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Michelangelo lived a life which is described as being abstemious. Ascanio Condivi, Michelangelo's apprentice and biographer said that Michelangelo was indifferent to food and ate "more out of necessity than of pleasure." He was content with a little wine and bread while he worked.

While working on The Last Judgment he waited to eat until evening when he was done painting for the day. Michelangelo was so intent on his art that he sometimes went without eating.

According to Fred Plotkin, author of " Italy for the Gourmet Traveler ",

"Michelangelo lived almost 89 years, so he must have done something right in terms of his nutrition. I think that he probably would not be called a gastronome. He liked pears...a lot. His standard gift was to send 33 pears to someone - 33 for the 33 years of the life of Christ. He also had a cheese cellar, and in that cellar he kept several types of sheep's milk cheese, one of them called marzolino. Marzolino for the month of March. It was only made in March, and he particularly loved that cheese. He had a vineyard and he produced some wine-1503, I discovered, was a good vintage. He produced some olive oil, and he ate bread. And that really was about it. There was not much more. He lived on pears, cheese, oil, wine, and bread. The book, when I do finish it...will really cover Michelangelo in terms of Italy."

Michelangelo had such a passion for his work that he suffered great fatigue, he recognized his exhaustion yet couldn't stop, or wouldn't stop. He wrote to his brother, Buonarroto, and said, "I have not even time to eat as much as I should."

Plotkin quote source: http://blog.usapears.org/?p=3487

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Michelangelo lived a life which is described as being abstemious. Ascanio Condivi, Michelangelo's apprentice and biographer said that Michelangelo was indifferent to food and ate "more out of necessity than of pleasure." He was content with a little wine and bread while he worked.

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(The name should be - Leonardo IRL)

LDV gets out of bed talks about his background

Gets into his now life/ professional like / while walking to his studio

Mention how he is rivals with the other artist

And it should mention how he is better than the other artist …

That's about it

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lots of facts found about him
You can find his professional life and old age facts here I am too lazy to write another list of facts

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Court records of 1476 show that Leonardo and three other young men were charged with sodomy, and acquitted. From that date until 1478 there is no record of his work or even of his whereabouts, although it is assumed that Leonardo had his own workshop in Florence between 1476 and 1481. He was commissioned to paint an altarpiece in 1478 for the Chapel of St Bernard and The Adoration of the Magi in 1481 for the Monks of San Donato a Scopeto.

In 1482 Leonardo helped secure peace between Lorenzo de' Medici and Ludovico il Moro, Duke of Milan. Leonardo wrote a letter to Ludovico, describing his engineering and painting skill. He created a silver lyre in the shape of a horse's head, with which he was sent to Milan.

Leonardo continued work in Milan between 1482 and 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception, and The Last Supper for the monastery of Santa Maria delle Grazie. While living in Milan between 1493 and 1495 Leonardo listed a woman called Caterina among his dependents in his taxation documents. When she died in 1495, her list of funeral expenditure suggests that she was his mother.

His work for Ludovico included floats and pageants for special occasions, designs for a dome for Milan Cathedral and a model for a huge equestrian monument to Francesco Sforza, Ludovico's predecessor. Leonardo modelled a huge horse in clay, which became known as the "Gran Cavallo", and surpassed in size the two large equestrian statues of the Renaissance. Seventy tons of bronze were set aside for casting it. The monument remained unfinished for several years, which was not unusual for Leonardo. In 1492 the model was completed, and Leonardo was making detailed plans for its casting. Michelangelo rudely implied that Leonardo was unable to cast it. In November 1494 Ludovico gave the bronze to be used for cannons to defend the city from invasion by Charles VIII.

At the start of the Second Italian War in 1499, the invading French troops used the life-size clay model for the "Gran Cavallo" for target practice. With Ludovico Sforza overthrown, Leonardo, with his assistant Salai and friend, the mathematician Luca Pacioli, fled Milan for Venice, where he was employed as a military architect and engineer, devising methods to defend the city from naval attack.

On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St. Anne and St. John the Baptist, a work that won such admiration that "men and women, young and old" flocked to see it "as if they were attending a great festival". In 1502 Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. He returned to Florence where he rejoined the Guild of St Luke on 18 October 1503, and spent two years designing and painting a great mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In Florence in 1504, he was part of a committee formed to relocate, against the artist's will, Michelangelo's statue of David.

In 1506 he returned to Milan. Many of Leonardo's most prominent pupils or followers in painting either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio and Marco D'Oggione. However, he did not stay in Milan for long because his father had died in 1504, and in 1507 he was back in Florence trying to sort out problems with his brothers over his father's estate. By 1508 he was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila.

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Leonardo Da Vinci Biography With All Details | leonardoda-vinci.org

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Observing Leonardo Da Vinci biography. From early years to education, personal life and style development. All about the superb artist | leonardoda-vinci.org

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masterworks The Mona Lisa and The Last Supper. The classic “renaissance man,”

Leonardo di ser Piero da Vinci", meaning "Leonardo, son of (Mes)ser Piero from Vinci."

Artist, inventor, scientist, architect, engineer

Techniques

included layering of paints

precise attention to light, shadow, and human form

detailed eye for expression and gesture

He is a “Renaissance man.”

remains best known for his art, Mona Lisa and The Last Supper.

Filled dozens of secret notebooks with inventions, observations and theories about pursuits from aeronautics to anatomy

Wrote backwards / or in secret ways

inventions as the bicycle, the helicopter and an airplane based on the physiology and flying capability of a bat. (Found in his notebooks)

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Born April 15th, 1452, died May 2nd, 1519 (age 67)

"at the third hour of the night" in the Tuscan hill town of Vinci

in the lower valley of the Arno River in the territory of Florence.

