The Student

Overview

Leonardo's advice to young painters is among the most practical and psychologically astute writing in the notebooks. Far from abstract philosophy, these are working instructions — how to learn, how to practice, how to live, and how to protect the creative mind from distraction and self-deception.

The passages progress from basic instruction (learn perspective first, then proportions, then copy from masters) through increasingly subtle observations about discipline, solitude, and the relationship between the eye and the mind.

483. The youth should first learn perspective, then the proportions of objects. Then he may copy from some good master, to accustom himself to fine forms. Then from nature, to confirm by practice the rules he has learnt. Then see for a time the works of various masters. Then get the habit of putting his art into practice and work.

484. OF THE ORDER OF LEARNING TO DRAW.
First draw from drawings by good masters done from works of art and from nature, and not from memory; then from plastic work, with the guidance of the drawing done from it; and then from good natural models and this you must put into practice.

MS. 2038 Bib. Nat.

488. It is indispensable to a Painter who would be thoroughly familiar with the limbs in all the positions and actions of which they are capable, in the nude, to know the anatomy of the sinews, bones, muscles and tendons so that, in their various movements and exertions, he may know which nerve or muscle is the cause of each movement and show those only as prominent and thickened, and not the others all over the limb, as many do who, to seem great draughtsmen, draw their nude figures looking like wood, devoid of grace; so that you would think you were looking at a sack of walnuts rather than the human form, or a bundle of radishes rather than the muscles of figures.

491. WHAT RULES SHOULD BE GIVEN TO BOYS LEARNING TO PAINT.
Supposing that you, Reader, were to glance rapidly at the whole of this written page, you would instantly perceive that it was covered with various letters; but you could not, in the time, recognise what the letters were, nor what they were meant to tell. Hence you would need to see them word by word, line by line to be able to understand the letters. Again, if you wish to go to the top of a building you must go up step by step; otherwise it will be impossible that you should reach the top. Thus I say to you, whom nature prompts to pursue this art, if you wish to have a sound knowledge of the forms of objects begin with the details of them, and do not go on to the second step till you have the first well fixed in memory and in practice. And if you do otherwise you will throw away your time, or certainly greatly prolong your studies. And remember to acquire diligence rather than rapidity.

492. HOW THAT DILIGENCE SHOULD FIRST BE LEARNT RATHER THAN RAPID EXECUTION.
If you, who draw, desire to study well and to good purpose, always go slowly to work in your drawing; and discriminate in the lights, which have the highest degree of brightness, and to what extent and likewise in the shadows, which are those that are darker than the others and in what way they intermingle; then their masses and the relative proportions of one to the other. And note in their outlines, which way they tend; and which part of the lines is curved to one side or the other, and where they are more or less conspicuous and consequently broad or fine; and finally, that your light and shade blend without strokes and borders but looking like smoke. And when you have thus schooled your hand and your judgment by such diligence, you will acquire rapidity before you are aware.

494. OF THE LIFE OF THE PAINTER IN HIS STUDIO.
To the end that well-being of the body may not injure that of the mind, the painter or draughtsman must remain solitary, and particularly when intent on those studies and reflections which will constantly rise up before his eye, giving materials to be well stored in the memory. While you are alone you are entirely your own master and if you have one companion you are but half your own, and the less so in proportion to the indiscretion of his behaviour.

And if you should say: "I will go my own way and withdraw apart, the better to study the forms of natural objects", I tell you, you will not be able to help often listening to their chatter. And so, since one cannot serve two masters, you will badly fill the part of a companion, and carry out your studies of art even worse.

MS. 2038 Bib. Nat.

496. OF STUDYING, IN THE DARK, WHEN YOU WAKE, OR IN BED BEFORE YOU GO TO SLEEP.
I have found in my own experience that it is of no small benefit, when you lie in bed in the dark, to go over again in the imagination the outlines of the forms you have been studying or of other noteworthy things conceived by ingenious speculation; and this is certainly a praiseworthy exercise and useful in impressing things on the memory.