意胶居大利文艺复新时期最负盛名的艺术大师，科学家。他生于佛罗伦萨郊区的芬奇镇，卒于法国。其父为律师兼公证人，母为农妇，他15岁来到佛罗伦萨，学艺于韦罗基奥的作坊，1472年来自入画家行会。70年代中期个人风格已趋成熟。1482--1499年间一直工场说司剂妒河作于米兰，主要为赵活画请标究的境米兰公爵服务，进行了广泛的艺术和科学活动，《岩间圣母》是他在亚凯织觉编标花飞伤这段时期创作的最有名的代表作。
列奥纳多·达·芬奇(Leonardo da Vinci，1452-1519)
他是一位天才，他一面热心于艺术创作和理论研究，他研究如何用线条与立体造型去表现形体的各种问题;另一方面他也同时研究自然科学。
《自画像》意大利绘画大师达.芬奇的素描精品。他的素描作品的艺术水平已达极罪雷道批五触高的境地，被誉为素描艺术的典范。他对建筑，雕刻和绘画的创作都以大量素描为构思和研究的基础，从构到每个人物来自甚至每个手势都准备了充360百科分的素描习作及写生，他的素描起了相当于甚或超过现代摄影术的作留外件用。在这幅《自画像》中难站加食纪线领守，画家描绘起自己来可谓得心应手，他观察入微，用的线程伤可来限明世念培条丰富多变，刚柔相济尤其善用浓密程度不同斜线表现光暗的微妙变化取担困南免玉湖哪陈上记，这些素描艺术手法使后来的不少画家得益菲浅，堪称素描艺术的精典。此画用线生动灵活，概括性强，简单的寥寥数笔却包含许多转折，体面关系，发线代面，立体感很强，还有，人物的表情也很传神。因此，此画虽为素描小作，其艺术美，形式美却丝毫不亚于达.芬奇的那些恢宏巨制，诸多年来，继续以其隽永的魅力吸引后世 美术爱好者的赞赏和推崇。
LEO露年起守何裂烈NARDO: RENAISSANCE POLYMATH
"There has neve生见操眼r been an artist who was more fittingly,and witho答具爱按合所术空ut qualification,described as a genius. Like Shakespeare,Leonardo came from an insignificant backgro场敌些找获包做und and rose to un屋满设iversal acclaim. Leonardo was the illegitimate so境助代况结多任略胞n of a local lawyer in the small 精吸转王花town of Vinci in the Tuscan regi乱实的激on. His father acknowledge功灯思限冲吸音这d him and paid for his training,but we may wonder whether the st脱益谁父矿径责岁之rangely self-sufficient tone of 外一Leonardo's 念然粒能mind was not perhaps affected by his early ambigu代武重小理很和鸡善讨坚ity of status. The definitive polymath,he had almost too many gifts,including superlative male beauty,a splendid singing voice,magnificent physique,mathematical excellence,scientific daring ... the list is endless. This overabundance of talents caused him to treat his artistry lightly,seldom finishing a picture,and sometimes making rash technical experiments. The Last Supper,in the church of Santa Maria delle Grazie in Milan,for example,has almost vanished,so inadequate were his innovations in fresco preparation.
"Yet the works that we have salvaged remain the most dazzlingly poetic pictures ever created. The Mona Lisa has the innocent disadvantage of being too famous. It can only be seen behind thick glass in a heaving crowd of awe-struck sightseers. It has been reproduced in every conceivable medium; it remains intact in its magic,forever defying the human insistence on comprehending. It is a work that we can only gaze at in silence.
"Leonardo's three great portraits of women all have a secret wistfulness. This quality is at its most appealing in Cecilia Gallarani,at its most enigmatic in the Mona Lisa,and at its most confrontational in Ginevra de' Benci. It is hard to gaze at the Mona Lisa because we have so many expectations of it. Perhaps we can look more truly at a less famous portrait,Ginevra de' Benci. It has that haunting,almost unearthly beauty peculiar to Leonardo da Vinci.
