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Photographer’s Note

HAPPY BIRTHDAY LEONARDO

In the United States April 15 marks the day when we must all submit our tax returns, and unless we are scheduled for a return of overpaid taxes, it is not a very happy day. But for me personally, this is a day for some celebration, it is Leonardo da Vinci’s 555th birthday. He was born in 1452 out of wedlock — to a 15-year old impoverished chambermaid and a 24-year old well-heeled young man in the Tuscan town of Vinci. The mother and father eventually married, but not each other. Leonardo lived with his mother the first five years of his life, then with his father’s family during the next ten years. At fifteen, and without any formal schooling, he moved with his father’s family to Florence, where he was apprenticed to Andrea dell’ Verrocchio, a leading artist of the day, and joined, among other apprentices, Botticelli.

Through the ages there have been many geniuses — we all know about them. In my own career in physics, I’ve met approximately twenty Nobel Prize winners many of them are exceedingly clever, some even geniuses. Ultimately, however, they are “ordinary geniuses.” Their manifest gifts can usually be understood. Smart parents have smart children, but they must be supportive parents. Perhaps there are incrementally better genes, but there must be good dialogue around the dinner table, and an abundance of books in the house. We can study their works, understand whence the inspirations came, and even get the sense that if we had worked truly hard, and for a considerable time ourselves (and we were a little smarter than we are) we might have been able to do what they did.

Then there are the very rare “transformative geniuses.” These individuals define entire fields, but their mental processes remain mysterious. Their modus operandi does not follow the normal landscape of logic— descending slopes, crossing valleys, and ascending slopes. They appear to jump from mountaintop to mountaintop, and there seems little hope of explaining where such minds come from. It is not the parents, not the environment, not the food they eat! One never has to argue about “Who is the greatest practitioner in a field;” the debate starts at Number Two or Number Three. William Shakespeare is a transformative genius in literature; so is Isaac Newton in the sciences and mathematics; in music there is Beethoven, and perhaps one or two others. Einstein, Time Magazine’s choice for the 20th century’s ‘Man of the Century,’ might be the last transformative genius the world has seen.

When it comes to art, a meaningful argument about “the greatest” might start at Number Three — “Is it Rembrandt or Raphael, or perhaps Vermeer, van Gogh or Picasso?” Van Gogh produced over 800 paintings in just nine years; Rembrandt produced hundreds of miraculous psychological portraits (he also painted himself 57 times). About Numbers One and Two, there are only two candidates. They are Leonardo and Michelangelo — moreover they can be taken in either order!” (Make Leonardo “Number One” on Mondays, Wednesdays and Fridays; and Michelangelo on Tuesdays, Thursdays and Saturdays.) As ‘drivers’ they are that significant to the field. Michelangelo lived a very long lifetime of 89 years, and was productive to the very end, producing an immense body of magical works. But Leonardo, this supreme artist who lived 67 years, may have worked on only seventeen paintings, a dozen or so with greater certainty, half of that number with unchallenged provenance. But his works include the unrivaled Number One and the Number Two most famous paintings in the history of art (I’ll let the reader guess). But in art it is not the numbers; as Goethe famously put it, “The best is good enough.” What was Leonardo doing the rest of the time?

Leonardo, called “the universal genius,” was doing science and technology — inventing entire fields of science — some of them not to be seen again for hundreds of years. Four thousand pages of his notes have survived, only a quarter of his original estimated output. And it is his notes that reveal the full measure of his genius. He was the finest artist doing science, and the finest scientist doing art. His anatomical drawings have never been equaled in beauty or insight. But more than anything else, Leonardo wanted to see human flight. He designed “ornithopter wings,” and an “aerial screw,” which in the 20th century inspired Igor Sikorsky in the invention of the helicopter. “If birds can fly,” Leonardo wrote, “so should man be able to fly.” In this photo that I shot virtually by reflex action early one morning, a pair of Canadian geese are seen flying southward, and 10,000 meters above them, is the trail of an intercontinental commercial jet coming from the East, from Europe — the flight perhaps having originated at Leonardo da Vinci Airport in Rome.

In 2004 my book, ‘Math and the Mona Lisa,’ was published by the Smithsonian Institution Press. It deals with the intersection of art, science and mathematics, in the same way that photography does. Much to my publisher’s (and my own) surprise, the book has been a best seller, printed eleven times in English, and translated into ten languages. As a financial success, it will never rival Dan Brown’s ‘Da Vinci Code,’ but the book is about the real Leonardo — artist/scientist/engineer — a man for all seasons and for all centuries. Andrew Coppin, an unusually talented photographer living in Vancouver, commented about Leonardo and about my book in a note that accompanied his posting, Virgin in Street Art , and it is to Andrew that I dedicate this photograph. Moreover, Andrew is the grandson of the late Oxford University theoretical physicist, Sir Rudolf Peierls, a genius, albeit ordinary, who was my boss and hero at Oxford in the 1970s.

Leonardo died on May 2, 1519 in Amboise/Cloux, France, where his patron Fraçois I. had been his final, and very loyal patron. This explains in part why several of Leonardo's works, including the Mona Lisa, is in the Louvre.

Hand-held Nikon D-70, 18-70 lens. No filter, no tripod, no time to set up, and I am afraid it shows. Accordingly, I am submitting this photo not for the quality of the photograph, but for the fleeting scene and for the timing of Leonardo’s 555th birthday.

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Additional Photos by Bulent Atalay (batalay) Gold Star Critiquer/Gold Star Workshop Editor/Gold Note Writer [C: 4628 W: 300 N: 6946] (21416)
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