Leonardo Da Vci’s Sexualy: What’s Known About His Relatnships? Was He Gay? | HistoryExtra

Contents:

• LEONARDO DA VCI’S SEXUALY: WHY HISTORIANS BELIEVE THE FAMED ITALIAN ARTIST WAS GAY
• LEONARDO, LADI' MAN: WHY N'T WE ACCEPT THAT DA VCI WAS GAY?
• LEONARDO DA VCI’S SECRET GAY LIFE
• WHAT WAS LEONARDO DA VCI’S SEXUALY AND WAS HE GAY?
• WAS LEONARDO DA VCI GAY?
• LEONARDO DA {LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:600;MARG-BOTTOM:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:0.875REM;LE-HEIGHT:1.2;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1.25REM;LE-HEIGHT:1.2;}} A{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:HER;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;} A:HOVER{LOR:#A00000;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}LEONARDO DA VCI WAS A RENAISSANCE ARTIST AND ENGEER, KNOWN FOR PATGS LIKE "THE LAST SUPPER" AND "MONA LISA,” AND FOR VENTNS LIKE A FLYG {MARG-BOTTOM:0.625REM;PADDG-RIGHT:0.3125REM;LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;} SPAN{LE-HEIGHT:1.6;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;}{FONT-STYLE:NORMAL;PADDG-RIGHT:0.3125REM;FONT-FAY:RALAS,GEIA,TIM,SERIF;LOR:#323232;FONT-SIZE:0.75REM;LE-HEIGHT:1.3;FONT-WEIGHT:BOLD;TEXT-TRANSFORM:PALIZE;}{DISPLAY:LE-BLOCK;TEXT-TRANSFORM:UPPERSE;MARG-LEFT:0.625REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}UPDATED: AUG 28, {DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;}{MARG-BOTTOM:0.9375REM;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 64REM){{MAX-WIDTH:LC(100VW - (1REM * 2));MARG-LEFT:1REM;MARG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(-1 * 1REM);}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MARG-LEFT:TO;MARG-RIGHT:TO;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC((100VW - (LC(20.625REM * 2 - 1REM) - 2 * 1REM)) / -2);}}@MEDIA(M-WIDTH: 61.25REM) AND (MAX-WIDTH: 90REM){{MAX-WIDTH:LC(20.625REM * 2 - 1REM);MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / 2);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / -2) - 1REM);}}@MEDIA(M-WIDTH: 90REM){{MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 2);MAX-WIDTH:LC(20.625REM * 2 - 1REM);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 + 1REM)) / -2) - LC(2 * 1REM));}[DATA-HAS-SPONSOR] {MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);MARG-RIGHT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);}}{JTIFY-SELF:CENTER;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 48REM){{MARG-LEFT:-50VW;MARG-RIGHT:-50VW;WIDTH:100VW;LEFT:50%;RIGHT:50%;}}{HEIGHT:TO;}@MEDIA(MAX-WIDTH: 48REM){{MARG:TO LC(50% - 50VW);}}@MEDIA(M-WIDTH: 48REM){{MARG:TO;}}{POSN:RELATIVE;HEIGHT:TO;}{POSN:RELATIVE;WIDTH:100%;HEIGHT:100%;OBJECT-F:VER;VERTIL-ALIGN:TOP;}{LE-HEIGHT:1;MARG-TOP:0.3125REM;}@MEDIA(MAX-WIDTH: 73.75REM){{PADDG-LEFT:0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0;}}{PADDG-RIGHT:0.3125REM;LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}PHOTO: GETTY {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;PADDG-LEFT:0REM;PADDG-RIGHT:0REM;POSN:RELATIVE;}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:3.5REM;PADDG-RIGHT:3.5REM;}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MAX-WIDTH:45.25REM;MARG-LEFT:TO;MARG-RIGHT:TO;}}@MEDIA(M-WIDTH: 61.25REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 73.75REM) AND (MAX-WIDTH: 100REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}{CLEAR:BOTH;NTENT:" ";DISPLAY:BLOCK;FONT-SIZE:0.7REM;LE-HEIGHT:1.5REM;HEIGHT:0REM;VISIBILY:HIDN;}{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;}(1452-1519){LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG-BOTTOM:0.625REM;MARG-TOP:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1.875REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}WHO WAS LEONARDO DA VCI?LEONARDO DA VCI WAS A RENAISSANCE PATER, SCULPTOR, ARCHECT, VENTOR, ARY ENGEER AND DRAFTSMAN — THE EPOME OF A TE RENAISSANCE MAN. GIFTED WH A CUR MD AND A BRILLIANT TELLECT, DA VCI STUDIED THE LAWS OF SCIENCE AND NATURE, WHICH GREATLY RMED HIS WORK. HIS DRAWGS, PATGS AND OTHER WORKS HAVE FLUENCED UNTLS ARTISTS AND ENGEERS OVER THE CENTURI. EARLY LIFEDA VCI WAS BORN A FARMHOE OUTSI THE VILLAGE OF ANCHIANO TNY, ITALY (ABOUT 18 WT OF FLORENCE) ON APRIL 15, 1452.BORN OUT OF WEDLOCK TO RPECTED FLORENTE NOTARY SER PIERO AND A YOUNG PEASANT WOMAN NAMED CATERA, DA VCI WAS RAISED BY HIS FATHER AND HIS STEPMOTHER. AT THE AGE OF FIVE, HE MOVED TO HIS FATHER’S TATE NEARBY VCI (THE TOWN OM WHICH HIS SURNAME RIV), WHERE HE LIVED WH HIS UNCLE AND GRANDPARENTS.EDUTNYOUNG DA VCI RECEIVED LTLE FORMAL TN BEYOND BASIC READG, WRG AND MATHEMATICS STCTN, BUT HIS ARTISTIC TALENTS WERE EVINT OM AN EARLY AGE.AROUND THE AGE OF 14, DA VCI BEGAN A LENGTHY APPRENTICHIP WH THE NOTED ARTIST ANDREA L VERROCCH FLORENCE. HE LEARNED A WI BREADTH OF TECHNIL SKILLS CLUDG METALWORKG, LEATHER ARTS, RPENTRY, DRAWG, PATG AND SCULPTG. HIS EARLIT KNOWN DATED WORK — A PEN-AND-K DRAWG OF A LANDSPE THE ARNO VALLEY — WAS SKETCHED 1473.EARLY WORKSAT THE AGE OF 20, DA VCI QUALIFIED FOR MEMBERSHIP AS A MASTER ARTIST FLORENCE’S GUILD OF SAT LE AND TABLISHED HIS OWN WORKSHOP. HOWEVER, HE NTUED TO LLABORATE WH L VERROCCH FOR AN ADDNAL FIVE YEARS.IT IS THOUGHT THAT L VERROCCH PLETED HIS “BAPTISM OF CHRIST” AROUND 1475 WH THE HELP OF HIS STUNT, WHO PATED PART OF THE BACKGROUND AND THE YOUNG ANGEL HOLDG THE ROBE OF J. ACRDG TO LIV OF THE MOST EXCELLENT PATERS, SCULPTORS AND ARCHECTS, WRTEN AROUND 1550 BY ARTIST GRG VASARI, L VERROCCH WAS SO HUMBLED BY THE SUPERR TALENT OF HIS PUPIL THAT HE NEVER PICKED UP A PATBSH AGA. (MOST SCHOLARS, HOWEVER, DISMISS VASARI’S ACUNT AS APOCRYPHAL.)IN 1478, AFTER LEAVG L VERROCCH’S STUD, DA VCI RECEIVED HIS FIRST PENNT MISSN FOR AN ALTARPIECE TO RI A CHAPEL SI FLORENCE’S PALAZZO VECCH. THREE YEARS LATER THE AUGTIAN MONKS OF FLORENCE’S SAN DONATO A SPETO TASKED HIM TO PAT “ADORATN OF THE MAGI.” THE YOUNG ARTIST, HOWEVER, WOULD LEAVE THE CY AND ABANDON BOTH MISSNS WHOUT EVER PLETG THEM.WAS LEONARDO DA VCI GAY?MANY HISTORIANS BELIEVE THAT DA VCI WAS A HOMOSEXUAL: FLORENTE URT RERDS OM 1476 SHOW THAT DA VCI AND FOUR OTHER YOUNG MEN WERE CHARGED WH SODOMY, A CRIME PUNISHABLE BY EXILE OR ATH. AFTER NO WNS SHOWED UP TO TTIFY AGAST 24-YEAR-OLD DA VCI, THE CHARG WERE DROPPED, BUT HIS WHEREABOUTS WENT ENTIRELY