A WITHHELD IDENTITY
"The subject of Ginevra de' Benci has nothing of the Mona Lisa's inward amusement,and also nothing of Cecilia's gentle submissiveness. The young woman looks past us with a wonderful luminous sulkiness. Her mouth is set in an unforgiving line of sensitive disgruntlement,her proud and perfect head is taut above the unyielding column of her neck,and her eyes seem to narrow as she endures the painter and his art. Her ringlets,infinitely subtle,cascade down from the breadth of her gleaming forehead (the forehead,incidentally,of one of the most gifted intellectuals of her time). These delicate ripples are repeated in the spikes of the juniper bush.
"The desolate waters,the mists,the dark trees,the reflected gleams of still waters - all these surround and illuminate the sitter. She is totally fleshly and totally impermeable to the artist. He observes,held rapt by her perfection of form,and shows us the thin veil of her upper bodice and the delicate flushing of her throat. What she is truly like she conceals; what Leonardo reveals to us is precisely this concealment,a self-absorption that spares no outward glance.
INTERIOR DEPTH
"We can always tell a Leonardo work by his treatment of hair,angelic in its fineness,and by the lack of any rigidity of contour. One form glides imperceptibly into another (the Italian term is sfumato),a wonder of glazes creating the most subtle of transitions between tones and shapes. The angel's face in the painting known as the Virgin of the Rocks in the National Gallery,London,or the Virgin's face in the Paris version of the same picture,have an interior wisdom,an artistic wisdom that has no pictorial rival.
"This unrivaled quality meant that few artists actually show Leonardo's influence: it is as if he seemed to be in a world apart from them. Indeed he did move apart,accepting the French King Francis I's summons to live in France. Those who did imitate him,like Bernardini Luini of Milan (c. 1485-1532),caught only the outer manner,the half-smile,the mistiness.
"The shadow of a great genius is a peculiar thing. Under Rembrandt's shadow,painters flourished to the extent that we can no longer distinguish their work from his own. But Leonardo's was a chilling shadow,too deep,too dark,too overpowering."
LEONARDO是基于Atmega32u4的低成本开发板。左侧板载了micro USB，还集成了USB驱动，可以用它模拟类似鼠标，键盘等USB HID，后续也会放出更多的drivers。它有20个数字输入/输出引脚(其中7个可用于PWM输出、12个可用于模拟输入)，一个16 MHz的晶体振荡器，一个Micro USB接口，一个DC接口，一个ICSP接口，一个复位按钮。它包含了支持微控制器所需的一切，可以简单地通过把它连接到计算机的USB接口，或者使用AC-DC适配器，再或者用电池来驱动它。
Arduino Leonardo可以通过Micro USB接口或外接电源供电。电源可以自动被选择。
外部(非USB)电源可以用AC-DC适配器(wall-wart)或电池。适配器可以插在一个2.1毫米规格中心是正极的电源插座上，以此连接到控制器电源。从电池的信息，可以插在电源连接器的GND和VIN引脚头。
可以输入6V-20V的外部电源。但是，如果低于7V，5V引脚将提供小于5V的电源，控制板可能会不稳定。如果使用大于12V的电源稳压器可能过热，从而损坏电路板。推荐的范围是7V-12V。
Leonardo有一个自恢复保险丝，防止短路或过流，从而保护您的计算机的USB端口。虽然大多数计算机提供都带有内部保护，但保险丝也可以提供额外的保护。如果电流超过500 mA，保险丝会自动断开连接防止短路或过载。
Leonardo PCB的最大长度和宽度分别为2.7和2.1英寸，超越前维延长的USB接口和电源插孔。有四个固定孔可以将板子固定在其他表面或者外壳上。注意，7、8数字引脚之间的距离是160mil(0.16")，而不是和其他脚一样的100 mil 间距。
关注微信