Nature is only a giant human being – Leonardo da Vinci expressed (and on his way there, discovered) the nature of the connection between man and nature, between the macrocosmic and the microcosmic. As an artist, engineer, scientist, and generally a highly curious human being, Leonardo is in a particularly unique position to depict the world around him. We could see this playing into his works: the pattern-detecting, research-heavy, highly technical, almost scientific manner of creating.
This is showcased quite wonderfully through works like The Last Supper, which, on top of the impressive technicality that went into its composition, radiates another key feature of this artist’s creativity: the experimentation for problems and contemplation of complex ideas. Rather than merely recording the scene of Christ’s supper, Leonardo depicted the reaction, dynamic, and nuances of the narrative, exploring the psychological worlds of the players, using rational numbers and hyper-specific calculations to evoke emotions from its viewers.
Another major figure in the art world at this time is Donato Bramante – his design of Tempietto, echoing Leonardo’s fascination with round churches. With structures of rounded buildings running around one another, as well as the call back to the structure of early Christian matyriums and Roman churches, we can see the general focus of artists of this period on harmony, balance, and the interactions between different parts of the overall structure.