UNDOCUMENTED FOR THE FOLLOWG TWO YEARS.SEVERAL OTHER FAMO FLORENTE ARTISTS WERE ALSO KNOWN TO HAVE BEEN HOMOSEXUAL, CLUDG {-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:#A00000;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;}{LOR:#595959;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}MICHELANGELO, DONATELLO AND SANDRO BOTTICELLI. INED, HOMOSEXUALY WAS SUCH A FACT OF ARTISTIC LIFE RENAISSANCE FLORENCE THAT THE WORD "FLORENZER" BEME GERMAN SLANG FOR “GAY.”LEONARDO DA VCI: PATGSALTHOUGH DA VCI IS KNOWN FOR HIS ARTISTIC ABILI, FEWER THAN TWO DOZEN PATGS ATTRIBUTED TO HIM EXIST. ONE REASON IS THAT HIS TERTS WERE SO VARIED THAT HE WASN’T A PROLIFIC PATER. DA VCI’S MOST FAMO WORKS CLU THE “VVIAN MAN,” “THE LAST SUPPER” AND THE “MONA LISA.”VVIAN MANART AND SCIENCE TERSECTED PERFECTLY DA VCI’S SKETCH OF “VVIAN MAN,” DRAWN 1490, WHICH PICTED A NU MALE FIGURE TWO SUPERIMPOSED POSNS WH HIS ARMS AND LEGS APART SI BOTH A SQUARE AND A CIRCLE. THE NOW-FAMO SKETCH REPRENTS DA VCI'S STUDY OF PROPORTN AND SYMMETRY, AS WELL AS HIS SIRE TO RELATE MAN TO THE NATURAL WORLD.THE LAST SUPPER AROUND 1495, LUDOVI SFORZA, THEN THE DE OF MILAN, MISSNED DA VCI TO PAT “THE LAST SUPPER” ON THE BACK WALL OF THE DG HALL SI THE MONASTERY OF MILAN’S SANTA MARIA LLE GRAZIE. THE MASTERPIECE, WHICH TOOK APPROXIMATELY THREE YEARS TO PLETE, PTUR THE DRAMA OF THE MOMENT WHEN J RMS THE TWELVE APOSTL GATHERED FOR PASSOVER DNER THAT ONE OF THEM WOULD SOON BETRAY HIM. THE RANGE OF FACIAL EXPRSNS AND THE BODY LANGUAGE OF THE FIGUR AROUND THE TABLE BRG THE MASTERFUL POSN TO LIFE. THE CISN BY DA VCI TO PAT WH TEMPERA AND OIL ON DRIED PLASTER STEAD OF PATG A ON H PLASTER LED TO THE QUICK TERRATN AND FLAKG OF “THE LAST SUPPER.” ALTHOUGH AN IMPROPER RTORATN ED FURTHER DAMAGE TO THE MURAL, HAS NOW BEEN STABILIZED G MORN NSERVATN TECHNIQU. MONA LISAIN 1503, DA VCI STARTED WORKG ON WHAT WOULD BEE HIS MOST WELL-KNOWN PATG — AND ARGUABLY THE MOST FAMO PATG THE WORLD —THE “MONA LISA.” THE PRIVATELY MISSNED WORK IS CHARACTERIZED BY THE ENIGMATIC SE OF THE WOMAN THE HALF-PORTRA, WHICH RIV OM DA VCI’S SFUMATO TECHNIQUE.ADDG TO THE ALLURE OF THE “MONA LISA” IS THE MYSTERY SURROUNDG THE INTY OF THE SUBJECT. PRCS ISABELLA OF NAPL, AN UNNAMED URTAN AND DA VCI’S OWN MOTHER HAVE ALL BEEN PUT FORTH AS POTENTIAL STERS FOR THE MASTERPIECE. IT HAS EVEN BEEN SPECULATED THAT THE SUBJECT WASN’T A FEMALE AT ALL BUT DA VCI’S LONGTIME APPRENTICE SALAI DRSED WOMEN’S CLOTHG. BASED ON ACUNTS OM AN EARLY BGRAPHER, HOWEVER, THE "MONA LISA" IS A PICTURE OF LISA L GNDO, THE WIFE OF A WEALTHY FLORENTE SILK MERCHANT. THE PATG’S ORIGAL ITALIAN NAME — “LA GNDA” — SUPPORTS THE THEORY, BUT ’S FAR OM CERTA. SOME ART HISTORIANS BELIEVE THE MERCHANT MISSNED THE PORTRA TO CELEBRATE THE PENDG BIRTH OF THE UPLE’S NEXT CHILD, WHICH MEANS THE SUBJECT ULD HAVE BEEN PREGNANT AT THE TIME OF THE PATG.IF THE GNDO FAY DID ED MISSN THE PATG, THEY NEVER RECEIVED . FOR DA VCI, THE "MONA LISA" WAS FOREVER A WORK PROGRS, AS WAS HIS ATTEMPT AT PERFECTN, AND HE NEVER PARTED WH THE PATG. TODAY, THE "MONA LISA" HANGS THE LOUVRE MM PARIS, FRANCE, SECURED BEHD BULLETPROOF GLASS AND REGARD AS A PRICELS NATNAL TREASURE SEEN BY LNS OF VISORS EACH YEAR.BATTLE OF ANGHIARIIN 1503, DA VCI ALSO STARTED WORK ON THE "BATTLE OF ANGHIARI," A MURAL MISSNED FOR THE UNCIL HALL THE PALAZZO VECCH THAT WAS TO BE TWICE AS LARGE AS "THE LAST SUPPER."HE ABANDONED THE "BATTLE OF ANGHIARI" PROJECT AFTER TWO YEARS WHEN THE MURAL BEGAN TO TERRATE BEFORE HE HAD A CHANCE TO FISH .INVENTNSIN 1482, FLORENTE LER LORENZO ' MEDICI MISSNED DA VCI TO CREATE A SILVER LYRE AND BRG AS A PEACE GTURE TO LUDOVI SFORZA. AFTER DOG SO, DA VCI LOBBIED LUDOVI FOR A JOB AND SENT THE FUTURE DE OF MILAN A LETTER THAT BARELY MENTNED HIS NSIRABLE TALENTS AS AN ARTIST AND STEAD TOUTED HIS MORE MARKETABLE SKILLS AS A ARY ENGEER. USG HIS VENTIVE MD, DA VCI SKETCHED WAR MACH SUCH AS A WAR CHART WH SCYTHE BLAS MOUNTED ON THE SIS, AN ARMORED TANK PROPELLED BY TWO MEN CRANKG A SHAFT AND EVEN AN ENORMO CROSSBOW THAT REQUIRED A SMALL ARMY OF MEN TO OPERATE. THE LETTER WORKED, AND LUDOVI BROUGHT DA VCI TO MILAN FOR A TENURE THAT WOULD LAST 17 YEARS. DURG HIS TIME MILAN, DA VCI WAS MISSNED TO WORK ON NUMERO ARTISTIC PROJECTS AS WELL, CLUDG “THE LAST SUPPER.”DA VCI’S ABILY TO BE EMPLOYED BY THE SFORZA CLAN AS AN ARCHECTURE AND ARY ENGEERG ADVISOR AS WELL AS A PATER AND SCULPTOR SPOKE TO DA VCI’S KEEN TELLECT AND CURSY ABOUT A WI VARIETY OF SUBJECTS. FLYG MACHEALWAYS A MAN AHEAD OF HIS TIME, DA VCI APPEARED TO PROPHY THE FUTURE WH HIS SKETCH OF VIC THAT REMBLE A MORN-DAY BICYCLE AND A TYPE OF HELIPTER. PERHAPS HIS MOST WELL-KNOWN VENTN IS A FLYG MACHE, WHICH IS BASED ON THE PHYSLOGY OF A BAT. THE AND OTHER EXPLORATNS TO THE MECHANICS OF FLIGHT ARE FOUND DA VCI'S COX ON THE FLIGHT OF BIRDS, A STUDY OF AVIAN AERONTICS, WHICH HE BEGAN 1505.LIKE MANY LEARS OF RENAISSANCE HUMANISM, DA VCI DID NOT SEE A DIVI BETWEEN SCIENCE AND ART. HE VIEWED THE TWO AS TERTWED DISCIPL RATHER THAN SEPARATE ON. HE BELIEVED STUDYG SCIENCE MA HIM A BETTER ARTIST. IN 1502 AND 1503, DA VCI ALSO BRIEFLY WORKED FLORENCE AS A ARY ENGEER FOR CARE BIA, THE ILLEGIMATE SON OF POPE ALEXANR VI AND MANR OF THE PAPAL ARMY. HE TRAVELED OUTSI OF FLORENCE TO SURVEY ARY NSTCTN PROJECTS AND SKETCH CY PLANS AND TOPOGRAPHIL MAPS. HE SIGNED PLANS, POSSIBLY WH NOTED DIPLOMAT NICLò MACHIAVELLI, TO DIVERT THE ARNO RIVER AWAY OM RIVAL PISA ORR TO NY S WARTIME ENEMY ACCS TO THE {BORR-LEFT:MEDIUM SOLID BLACK;BORR-LEFT-LOR:#A00000;LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG:0.625REM 0 0;PADDG-LEFT:1.25REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}DOWNLOAD BIOGRAPHY'S LEONARDO DA VINCI FACT {--DATA-EMBED-DISPLAY:FLEX;-WEBK-ALIGN-EMS:CENTER;-WEBK-BOX-ALIGN:CENTER;-MS-FLEX-ALIGN:CENTER;ALIGN-EMS:CENTER;CLEAR:BOTH;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;MARG-BOTTOM:0.9375REM;MARG-LEFT:TO;MARG-RIGHT:TO;WIDTH:100%;}@MEDIA(M-WIDTH: 20REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 30REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 40.625REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 48REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 73.75REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 75REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 90REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}} A SPAN{RIGHT:1REM;} IMG{WIDTH:TO;HEIGHT:85VH;} A{DISPLAY:-WEBK-LE-BOX;DISPLAY:-WEBK-LE-FLEX;DISPLAY:-MS-LE-FLEXBOX;DISPLAY:LE-FLEX;POSN:VAR(--POSN, RELATIVE);} IMG:NOT(.EWCW41W1){DISPLAY:BLOCK;WIDTH:100%;HEIGHT:TO;-WEBK-ALIGN-SELF:FLEX-START;-MS-FLEX-EM-ALIGN:FLEX-START;ALIGN-SELF:FLEX-START;}{WIDTH:100%;DISPLAY:-WEBK-LE-BOX;DISPLAY:-WEBK-LE-FLEX;DISPLAY:-MS-LE-FLEXBOX;DISPLAY:LE-FLEX;-WEBK-FLEX-DIRECTN:LUMN;-MS-FLEX-DIRECTN:LUMN;FLEX-DIRECTN:LUMN;MARG-LEFT:TO;MARG-RIGHT:TO;-WEBK-BOX-PACK:CENTER;-MS-FLEX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;JTIFY-NTENT:CENTER;}@MEDIA(M-WIDTH: 20REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 30REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 40.625REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 73.75REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 75REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;}}DA VCI’S STUDY OF ANATOMY AND SCIENCEDA VCI THOUGHT SIGHT WAS HUMANKD’S MOST IMPORTANT SENSE AND EY THE MOST IMPORTANT AN, AND HE STRSED THE IMPORTANCE OF SAPER VERE, OR “KNOWG HOW TO SEE.” HE BELIEVED THE ACCUMULATN OF DIRECT KNOWLEDGE AND FACTS THROUGH OBSERVATN.“A GOOD PATER HAS TWO CHIEF OBJECTS TO PAT — MAN AND THE TENTN OF HIS SOUL,” DA VCI WROTE. “THE FORMER IS EASY, THE LATTER HARD, FOR MT BE EXPRSED BY GTUR AND THE MOVEMENT OF THE LIMBS.” TO MORE ACCURATELY PICT THOSE GTUR AND MOVEMENTS, DA VCI BEGAN TO STUDY ANATOMY SERLY AND DISSECT HUMAN AND ANIMAL BODI DURG THE 1480S. HIS DRAWGS OF A FET UTERO, THE HEART AND VASCULAR SYSTEM, SEX ANS AND OTHER BONE AND MCULAR STCTUR ARE SOME OF THE FIRST ON HUMAN RERD.IN ADDN TO HIS ANATOMIL VTIGATNS, DA VCI STUDIED BOTANY, GEOLOGY, ZOOLOGY, HYDRLICS, AERONTICS AND PHYSICS. HE SKETCHED HIS OBSERVATNS ON LOOSE SHEETS OF PAPERS AND PADS THAT HE TUCKED SI HIS BELT. DA VCI PLACED THE PAPERS NOTEBOOKS AND ARRANGED THEM AROUND FOUR BROAD THEM—PATG, ARCHECTURE, MECHANICS AND HUMAN ANATOMY. HE FILLED DOZENS OF NOTEBOOKS WH FELY DRAWN ILLTRATNS AND SCIENTIFIC OBSERVATNS.SCULPTURLUDOVI SFORZA ALSO TASKED DA VCI WH SCULPTG A 16-FOOT-TALL BRONZE EQUTRIAN STATUE OF HIS FATHER AND FOUNR OF THE FAY DYNASTY, FRANC SFORZA. WH THE HELP OF APPRENTIC AND STUNTS HIS WORKSHOP, DA VCI WORKED ON THE PROJECT ON AND OFF FOR MORE THAN A DOZEN YEARS. DA VCI SCULPTED A LIFE-SIZE CLAY MOL OF THE STATUE, BUT THE PROJECT WAS PUT ON HOLD WHEN WAR WH FRANCE REQUIRED BRONZE TO BE ED FOR STG NNONS, NOT SCULPTUR. AFTER FRENCH FORC OVERRAN MILAN 1499 — AND SHOT THE CLAY MOL TO PIEC — DA VCI FLED THE CY ALONG WH THE DE AND THE SFORZA FAY. IRONILLY, GIAN GIAO TRIVULZ, WHO LED THE FRENCH FORC THAT NQUERED LUDOVI 1499, FOLLOWED HIS FOE’S FOOTSTEPS AND MISSNED DA VCI TO SCULPT A GRAND EQUTRIAN STATUE, ONE THAT ULD BE MOUNTED ON HIS TOMB. AFTER YEARS OF WORK AND NUMERO SKETCH BY DA VCI, TRIVULZ CID TO SLE BACK THE SIZE OF THE STATUE, WHICH WAS ULTIMATELY NEVER FISHED.FAL YEARSDA VCI RETURNED TO MILAN 1506 TO WORK FOR THE VERY FRENCH LERS WHO HAD OVERTAKEN THE CY SEVEN YEARS EARLIER AND FORCED HIM TO FLEE. AMONG THE STUNTS WHO JOED HIS STUD WAS YOUNG MILANE ARISTOCRAT FRANC MELZI, WHO WOULD BEE DA VCI’S CLOST PANN FOR THE RT OF HIS LIFE. HE DID LTLE PATG DURG HIS SEND STT MILAN, HOWEVER, AND MOST OF HIS TIME WAS STEAD DITED TO SCIENTIFIC STUDI. AMID POLIL STRIFE AND THE TEMPORARY EXPULSN OF THE FRENCH OM MILAN, DA VCI LEFT THE CY AND MOVED TO ROME 1513 ALONG WH SALAI, MELZI AND TWO STUD ASSISTANTS. GIULIANO ’ MEDICI, BROTHER OF NEWLY STALLED POPE LEO X AND SON OF HIS FORMER PATRON, GAVE DA VCI A MONTHLY STIPEND ALONG WH A SUE OF ROOMS AT HIS RINCE SI THE VATIN. HIS NEW PATRON, HOWEVER, ALSO GAVE DA VCI LTLE WORK. LACKG LARGE MISSNS, HE VOTED MOST OF HIS TIME ROME TO MATHEMATIL STUDI AND SCIENTIFIC EXPLORATN. AFTER BEG PRENT AT A 1515 MEETG BETWEEN FRANCE’S KG FRANCIS I AND POPE LEO X BOLOGNA, THE NEW FRENCH MONARCH OFFERED DA VCI THE TLE “PREMIER PATER AND ENGEER AND ARCHECT TO THE KG.” ALONG WH MELZI, DA VCI PARTED FOR FRANCE, NEVER TO RETURN. HE LIVED THE CHATE CLOUX (NOW CLOS LUCE) NEAR THE KG’S SUMMER PALACE ALONG THE LOIRE RIVER AMBOISE. AS ROME, DA VCI DID LTLE PATG DURG HIS TIME FRANCE. ONE OF HIS LAST MISSNED WORKS WAS A MECHANIL LN THAT ULD WALK AND OPEN S CHT TO REVEAL A BOUQUET OF LILI. HOW DID LEONARDO DA VCI DIE?DA VCI DIED OF A PROBABLE STROKE ON MAY 2, 1519, AT THE AGE OF 67. HE NTUED WORK ON HIS SCIENTIFIC STUDI UNTIL HIS ATH; HIS ASSISTANT, MELZI, BEME THE PRCIPAL HEIR AND EXECUTOR OF HIS TATE. THE “MONA LISA” WAS BEQUEATHED TO SALAI. FOR CENTURI AFTER HIS ATH, THOANDS OF PAG OM HIS PRIVATE JOURNALS WH NOT, DRAWGS, OBSERVATNS AND SCIENTIFIC THEORI HAVE SURFACED AND PROVID A FULLER MEASURE OF THE TE "RENAISSANCE MAN."BOOK AND MOVIEALTHOUGH MUCH HAS BEEN WRTEN ABOUT DA VCI OVER THE YEARS, WALTER ISAACSON EXPLORED NEW TERRORY WH AN ACCLAIMED 2017 BGRAPHY, LEONARDO DA VCI, WHICH OFFERS UP TAILS ON WHAT DROVE THE ARTIST'S CREATNS AND VENTNS. THE BUZZ SURROUNDG THE BOOK RRIED TO 2018, WH THE ANNOUNCEMENT THAT HAD BEEN OPTNED FOR A BIG-SCREEN ADAPTATN STARRG LEONARDO DICAPR.SALVATOR MUNDIIN 2017, THE ART WORLD WAS SENT BUZZG WH THE NEWS THAT THE DA VCI PATG "SALVATOR MUNDI" HAD BEEN SOLD AT A CHRISTIE'S CTN TO AN UNDISCLOSED BUYER FOR A WHOPPG $450.3 LN. THAT AMOUNT DWARFED THE PREV RERD FOR AN ART WORK SOLD AT AN CTN, THE $179.4 LN PAID FOR “WOMEN OF ALGIERS" BY PABLO PISSO 2015.THE SAL FIGURE WAS STUNNG PART BEE OF THE DAMAGED NDN OF THE OIL-ON-PANEL, WHICH FEATUR J CHRIST WH HIS RIGHT HAND RAISED BLSG AND HIS LEFT HOLDG A CRYSTAL ORB, AND BEE NOT ALL EXPERTS BELIEVE WAS RENRED BY DA VCI. HOWEVER, CHRISTIE'S HAD LNCHED WHAT ONE ALER LLED A "BRILLIANT MARKETG MPAIGN," WHICH PROMOTED THE WORK AS "THE HOLY GRAIL OF OUR BS" AND "THE LAST DA VCI." PRR TO THE SALE, WAS THE ONLY KNOWN PATG BY THE OLD MASTER STILL A PRIVATE LLECTN.THE SDI EMBASSY STATED THAT PRCE BAR B ABDULLAH B MOHAMMED B FARHAN AL-SD OF SDI ARABIA HAD ACTED AS AN AGENT FOR THE MISTRY OF CULTURE OF ABU DHABI, THE UNED ARAB EMIRAT. AROUND THAT TIME, THE NEWLY-OPENED LOUVRE ABU DHABI ANNOUNCED THAT THE RERD-BREAKG ARTWORK WOULD BE EXHIBED S LLECTN.MICHELANGELO"],["DONATELLO"],["VCENT VAN GOGH"]]" TML-RENR-LAYOUT="LE"> {BORR:0;BORR-BOTTOM:TH SOLID BLACK;MARG:1.875REM 0;CLEAR:BOTH;}QUICK FACTS

