Leonardo Da Vinci, Studies of the Fetus in the Womb, c.1511. Black chalk, sanguine, pen, ink wash on paper 30.4 x 22 cm
Very few individuals have been able to influence a wide variety of disciplines as Leonardo Da Vinci. This paper assesses the artist’s development of anatomy by delving into his influences, notebook conclusions and artistic applications. It argues that Leonardo Da Vinci evolved his understanding of the human body through three phases of analysis. The scientist transitioned from descriptive anatomy, to mechanically based notions and finally to an interpretation of origin.
In the first section, I research Da Vinci’s interest in the mind’s ability to support the five primary senses. The artist focused on the sub sections in the eye and the cranium during his first study in 1489. The paper indicates how he applied a qualitative analysis grounded on the study of proportion and harmony to support his analysis. Da Vinci began his second period of investigation relating to the body in motion around 1500. During this analysis he described several theories for the function of muscles, joints and the overall transfer of force in the body. Da Vinci pays more attention to the human body as a subject of movement governed by mechanical laws stemming from geometry in motion. Through his study of the spine, I describe a transition from a rigid structure dominated by proportion to a form of synthesizing large amount of information. In his third and last series, Da Vinci examined the internal organs, respiration and blood flow for the purpose of comprehending the nature of humanity. The artist incorporates mechanics to the belief that everything in nature holds a purpose. He also delves into the idea of the microcosm of the world in relation to the microcosm of the body. Through these ideas, the paper shines a light on Leonardo’s development of anatomy and demonstrates a transition from previous interpretations of anatomy.