed light, which fuses the outlines of separate objects. The artist once commented that one should practice drawing at dusk and in courtyards with walls painted black. The figures in the painting are grouped in a pyramid.
The other surviving painting of Leonardo's Milanese years is the Last Supper (1495-1497), commissioned by the duke for the refectory of the convent of S. Maria delle Grazie. Instead of using fresco, the traditional medium for this theme, Leonardo experimented with an oil-based medium, because painting in true fresco makes areas of color appear quite distinct. Unfortunately, his experiment was unsuccessful; the paint did not adhere well to the wall, and within 50 years the scene was reduced to a confused series of spots. What we see today is largely a later reconstruction, but the design
is reliable and remarkable. The scene seems at first to be one of tumultuous activity, in response to the dramatic stimulus of Christ's words "One of you will betray me," which is a contrast to the traditional static row of figures. But the 12 disciples form four equal clusters around Christ, isolated as a fifth unit in the middle. Thus, Leonardo once again enriches the empirical observation of vital activity but simultaneously develops a containing formula and emphasizes the center. This blend of the immediate reality of the situation and the underlying order of the composition is perhaps the reason the painting has always been extraordinarily popular and has remained the standard image of the subject.
In its own time, the Last Supper was perhaps less well known than the project for a bronze equestrian statue of the previous Duke of Milan, on which Leonardo worked during most of his Milanese years. He wanted to show the horse leaping, a technical problem of balance in sculpture that was solved only in the 17th century. Numerous drawings of the project exist. Besides apparatus for pageants and artillery, architectural projects also occupied Leonardo in Milan. He and the GREat architect Donato Bramante, also a recent arrival at the court, clearly had a mutually stimulating effect, and it is hard to attribute certain innovative ideas to one of them rather than the other. The architectural drawings of Leonardo, very similar to the buildings of Bramante, mark the shift from the early Renaissance to the High Renaissance in architecture and show a new interest in and command of scale and grandeur within the basic harmonious geometry of Renaissance structure. No buildings can be attributed with certainty to Leonardo.
When Leonardo's patron was overthrown by the French invasion in 1499, Leonardo left Milan. He visited Venice briefly, where the Senate consulted him on military projects, and Mantua. He planned a portrait of Isabella d'Este, Duchess of Mantua, one of the most striking personalities and GREat art patrons of the age. The surviving drawing for this portrait suggests that the concept of the later Mona Lisa had already been formulated.
In 1500 Leonardo returned to Florence, where he was received as a GREat man. Florentine painters of the generation immediately following Leonardo were excited by his modern methods, with which they were familiar through the
unfinished Adoration of the Magi, and he also now had a powerful effect on a still younger group of artists. Thus it was that a younger master passed on to Leonardo his own commission for the Virgin and Child with St. Anne, and the monks who had ordered it gave Leonardo a workroom. Leonardo's large preparatory drawing was inspected by crowds of viewers. This theme had traditionally been presented in a rather diagrammatic fashion to illustrate the family tree of Christ; sometimes this was done by representing Anne, the grandmother, in large scale with her daughter Mary on her knee and with Mary in turn holding the Christ Child. Leonardo sought to retain a reference to this conceptual pattern while drawing sinuous, smiling figures in a fluid organic interrelationship. Several varying designs exist, the last version being the painting of about 1510 in Paris; this variety suggests that Leonardo could not fuse the two qualities he desired: an abstract formula and the immediacy of life.{关于达芬奇的作文}.
During his years in Florence (1500-1506), even though they were interrupted in 1502 by a term as military engineer for Cesare Borgia, Leonardo completed more projects than in any other period of his life. In his works of these years, the emphasis is almost exclusively on portraying human vitality, as in the Leda and the Swan (lost; known only through copies), a spiraling figure kneeling among reeds, and the Mona Lisa, the portrait of a Florentine citizen's young third wife, whose smile is mysterious because it is in the process of either appearing or disappearing.
Leonardo's GREat project (begun 1503) was the battle scene that the city commissioned to adorn the newly built Council Hall of the Palazzo Vecchio. In the choice of theme, the Battle of Anghiari, patriotic references and the wish to show off Leonardo's special skills were both apparently required. Leonardo depicted a cavalry battle of small skirmish won by Florentine troops in which horsemen leap at each other, churning up dust, in quick interlocking motion. The work today is known through some rapid rough sketches of the groups of horsemen, careful drawings of single heads of men which are extraordinarily vivid in suggesting immediate response to a stimulus, and copies of the entire
composition. Leonardo began to paint the scene, experimenting with encaustic technique (the paint is fused into hot
wax on the surface of the panel), but he was called back to Milan before the work was completed. A short time thereafter, the room was remodeled and the fragment was destroyed.
Both the Battle of Anghiari and the Mona Lisa contain their animation in neatly balanced designs. In the battle scene, the enemies are locked in tense symmetry; in the portrait, the crossed arms form the base of a pyramid capped by the head, which gives the lady her quality of classic rightness and prevents the less than full-length portrait from seeming incomplete and arbitrarily amputated at the lower edge.
Called to Milan in 1506 by the French governor in charge, Leonardo worked on an equestrian statue project, but he produced no new paintings; he was more intent on scientific observation. Most of his scientific concerns were fairly direct extensions of his interests as a painter, and his research in anatomy was the most fully developed. Verrocchio and other early Renaissance painters had attempted to render the human anatomy with accuracy, but Leonardo went far beyond any of them, producing the earliest anatomical drawings which are still considered valid today, although he occasionally confused animal and human anatomy and accepted some old wives' tales.
Leonardo began filling the notebooks with data and drawings, and the visual intensity that was always his starting point reveal his other scientific interests: firearms, the action of water, the flight of birds (leading to designs for human flight), the growth of plants, and geology. Leonardo's interests were not universal: theology, history, and literature moved him little. All his interests had in common a concern with the processes of action, movement, pressure, and growth; it has been rightly said that his drawings of the human body are less anatomical than physiological.
In 1513 Leonardo went to Rome, where he remained until 1516. He was much honored, but he was relatively inactive and remarkably aloof from its rich social and artistic life. He continued to fill his notebooks with scientific entries. The French king, Francis I, invited Leonardo to his court at Fontainebleau, gave him the titles of painter, architect, and mechanic to the king, and provided him with a country house at Cloux. Leonardo was revered for his knowledge and influence on younger artists more than for any work he produced in France. He died on May 2, 1519, at Cloux.
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