LEONARDO DA VCI’S SEXUALY: WHY HISTORIANS BELIEVE THE FAMED ITALIAN ARTIST WAS GAY

In Leonardo, the character is shown to be gay – somethg that chim wh the current amic subject of da Vci’s sexualy has been discsed for s, wh historians, artists and even Sigmund Frd weighg wh theori about his sex life. A ntroversial say by Frd 1910, entled “Leonardo da Vci and A Memory of His Childhood, ” psychoanalys the artist, posg that he was gay, but celibate.

LEONARDO, LADI' MAN: WHY N'T WE ACCEPT THAT DA VCI WAS GAY?

A portra of da Vci, cir 1500 (Getty Imag)The Guardian’s art cric Jonathan Jon wrote that da Vci was “almost certaly gay”, but highlighted his life-long creative fatuatns wh women. Plan to-renews until ncelledTry for eeThe recent bgraphy of da Vci by Walter Isaacson also agreed that the artist was likely gay. (Photo by Leemage/Corbis via Getty Imag)Was Leonardo da Vci gay?

Age-gaps were not exclive to same-sex relatnships: girls might also be married very drama 'Leonardo' on Amazon Prime, starrg Aidan Turner, picts Leonardo as a gay man.

The rerds of the Office of the Night, brilliantly analysed by historian Michael Rocke, reveal that Leonardo’s day “the majory of lol mal at least once their lifetim were officially crimated for engagg homosexual relatns” for Leonardo, he lived wh his entourage of good-lookg assistants and pupils, drsed them and himself luxur cloth cludg pk and purple tights, and drew stupendoly sensual male most queer b of patg Bra … Leonardo’s Virg of the Rocks, at the Natnal Gallery. It’s as if Leonardo’s homosexualy is patible wh the universaly of his art.

LEONARDO DA VCI’S SECRET GAY LIFE

”But there is no nyg the fact eher that he was a —vegetarianleft-hanccentric (he ged birds jt to make them ee)non-nformistgayDa Vci’s relatnship wh men and his sexualy have been dissected and prented to time and me brg my take on Vci’s portras of womenUnlike Michelangelo’s women who were manly, Da Vci ma only four portras of women his wh an Erme (1489) is one of those portras that exus sire. Was Leonardo da Vci gay?

