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Leon Battista Alberti (Italian: [leˈom batˈtista alˈbɛrti]; 14 February 1404 – 25 April 1472) was an Italian Renaissance humanist author, artist, architect, poet, priest, linguist, philosopher, and cryptographer; he epitomised the nature of those identified now as polymaths.
Figure from the 1804 edition of Della picture showing the vanishing point Rendition of Alberti's description of how a circle projected as an ellipse Figure showing pillars in perspective on a grid. De pictura (English: "On Painting") is a treatise or commentarii written by the Italian humanist and artist Leon Battista Alberti. The first version ...
Writings on the theory of Leon Battista Alberti played a fundamental role. Already, in De pictura, Alberti paints a portrait of the cultivated, literate, technically adept artist who masters all phases of the work, from idealisation to manual realisation. His portrayal is nevertheless idealised, and would only become truly effective in the 18th ...
De re aedificatoria (On the Art of Building) is a classic architectural treatise written by Leon Battista Alberti between 1443 and 1452. [1] Although largely dependent on Vitruvius's De architectura, it was the first theoretical book on the subject written in the Italian Renaissance, and in 1485 it became the first printed book on architecture ...
Birth name: Leon Battista degli Alberti; Leon Batista Alberti; L. B. Alberti; Leo Baptista Alberti; Lepidus; Leo-Battista degli Alberti; Leone Battista Alberti Description Italian philosopher, linguist, cryptographer, poet, architect and architectural theoretician
However, the painting is attributed by others to Francesco di Giorgio Martini, partly due to the latter's greater significance at the Urbino court and because the painting refers to architectural themes he refers to, derived from Leon Battista Alberti's slightly earlier published treatise, in his own architectural treatise. [4]
At the extreme right, a group of four bystanders should personify Masaccio (looking away from the painting), Masolino (the shortest one), Leon Battista Alberti (in the foreground); and Filippo Brunelleschi (the last). The frequent use of portraiture makes the imaginary world of painting and the viewer's personal experience converge.
It may be the earliest surviving comprehensive view of Venice: earlier views by Leon Battista Alberti and Jacopo Bellini are believed to be lost. [5] The British Library quotes an article by art historian Martin Kemp in 1991 in which he says it is "an achievement of astonishing visual and intellectual control". [6]
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