Diferencia entre revisiones de «Leonardo da Vinci»
p Bot quīxpolihuīltiā: ''Tlanāuhti 15'', quihcuiloā: ''15 ic nāuhtetl mētztli'' |
p Bot quīxpolihuīltiā: ''Tlamācuīlti 2'', quihcuiloā: ''2 ic mācuīlli mētztli'' |
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|birthname = Leonardo di Ser Piero |
|birthname = Leonardo di Ser Piero |
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|born = [[15 ic nāuhtetl mētztli]], [[1452]]<br />[[Vinci, Florencia|Vinci]], [[Florencia]] |
|born = [[15 ic nāuhtetl mētztli]], [[1452]]<br />[[Vinci, Florencia|Vinci]], [[Florencia]] |
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|dead = {{FRAf1328}} [[ |
|dead = {{FRAf1328}} [[2 ic mācuīlli mētztli]], [[1519]] <small>(67)</small><br />[[Amboise, Indre-et-Loire|Amboise]], [[Touraine]] |
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|occupation = [[Tlapōhualmatiliztli|Tlapōhuallācatl]]<br />[[Tlachīhualōni]]<br />[[Anatomōni]]<br />Pintor<br />Escultor<br />[[Calmanayōtl|Calmanayōni]]<br />[[Yōlizmatiliztli|Yōllācatl]]<br />[[Cuīcayōtl|Cuīcatiani]]<br />[[Tlahcuilōcāyōtl|Tlahcuilōni]] |
|occupation = [[Tlapōhualmatiliztli|Tlapōhuallācatl]]<br />[[Tlachīhualōni]]<br />[[Anatomōni]]<br />Pintor<br />Escultor<br />[[Calmanayōtl|Calmanayōni]]<br />[[Yōlizmatiliztli|Yōllācatl]]<br />[[Cuīcayōtl|Cuīcatiani]]<br />[[Tlahcuilōcāyōtl|Tlahcuilōni]] |
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Tlachiyaliztli ipan 06:13 8 Nāuh 2014
Leonardo da Vinci | ||
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Tlācatlanōnōtzaliztli | ||
Tlācatōcāitl | Leonardo di Ser Piero | |
Tlācati | 15 ic nāuhtetl mētztli, 1452 Vinci, Florencia | |
Micqui | Nemachiyōtīlli:FRAf1328 2 ic mācuīlli mētztli, 1519 (67) Amboise, Touraine | |
Tlatequitiliztli | Tlapōhuallācatl Tlachīhualōni Anatomōni Pintor Escultor Calmanayōni Yōllācatl Cuīcatiani Tlahcuilōni |
Leonardo di ser Piero da Vinci (1452 - 1519) ītōcā huēyi miactlamatiliztlācatl. It is primarily as a painter that Leonardo was and is renowned. Two of his works, the Mona Lisa and The Last Supper occupy unique positions as the most famous, most reproduced and most parodied portrait and religious painting of all time, their fame approached only by Michelangelo's Creation of Adam. Leonardo's drawing of the Vitruvian Man is also iconic. Perhaps fifteen of his paintings survive, the small number due to his constant, and frequently disastrous, experimentation with new techniques, and his chronic procrastination. Nevertheless, these few works, together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, comprise a contribution to later generations of artists only rivalled by that of his contemporary, Michelangelo.
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