'"Huiated to celibacyAbbott scrib da Vci as homosexual — a term that would not have been unrstood Renaissance Italy, where male love was accepted and celebrated.

WHAT WAS LEONARDO DA VCI’S SEXUALY AND WAS HE GAY?

"I thk 's fascatg to realize that the ncept of homosexualy as we know didn't even exist then. Was Leonardo Da Vci gay?

Leonardo da Vci was gay. Leonardo’s possible homosexualy is one of the more prevalent – and more plsible – myths circulatg about the artist and has the backg of none other than Sigmund Frd. Sorpren el rácter pasivo a fantasía; se asemeja a ciertos sueños y fantasías mujer u homosexual pasivos (que ocupan el papel femeno en la relación sexual)”, cribió.

Si ya se había peculado n las clacn homosexual l artista, para el creador la teoría l psinanálisis taba más que claro: Da Vci fue un homosexual que, amás, reprimió su sexualidad durante toda su vida. ¿Y cómo n todo te batiburrillo expli la homosexualidad l artista? Para Frd, al vivir solo n su madre, en sencia padre, “n el posterr scubrimiento que la mujer no tiene pene, te anhelo se transforma a menudo en su ntrar y da lugar a una aversión que en los años la pubertad pue nvertirse en la a la impotencia físi, la misogia y la homosexualidad permanente” (…) “transformó el mamar l pecho materno en el hecho ser amamantado, cir, en pasividad, y por tanto en una suación dudable rácter homosexual”.

WAS LEONARDO DA VCI GAY?

Es cir, que la posible homosexualidad l hijo taba marda por el riño la madre. Todo ello para asentar su teoría la homosexualidad, que ni siquiera taba satisfecha, ya que fue un hombre más cerno a la pleta falta sexo: “S afectos taban domados y sometidos a la pulsión vtigadora; no amaba ni odiaba, so que se preguntaba dón provenía aquello que bía amar u odiar, qué signifiba, y por o en un primer momento bía parecer diferente al bien y el mal, a la belleza y la fealdad. Es la teoría l stria, nque no taban ya Da Vci, que quizá sí pudo ser homosexual, ni sobre todo su madre, para rebatirle.

