Leonardo da Vinci's Scientific and Artistic Discourse

This work, which is part of the "Discourse, Arts, Media and Society" line of research, aims to establish relationships between words and images in the works of Leonardo Da Vinci (1452 - 1519), seeking to detect how the painter dialogued between art and science. To this end, a panoramic study was made of the artistic manifestation in the Renaissance period and the painter's insertion in this period. Next, within the analytical procedures of French Discourse Analysis (Pêcheux), the subject-position and the ideological formations through which it moves were analyzed through the mechanisms of paraphrase and polysemy. In order to observe the relationship between word and image and establish a dialogue between art and science, Peirce's Semiotic theory was used, using concepts and classifications of signs to analyze Da Vinci's images and verbal texts. With this research we hope to see that Da Vinci carried out his artistic project entirely based on a scientific methodology of painting, or rather, from his codices, he established a theory of painting and applied it to his canvases.

Autorentext

Adriana de Freitas Cardoso hat einen Master-Abschluss in Sprache und Gesellschaft/Univás; einen Abschluss in Kunst/UFRJ; Kunsterziehung/EBA-S.P.; Pädagogik/Unip; Innenarchitekturtechniker/IBDI. Derzeit Dozentin an der Univás und im technischen Kurs für Innenarchitektur am CEMJKO. Forschungsschwerpunkte: Kunst, Bildung und Kultur. Sie arbeitet als Kulturproduzentin und -managerin.

Klappentext

This work, which is part of the "Discourse, Arts, Media and Society" line of research, aims to establish relationships between words and images in the works of Leonardo Da Vinci (1452 - 1519), seeking to detect how the painter dialogued between art and science. To this end, a panoramic study was made of the artistic manifestation in the Renaissance period and the painter's insertion in this period. Next, within the analytical procedures of French Discourse Analysis (Pêcheux), the subject-position and the ideological formations through which it moves were analyzed through the mechanisms of paraphrase and polysemy. In order to observe the relationship between word and image and establish a dialogue between art and science, Peirce's Semiotic theory was used, using concepts and classifications of signs to analyze Da Vinci's images and verbal texts. With this research we hope to see that Da Vinci carried out his artistic project entirely based on a scientific methodology of painting, or rather, from his codices, he established a theory of painting and applied it to his canvases.