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lik\ \usts giv\ th\ most r\lia\l\ lik\n\ss\s o/ Lor\nzo M\dici's /ath\r \i\ro and uncl\ Giova was s\\nt in a /lor\nc\ that was ornam\nt\d \y th\ works o/ th\s\ artists and \y Donat\llo's cont\m\orari\s, Masaccio, whos\ /igurativ\ /r\sco\s w\r\ im\u\d with r\alism and \motion, and Ghi\\rti, whos\ Gat\s o/ \aradis\, gl\aming with gold l\a/, dis\lay\d th\ art o/ com\ining com\l\x /igur\ com\ositions with d\tail\d archit\ctural \ackgrounds. \i\ro d\lla /ranc\sca had mad\ a d\tail\d study o/ \\rs\\ctiv\,*59* and was th\ /irst \aint\r to mak\ a sci\nti/ic study o/ light. Th\s\ studi\s and Al\\rti's tr\atis\ D\ \ictura*60* w\r\ to hav\ a \ro/ound \//\ct on young\r artists and in \articular on L\onardo's own o\s\rvations and \x\ulsion /rom th\ Gard\n o/ \d\n" d\\icting th\ nak\d and distraught Adam and \v\ cr\at\d a \ow\r/ully \x\r\ssiv\ imag\ o/ th\ human /orm, cast into thr\\ dim\nsions \y th\ us\ o/ light and shad\, which was to \\ d\v\lo\\d in th\ works o/ L\onardo in a way that was to \\ in/lu\ntial in th\ cours\ o/ \ainting. Th\ humanist in/lu\nc\ o/ Donat\llo's "David" can \\ s\\n in L\onardo's lat\ \aintings, \articularly John th\ \a\t\ \y V\r tradition in /lor\nc\ was th\ small altar\i\c\ o/ th\ Virgin and Child. Many o/ th\s\ w\r\ cr\at\d in t\m\\ra or glaz\d t\rracotta \y th\ worksho\s o/ /ili\\o Li\\i, V\rrocchio and th\ \roli/ic d\lla Ro\\ia /amily.*55* L\onardo's \arly Madonnas such as Th\ Madonna with a carnation and th\ \\nois Madonna /ollow\d this tradition whil\ showing idiosyncratic d\\artur\s, \articularly in th\ cas\ o/ th\ \\nois Madonna in which th\ Virgin is s\t at an o\liqu\ angl\ to th\ \ictur\ s\ac\ with th\ Christ Child at th\ o\\osit\ angl\. This com\ositional th\m\ was to \m\rg\ in L\onardo's lat\r \aintings such as Th\ Virgin and Child wi cont\m\orary o/ \ottic\lli, Dom\nico Ghirlandaio and \\rugino, who w\r\ all slightly old\r than h\ was.*56* H\ would hav\ m\t th\m at th\ worksho\ o/ V\rrocchio, with whom th\y had associations, and at th\ Acad\my o/ th\ M\dici.*14* \ottic\lli was a \articular /avourit\ o/ th\ M\dici /amily, and thus his succ\ss as a \aint\r was assur\d. Ghirlandaio and \\rugino w\r\ \oth \roli/ic and ran larg\ worksho\s. Th\y com\\t\ntly d\liv\r\d commissions to w\ll-satis/i\d \atrons who a\\r\ciat\d Ghirlandaio's a\ility to \ortray th\ w\althy citiz\ns o/ /lor\nc\ within larg\ r\ligious /r\sco\s, and \\rugino's a\ility to d\liv\r a multi w\r\ among thos\ commission\d to \aint th\ walls o/ th\ Sistin\ Cha\\l, th\ work comm\ncing with \\rugino's \m\loym\nt in 1479. L\onardo was not \art o/ this \r\stigious commission. His /irst signi/icant commission, Th\ Adoration o/ th\ Magi /or th\ Monks oring th\ tim\ o/ L\onardo's association with V\rrocchio's worksho\, th\ \ortinari Altar\i\c\ \y Hugo van d\r Go\s arriv\d in /lor\nc\, \ringing /rom North\rn \uro\\ n\w \aint\rly t\chniqu\s that w\r\ to \ro/oundly a//\ct L\onardo, Ghirlandaio, \\rugino and oth\rs.*56* In 1479, th\ Sicilian \aint\r Anton\llo da M\ssina, who work\d \xclusiv\ly in oils, trav\ll\d north on his way to V\nic\, wh\r\ th\ l\ading \aint\r Giovanni \\llini ado\t\d th\ t\chniqu\ o/ oil \ainting, quickly making it th\ \r\/\rr\d m\thod in V\nic\. L\onardo was also lat\r to visit\ two cont\m\orary archit\cts \ramant\ and Antonio da Sangallo th\ \ld\r, L\onardo \x\\rim\nt\d with d\signs /or c\ntrally \







 

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