LEONARDO DA {LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:600;MARG-BOTTOM:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:0.875REM;LE-HEIGHT:1.2;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1.25REM;LE-HEIGHT:1.2;}} A{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:HER;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;} A:HOVER{LOR:#A00000;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}LEONARDO DA VCI WAS A RENAISSANCE ARTIST AND ENGEER, KNOWN FOR PATGS LIKE "THE LAST SUPPER" AND "MONA LISA,” AND FOR VENTNS LIKE A FLYG {MARG-BOTTOM:0.625REM;PADDG-RIGHT:0.3125REM;LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;} SPAN{LE-HEIGHT:1.6;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;}{FONT-STYLE:NORMAL;PADDG-RIGHT:0.3125REM;FONT-FAY:RALAS,GEIA,TIM,SERIF;LOR:#323232;FONT-SIZE:0.75REM;LE-HEIGHT:1.3;FONT-WEIGHT:BOLD;TEXT-TRANSFORM:PALIZE;}{DISPLAY:LE-BLOCK;TEXT-TRANSFORM:UPPERSE;MARG-LEFT:0.625REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}UPDATED: AUG 28, {DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;}{MARG-BOTTOM:0.9375REM;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 64REM){{MAX-WIDTH:LC(100VW - (1REM * 2));MARG-LEFT:1REM;MARG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(-1 * 1REM);}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MARG-LEFT:TO;MARG-RIGHT:TO;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC((100VW - (LC(20.625REM * 2 - 1REM) - 2 * 1REM)) / -2);}}@MEDIA(M-WIDTH: 61.25REM) AND (MAX-WIDTH: 90REM){{MAX-WIDTH:LC(20.625REM * 2 - 1REM);MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / 2);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / -2) - 1REM);}}@MEDIA(M-WIDTH: 90REM){{MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 2);MAX-WIDTH:LC(20.625REM * 2 - 1REM);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 + 1REM)) / -2) - LC(2 * 1REM));}[DATA-HAS-SPONSOR] {MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);MARG-RIGHT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);}}{JTIFY-SELF:CENTER;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 48REM){{MARG-LEFT:-50VW;MARG-RIGHT:-50VW;WIDTH:100VW;LEFT:50%;RIGHT:50%;}}{HEIGHT:TO;}@MEDIA(MAX-WIDTH: 48REM){{MARG:TO LC(50% - 50VW);}}@MEDIA(M-WIDTH: 48REM){{MARG:TO;}}{POSN:RELATIVE;HEIGHT:TO;}{POSN:RELATIVE;WIDTH:100%;HEIGHT:100%;OBJECT-F:VER;VERTIL-ALIGN:TOP;}{LE-HEIGHT:1;MARG-TOP:0.3125REM;}@MEDIA(MAX-WIDTH: 73.75REM){{PADDG-LEFT:0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0;}}{PADDG-RIGHT:0.3125REM;LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}PHOTO: GETTY {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;PADDG-LEFT:0REM;PADDG-RIGHT:0REM;POSN:RELATIVE;}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:3.5REM;PADDG-RIGHT:3.5REM;}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MAX-WIDTH:45.25REM;MARG-LEFT:TO;MARG-RIGHT:TO;}}@MEDIA(M-WIDTH: 61.25REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 73.75REM) AND (MAX-WIDTH: 100REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}{CLEAR:BOTH;NTENT:" ";DISPLAY:BLOCK;FONT-SIZE:0.7REM;LE-HEIGHT:1.5REM;HEIGHT:0REM;VISIBILY:HIDN;}{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;}(1452-1519){LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG-BOTTOM:0.625REM;MARG-TOP:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1.875REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}WHO WAS LEONARDO DA VCI?LEONARDO DA VCI WAS A RENAISSANCE PATER, SCULPTOR, ARCHECT, VENTOR, ARY ENGEER AND DRAFTSMAN — THE EPOME OF A TE RENAISSANCE MAN. GIFTED WH A CUR MD AND A BRILLIANT TELLECT, DA VCI STUDIED THE LAWS OF SCIENCE AND NATURE, WHICH GREATLY RMED HIS WORK. HIS DRAWGS, PATGS AND OTHER WORKS HAVE FLUENCED UNTLS ARTISTS AND ENGEERS OVER THE CENTURI. EARLY LIFEDA VCI WAS BORN A FARMHOE OUTSI THE VILLAGE OF ANCHIANO TNY, ITALY (ABOUT 18 WT OF FLORENCE) ON APRIL 15, 1452.BORN OUT OF WEDLOCK TO RPECTED FLORENTE NOTARY SER PIERO AND A YOUNG PEASANT WOMAN NAMED CATERA, DA VCI WAS RAISED BY HIS FATHER AND HIS STEPMOTHER. AT THE AGE OF FIVE, HE MOVED TO HIS FATHER’S TATE NEARBY VCI (THE TOWN OM WHICH HIS SURNAME RIV), WHERE HE LIVED WH HIS UNCLE AND GRANDPARENTS.EDUTNYOUNG DA VCI RECEIVED LTLE FORMAL TN BEYOND BASIC READG, WRG AND MATHEMATICS STCTN, BUT HIS ARTISTIC TALENTS WERE EVINT OM AN EARLY AGE.AROUND THE AGE OF 14, DA VCI BEGAN A LENGTHY APPRENTICHIP WH THE NOTED ARTIST ANDREA L VERROCCH FLORENCE. HE LEARNED A WI BREADTH OF TECHNIL SKILLS CLUDG METALWORKG, LEATHER ARTS, RPENTRY, DRAWG, PATG AND SCULPTG. HIS EARLIT KNOWN DATED WORK — A PEN-AND-K DRAWG OF A LANDSPE THE ARNO VALLEY — WAS SKETCHED 1473.EARLY WORKSAT THE AGE OF 20, DA VCI QUALIFIED FOR MEMBERSHIP AS A MASTER ARTIST FLORENCE’S GUILD OF SAT LE AND TABLISHED HIS OWN WORKSHOP. HOWEVER, HE NTUED TO LLABORATE WH L VERROCCH FOR AN ADDNAL FIVE YEARS.IT IS THOUGHT THAT L VERROCCH PLETED HIS “BAPTISM OF CHRIST” AROUND 1475 WH THE HELP OF HIS STUNT, WHO PATED PART OF THE BACKGROUND AND THE YOUNG ANGEL HOLDG THE ROBE OF J. ACRDG TO LIV OF THE MOST EXCELLENT PATERS, SCULPTORS AND ARCHECTS, WRTEN AROUND 1550 BY ARTIST GRG VASARI, L VERROCCH WAS SO HUMBLED BY THE SUPERR TALENT OF HIS PUPIL THAT HE NEVER PICKED UP A PATBSH AGA. (MOST SCHOLARS, HOWEVER, DISMISS VASARI’S ACUNT AS APOCRYPHAL.)IN 1478, AFTER LEAVG L VERROCCH’S STUD, DA VCI RECEIVED HIS FIRST PENNT MISSN FOR AN ALTARPIECE TO RI A CHAPEL SI FLORENCE’S PALAZZO VECCH. THREE YEARS LATER THE AUGTIAN MONKS OF FLORENCE’S SAN DONATO A SPETO TASKED HIM TO PAT “ADORATN OF THE MAGI.” THE YOUNG ARTIST, HOWEVER, WOULD LEAVE THE CY AND ABANDON BOTH MISSNS WHOUT EVER PLETG THEM.WAS LEONARDO DA VCI GAY?MANY HISTORIANS BELIEVE THAT DA VCI WAS A HOMOSEXUAL: FLORENTE URT RERDS OM 1476 SHOW THAT DA VCI AND FOUR OTHER YOUNG MEN WERE CHARGED WH SODOMY, A CRIME PUNISHABLE BY EXILE OR ATH. AFTER NO WNS SHOWED UP TO TTIFY AGAST 24-YEAR-OLD DA VCI, THE CHARG WERE DROPPED, BUT HIS WHEREABOUTS WENT ENTIRELY UNDOCUMENTED FOR THE FOLLOWG TWO YEARS.SEVERAL OTHER FAMO FLORENTE ARTISTS WERE ALSO KNOWN TO HAVE BEEN HOMOSEXUAL, CLUDG {-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:#A00000;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;}{LOR:#595959;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}MICHELANGELO, DONATELLO AND SANDRO BOTTICELLI. INED, HOMOSEXUALY WAS SUCH A FACT OF ARTISTIC LIFE RENAISSANCE FLORENCE THAT THE WORD "FLORENZER" BEME GERMAN SLANG FOR “GAY.”LEONARDO DA VCI: PATGSALTHOUGH DA VCI IS KNOWN FOR HIS ARTISTIC ABILI, FEWER THAN TWO DOZEN PATGS ATTRIBUTED TO HIM EXIST. ONE REASON IS THAT HIS TERTS WERE SO VARIED THAT HE WASN’T A PROLIFIC PATER. DA VCI’S MOST FAMO WORKS CLU THE “VVIAN MAN,” “THE LAST SUPPER” AND THE “MONA LISA.”VVIAN MANART AND SCIENCE TERSECTED PERFECTLY DA VCI’S SKETCH OF “VVIAN MAN,” DRAWN 1490, WHICH PICTED A NU MALE FIGURE TWO SUPERIMPOSED POSNS WH HIS ARMS AND LEGS APART SI BOTH A SQUARE AND A CIRCLE. THE NOW-FAMO SKETCH REPRENTS DA VCI'S STUDY OF PROPORTN AND SYMMETRY, AS WELL AS HIS SIRE TO RELATE MAN TO THE NATURAL WORLD.THE LAST SUPPER AROUND 1495, LUDOVI SFORZA, THEN THE DE OF MILAN, MISSNED DA VCI TO PAT “THE LAST SUPPER” ON THE BACK WALL OF THE DG HALL SI THE MONASTERY OF MILAN’S SANTA MARIA LLE GRAZIE. THE MASTERPIECE, WHICH TOOK APPROXIMATELY THREE YEARS TO PLETE, PTUR THE DRAMA OF THE MOMENT WHEN J RMS THE TWELVE APOSTL GATHERED FOR PASSOVER DNER THAT ONE OF THEM WOULD SOON BETRAY HIM. THE RANGE OF FACIAL EXPRSNS AND THE BODY LANGUAGE OF THE FIGUR AROUND THE TABLE BRG THE MASTERFUL POSN TO LIFE. THE CISN BY DA VCI TO PAT WH TEMPERA AND OIL ON DRIED PLASTER STEAD OF PATG A ON H PLASTER LED TO THE QUICK TERRATN AND FLAKG OF “THE LAST SUPPER.” ALTHOUGH AN IMPROPER RTORATN ED FURTHER DAMAGE TO THE MURAL, HAS NOW BEEN STABILIZED G MORN NSERVATN TECHNIQU. MONA LISAIN 1503, DA VCI STARTED WORKG ON WHAT WOULD BEE HIS MOST WELL-KNOWN PATG — AND ARGUABLY THE MOST FAMO PATG THE WORLD —THE “MONA LISA.” THE PRIVATELY MISSNED WORK IS CHARACTERIZED BY THE ENIGMATIC SE OF THE WOMAN THE HALF-PORTRA, WHICH RIV OM DA VCI’S SFUMATO TECHNIQUE.ADDG TO THE ALLURE OF THE “MONA LISA” IS THE MYSTERY SURROUNDG THE INTY OF THE SUBJECT. PRCS ISABELLA OF NAPL, AN UNNAMED URTAN AND DA VCI’S OWN MOTHER HAVE ALL BEEN PUT FORTH AS POTENTIAL STERS FOR THE MASTERPIECE. IT HAS EVEN BEEN SPECULATED THAT THE SUBJECT WASN’T A FEMALE AT ALL BUT DA VCI’S LONGTIME APPRENTICE SALAI DRSED WOMEN’S CLOTHG. BASED ON ACUNTS OM AN EARLY BGRAPHER, HOWEVER, THE "MONA LISA" IS A PICTURE OF LISA L GNDO, THE WIFE OF A WEALTHY FLORENTE SILK MERCHANT. THE PATG’S ORIGAL ITALIAN NAME — “LA GNDA” — SUPPORTS THE THEORY, BUT ’S FAR OM CERTA. SOME ART HISTORIANS BELIEVE THE MERCHANT MISSNED THE PORTRA TO CELEBRATE THE PENDG BIRTH OF THE UPLE’S NEXT CHILD, WHICH MEANS THE SUBJECT ULD HAVE BEEN PREGNANT AT THE TIME OF THE PATG.IF THE GNDO FAY DID ED MISSN THE PATG, THEY NEVER RECEIVED . FOR DA VCI, THE "MONA LISA" WAS FOREVER A WORK PROGRS, AS WAS HIS ATTEMPT AT PERFECTN, AND HE NEVER PARTED WH THE PATG. TODAY, THE "MONA LISA" HANGS THE LOUVRE MM PARIS, FRANCE, SECURED BEHD BULLETPROOF GLASS AND REGARD AS A PRICELS NATNAL TREASURE SEEN BY LNS OF VISORS EACH YEAR.BATTLE OF ANGHIARIIN 1503, DA VCI ALSO STARTED WORK ON THE "BATTLE OF ANGHIARI," A MURAL MISSNED FOR THE UNCIL HALL THE PALAZZO VECCH THAT WAS TO BE TWICE AS LARGE AS "THE LAST SUPPER."HE ABANDONED THE "BATTLE OF ANGHIARI" PROJECT AFTER TWO YEARS WHEN THE MURAL BEGAN TO TERRATE BEFORE HE HAD A CHANCE TO FISH .INVENTNSIN 1482, FLORENTE LER LORENZO ' MEDICI MISSNED DA VCI TO CREATE A SILVER LYRE AND BRG AS A PEACE GTURE TO LUDOVI SFORZA. AFTER DOG SO, DA VCI LOBBIED LUDOVI FOR A JOB AND SENT THE FUTURE DE OF MILAN A LETTER THAT BARELY MENTNED HIS NSIRABLE TALENTS AS AN ARTIST AND STEAD TOUTED HIS MORE MARKETABLE SKILLS AS A ARY ENGEER. USG HIS VENTIVE MD, DA VCI SKETCHED WAR MACH SUCH AS A WAR CHART WH SCYTHE BLAS MOUNTED ON THE SIS, AN ARMORED TANK PROPELLED BY TWO MEN CRANKG A SHAFT AND EVEN AN ENORMO CROSSBOW THAT REQUIRED A SMALL ARMY OF MEN TO OPERATE. THE LETTER WORKED, AND LUDOVI BROUGHT DA VCI TO MILAN FOR A TENURE THAT WOULD LAST 17 YEARS. DURG HIS TIME MILAN, DA VCI WAS MISSNED TO WORK ON NUMERO ARTISTIC PROJECTS AS WELL, CLUDG “THE LAST SUPPER.”DA VCI’S ABILY TO BE EMPLOYED BY THE SFORZA CLAN AS AN ARCHECTURE AND ARY ENGEERG ADVISOR AS WELL AS A PATER AND SCULPTOR SPOKE TO DA VCI’S KEEN TELLECT AND CURSY ABOUT A WI VARIETY OF SUBJECTS. FLYG MACHEALWAYS A MAN AHEAD OF HIS TIME, DA VCI APPEARED TO PROPHY THE FUTURE WH HIS SKETCH OF VIC THAT REMBLE A MORN-DAY BICYCLE AND A TYPE OF HELIPTER. PERHAPS HIS MOST WELL-KNOWN VENTN IS A FLYG MACHE, WHICH IS BASED ON THE PHYSLOGY OF A BAT. THE AND OTHER EXPLORATNS TO THE MECHANICS OF FLIGHT ARE FOUND DA VCI'S COX ON THE FLIGHT OF BIRDS, A STUDY OF AVIAN AERONTICS, WHICH HE BEGAN 1505.LIKE MANY LEARS OF RENAISSANCE HUMANISM, DA VCI DID NOT SEE A DIVI BETWEEN SCIENCE AND ART. HE VIEWED THE TWO AS TERTWED DISCIPL RATHER THAN SEPARATE ON. HE BELIEVED STUDYG SCIENCE MA HIM A BETTER ARTIST. IN 1502 AND 1503, DA VCI ALSO BRIEFLY WORKED FLORENCE AS A ARY ENGEER FOR CARE BIA, THE ILLEGIMATE SON OF POPE ALEXANR VI AND MANR OF THE PAPAL ARMY. HE TRAVELED OUTSI OF FLORENCE TO SURVEY ARY NSTCTN PROJECTS AND SKETCH CY PLANS AND TOPOGRAPHIL MAPS. HE SIGNED PLANS, POSSIBLY WH NOTED DIPLOMAT NICLò MACHIAVELLI, TO DIVERT THE ARNO RIVER AWAY OM RIVAL PISA ORR TO NY S WARTIME ENEMY ACCS TO THE {BORR-LEFT:MEDIUM SOLID BLACK;BORR-LEFT-LOR:#A00000;LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG:0.625REM 0 0;PADDG-LEFT:1.25REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}DOWNLOAD BIOGRAPHY'S LEONARDO DA VINCI FACT {--DATA-EMBED-DISPLAY:FLEX;-WEBK-ALIGN-EMS:CENTER;-WEBK-BOX-ALIGN:CENTER;-MS-FLEX-ALIGN:CENTER;ALIGN-EMS:CENTER;CLEAR:BOTH;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;MARG-BOTTOM:0.9375REM;MARG-LEFT:TO;MARG-RIGHT:TO;WIDTH:100%;}@MEDIA(M-WIDTH: 20REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 30REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 40.625REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 48REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 73.75REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 75REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 90REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}} A SPAN{RIGHT:1REM;} IMG{WIDTH:TO;HEIGHT:85VH;} A{DISPLAY:-WEBK-LE-BOX;DISPLAY:-WEBK-LE-FLEX;DISPLAY:-MS-LE-FLEXBOX;DISPLAY:LE-FLEX;POSN:VAR(--POSN, RELATIVE);} IMG:NOT(.EWCW41W1){DISPLAY:BLOCK;WIDTH:100%;HEIGHT:TO;-WEBK-ALIGN-SELF:FLEX-START;-MS-FLEX-EM-ALIGN:FLEX-START;ALIGN-SELF:FLEX-START;}{WIDTH:100%;DISPLAY:-WEBK-LE-BOX;DISPLAY:-WEBK-LE-FLEX;DISPLAY:-MS-LE-FLEXBOX;DISPLAY:LE-FLEX;-WEBK-FLEX-DIRECTN:LUMN;-MS-FLEX-DIRECTN:LUMN;FLEX-DIRECTN:LUMN;MARG-LEFT:TO;MARG-RIGHT:TO;-WEBK-BOX-PACK:CENTER;-MS-FLEX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;JTIFY-NTENT:CENTER;}@MEDIA(M-WIDTH: 20REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 30REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 40.625REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 73.75REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 75REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;}}DA VCI’S STUDY OF ANATOMY AND SCIENCEDA VCI THOUGHT SIGHT WAS HUMANKD’S MOST IMPORTANT SENSE AND EY THE MOST IMPORTANT AN, AND HE STRSED THE IMPORTANCE OF SAPER VERE, OR “KNOWG HOW TO SEE.” HE BELIEVED THE ACCUMULATN OF DIRECT KNOWLEDGE AND FACTS THROUGH OBSERVATN.“A GOOD PATER HAS TWO CHIEF OBJECTS TO PAT — MAN AND THE TENTN OF HIS SOUL,” DA VCI WROTE. “THE FORMER IS EASY, THE LATTER HARD, FOR MT BE EXPRSED BY GTUR AND THE MOVEMENT OF THE LIMBS.” TO MORE ACCURATELY PICT THOSE GTUR AND MOVEMENTS, DA VCI BEGAN TO STUDY ANATOMY SERLY AND DISSECT HUMAN AND ANIMAL BODI DURG THE 1480S. HIS DRAWGS OF A FET UTERO, THE HEART AND VASCULAR SYSTEM, SEX ANS AND OTHER BONE AND MCULAR STCTUR ARE SOME OF THE FIRST ON HUMAN RERD.IN ADDN TO HIS ANATOMIL VTIGATNS, DA VCI STUDIED BOTANY, GEOLOGY, ZOOLOGY, HYDRLICS, AERONTICS AND PHYSICS. HE SKETCHED HIS OBSERVATNS ON LOOSE SHEETS OF PAPERS AND PADS THAT HE TUCKED SI HIS BELT. DA VCI PLACED THE PAPERS NOTEBOOKS AND ARRANGED THEM AROUND FOUR BROAD THEM—PATG, ARCHECTURE, MECHANICS AND HUMAN ANATOMY. HE FILLED DOZENS OF NOTEBOOKS WH FELY DRAWN ILLTRATNS AND SCIENTIFIC OBSERVATNS.SCULPTURLUDOVI SFORZA ALSO TASKED DA VCI WH SCULPTG A 16-FOOT-TALL BRONZE EQUTRIAN STATUE OF HIS FATHER AND FOUNR OF THE FAY DYNASTY, FRANC SFORZA. WH THE HELP OF APPRENTIC AND STUNTS HIS WORKSHOP, DA VCI WORKED ON THE PROJECT ON AND OFF FOR MORE THAN A DOZEN YEARS. DA VCI SCULPTED A LIFE-SIZE CLAY MOL OF THE STATUE, BUT THE PROJECT WAS PUT ON HOLD WHEN WAR WH FRANCE REQUIRED BRONZE TO BE ED FOR STG NNONS, NOT SCULPTUR. AFTER FRENCH FORC OVERRAN MILAN 1499 — AND SHOT THE CLAY MOL TO PIEC — DA VCI FLED THE CY ALONG WH THE DE AND THE SFORZA FAY. IRONILLY, GIAN GIAO TRIVULZ, WHO LED THE FRENCH FORC THAT NQUERED LUDOVI 1499, FOLLOWED HIS FOE’S FOOTSTEPS AND MISSNED DA VCI TO SCULPT A GRAND EQUTRIAN STATUE, ONE THAT ULD BE MOUNTED ON HIS TOMB. AFTER YEARS OF WORK AND NUMERO SKETCH BY DA VCI, TRIVULZ CID TO SLE BACK THE SIZE OF THE STATUE, WHICH WAS ULTIMATELY NEVER FISHED.FAL YEARSDA VCI RETURNED TO MILAN 1506 TO WORK FOR THE VERY FRENCH LERS WHO HAD OVERTAKEN THE CY SEVEN YEARS EARLIER AND FORCED HIM TO FLEE. AMONG THE STUNTS WHO JOED HIS STUD WAS YOUNG MILANE ARISTOCRAT FRANC MELZI, WHO WOULD BEE DA VCI’S CLOST PANN FOR THE RT OF HIS LIFE. HE DID LTLE PATG DURG HIS SEND STT MILAN, HOWEVER, AND MOST OF HIS TIME WAS STEAD DITED TO SCIENTIFIC STUDI. AMID POLIL STRIFE AND THE TEMPORARY EXPULSN OF THE FRENCH OM MILAN, DA VCI LEFT THE CY AND MOVED TO ROME 1513 ALONG WH SALAI, MELZI AND TWO STUD ASSISTANTS. GIULIANO ’ MEDICI, BROTHER OF NEWLY STALLED POPE LEO X AND SON OF HIS FORMER PATRON, GAVE DA VCI A MONTHLY STIPEND ALONG WH A SUE OF ROOMS AT HIS RINCE SI THE VATIN. HIS NEW PATRON, HOWEVER, ALSO GAVE DA VCI LTLE WORK. LACKG LARGE MISSNS, HE VOTED MOST OF HIS TIME ROME TO MATHEMATIL STUDI AND SCIENTIFIC EXPLORATN. AFTER BEG PRENT AT A 1515 MEETG BETWEEN FRANCE’S KG FRANCIS I AND POPE LEO X BOLOGNA, THE NEW FRENCH MONARCH OFFERED DA VCI THE TLE “PREMIER PATER AND ENGEER AND ARCHECT TO THE KG.” ALONG WH MELZI, DA VCI PARTED FOR FRANCE, NEVER TO RETURN. HE LIVED THE CHATE CLOUX (NOW CLOS LUCE) NEAR THE KG’S SUMMER PALACE ALONG THE LOIRE RIVER AMBOISE. AS ROME, DA VCI DID LTLE PATG DURG HIS TIME FRANCE. ONE OF HIS LAST MISSNED WORKS WAS A MECHANIL LN THAT ULD WALK AND OPEN S CHT TO REVEAL A BOUQUET OF LILI. HOW DID LEONARDO DA VCI DIE?DA VCI DIED OF A PROBABLE STROKE ON MAY 2, 1519, AT THE AGE OF 67. HE NTUED WORK ON HIS SCIENTIFIC STUDI UNTIL HIS ATH; HIS ASSISTANT, MELZI, BEME THE PRCIPAL HEIR AND EXECUTOR OF HIS TATE. THE “MONA LISA” WAS BEQUEATHED TO SALAI. FOR CENTURI AFTER HIS ATH, THOANDS OF PAG OM HIS PRIVATE JOURNALS WH NOT, DRAWGS, OBSERVATNS AND SCIENTIFIC THEORI HAVE SURFACED AND PROVID A FULLER MEASURE OF THE TE "RENAISSANCE MAN."BOOK AND MOVIEALTHOUGH MUCH HAS BEEN WRTEN ABOUT DA VCI OVER THE YEARS, WALTER ISAACSON EXPLORED NEW TERRORY WH AN ACCLAIMED 2017 BGRAPHY, LEONARDO DA VCI, WHICH OFFERS UP TAILS ON WHAT DROVE THE ARTIST'S CREATNS AND VENTNS. THE BUZZ SURROUNDG THE BOOK RRIED TO 2018, WH THE ANNOUNCEMENT THAT HAD BEEN OPTNED FOR A BIG-SCREEN ADAPTATN STARRG LEONARDO DICAPR.SALVATOR MUNDIIN 2017, THE ART WORLD WAS SENT BUZZG WH THE NEWS THAT THE DA VCI PATG "SALVATOR MUNDI" HAD BEEN SOLD AT A CHRISTIE'S CTN TO AN UNDISCLOSED BUYER FOR A WHOPPG $450.3 LN. THAT AMOUNT DWARFED THE PREV RERD FOR AN ART WORK SOLD AT AN CTN, THE $179.4 LN PAID FOR “WOMEN OF ALGIERS" BY PABLO PISSO 2015.THE SAL FIGURE WAS STUNNG PART BEE OF THE DAMAGED NDN OF THE OIL-ON-PANEL, WHICH FEATUR J CHRIST WH HIS RIGHT HAND RAISED BLSG AND HIS LEFT HOLDG A CRYSTAL ORB, AND BEE NOT ALL EXPERTS BELIEVE WAS RENRED BY DA VCI. HOWEVER, CHRISTIE'S HAD LNCHED WHAT ONE ALER LLED A "BRILLIANT MARKETG MPAIGN," WHICH PROMOTED THE WORK AS "THE HOLY GRAIL OF OUR BS" AND "THE LAST DA VCI." PRR TO THE SALE, WAS THE ONLY KNOWN PATG BY THE OLD MASTER STILL A PRIVATE LLECTN.THE SDI EMBASSY STATED THAT PRCE BAR B ABDULLAH B MOHAMMED B FARHAN AL-SD OF SDI ARABIA HAD ACTED AS AN AGENT FOR THE MISTRY OF CULTURE OF ABU DHABI, THE UNED ARAB EMIRAT. AROUND THAT TIME, THE NEWLY-OPENED LOUVRE ABU DHABI ANNOUNCED THAT THE RERD-BREAKG ARTWORK WOULD BE EXHIBED S LLECTN.MICHELANGELO"],["DONATELLO"],["VCENT VAN GOGH"]]" TML-RENR-LAYOUT="LE"> {BORR:0;BORR-BOTTOM:TH SOLID BLACK;MARG:1.875REM 0;CLEAR:BOTH;}QUICK FACTS

“Leonardo scholars and amics nclu he very likely was gay, everythg pots toward that – the opera giv a chance to explore that part of him a year when everythg else is beg explored.

In 1910, Sigmund Frd speculated that spe surroundg himself wh betiful young men, Leonardo's homosexualy was latent rather than acted upon.

A recent bgraphy by Walter Isaacson is more blhe s summatn of Leonardo as “illegimate, gay, vegetarian, left-hand, easily distracted, and at tim heretil. In the perd Leonardo lived Florence early his reer, homosexual relatnships were so prevalent that the term ‘Florenzer’ beme German slang for same-sex relatnships. Was Leonardo Da Vci, the talented pater behd the famo Mona Lisa artwork gay?