His dad - illegitimate son of Messer Piero Fruosino di Antonio da Vinci, a Florentine notary, and Caterina, a peasant who may have been a slave from the Middle East.

spent his first five years in the hamlet of Anchiano

then lived in the household of his father, grandparents and uncle, Francesco, in the small town of Vinci

His father had married a sixteen-year-old girl named Albiera, who loved Leonardo but died young

only recorded two childhood incidents

One, which he regarded as an omen, was when a kite dropped from the sky and hovered over his cradle, its tail feathers brushing his face

Second occurred while exploring in the mountains. He discovered a cave and was both terrified that some great monster might lurk there, and driven by curiosity to find out what was inside.

In 1466, at the age of fourteen, Leonardo was apprenticed to one of the most successful artists of his day, Andrea di Cione aka Verrocchio.

Leonardo would have been exposed to a vast range of technical skills and had the opportunity to learn many different subjects

Leonardo collaborated with Verrocchio on his Baptism of Christ, painting the young angel holding Jesus’ robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again. This is probably an exaggeration.

Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473.

1472, at age twenty. Leonardo qualified as a master in the Guild of St Luke, the guild of artists and doctors of medicine

after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him.

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Story about battle between Michelangelo and Leonardo

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Story about battle between Michelangelo and Leonardo

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Nobody knew better than him the value of art, the need to preserve the memory of great artists. You feel the emotion, the hushed awe, when he describes seeing pieces of Michelangelo's drawing of the Battle of Cascina in the house of a gentleman in Mantua: "They seem to the eye things divine rather than human." And yet, of all people, it was Giorgio Vasari, author of The Lives of the Painters, Sculptors and Architects (1568), the unrivalled chronicler of the Renaissance, who obliterated every trace of one the most extraordinary projects in Renaissance art.

In the 1560s, Vasari redecorated the Council Hall of the Palazzo Vecchio in Florence, replacing what survived of the most ambitious and tantalising public art commission of the Renaissance. This included two masterpieces that - even as legends, glimpsed through descriptions, copies, a handful of surviving preliminary sketches - have haunted art ever since. At the beginning of the 16th century, in this same room, side by side on the same wall, Leonardo da Vinci and Michelangelo Buonarroti were hired to paint vast battle scenes in direct competition with one another.

One thing can be said for Vasari's replacement paintings: they won't induce Stendhal syndrome, the illness caused by aesthetic excitement that afflicts several visitors to Florence every year. Vasari was a vivid writer but a flat painter. Today the vast walls of the long, rectangular hall are vapid. In a city so rich in beauties, the Council Hall, known today as the Salone dei Cinquecento, isn't even a contender.

So it's a perverse pursuit, in a city with visible masterpieces from Michelangelo's Medici tombs to Brunelleschi's dome, to go looking for what is not there. It feels a little melancholy, standing in the Palazzo Vecchio speculating on what might have been, peering at Vasari's frescos as though we could look through them, when we might be next door in the Uffizi, gorging on Botticellis. But, since the 16th century, people have been obsessed with the lost battle paintings of Michelangelo and Leonardo: artists from Raphael to Rubens; art historians including Kenneth Clark, who called these lost pictures "the turning point of the Renaissance"; the company Editech Art Diagnostics, which is to scan the wall under Vasari's paintings in an attempt to find traces of Leonardo's Battle of Anghiari.

It might sound crass to talk as though the decoration of the Council Hall was a point-scoring competition between two such lofty minds as Leonardo and Michelangelo, but that was how contemporaries saw it. Leonardo was in his early 50s and renowned throughout Europe when he was commissioned in 1503. He had just painted the Mona Lisa. "His fame had so increased," writes Vasari, "that all persons who took delight in art - nay, the whole city of Florence - desired that he should leave them some memorial work."

Leonardo was commissioned to paint a vast wall painting of The Battle of Anghiari, a scene from the 15th-century wars between Florence and Milan. Then, in December 1504, a far younger Florentine was commissioned to paint The Battle of Cascina, which took place between Florence and Pisa in the 14th century, on the same wall of the Council Hall.

Michelangelo was just 29, and a prodigy. Born in 1475 and trained in the sculpture academy created by Lorenzo de'Medici in a garden in Florence, by 1498 he had carved the Pieta in St Peter's in Rome; in May 1504, the same month that Leonardo revised his contract with the Signoria of Florence to put back the completion date of The Battle of Anghiari, Michelangelo's statue of David was installed outside the Palazzo Vecchio. Leonardo, inconceivably, had a rival.

Vasari is explicit that this was a contest. He emphatically says that Michelangelo was commissioned "in competition with Leonardo". With competition came paranoia, hatred. Michelangelo had little time for Leonardo - according to Vasari, he made his dislike so clear that Leonardo left for France to avoid him. For his part, Leonardo made bitchy remarks in his notebooks on the "wooden" qualities of Michelangelo's painting.

So you can't help thinking that Piero Soderini, elected in 1502 as lifetime gonfalonier of justice of the Republic - a little like the Venetian doge - had mischief in his mind when he set Leonardo and Michelangelo to work on the same wall. And, yet, what happened in the Palazzo Vecchio turned out to be more mysterious and more private to both these artists than anyone expected.

There was far more at stake than artistic rivalry. The council hall was the centre of a new, more populist idea of the Florentine Republic, which, after the expulsion of the Medici in 1494, was restored with a far greater commitment than ever before to speaking for the entire city. The rebirth of the Florentine Republic was a moment of intense self-rediscovery for Florence; after a century in which the city had become more like a conventional princedom, it was reasserting republican government. Brilliant minds gave their all to the struggle to recreate the Republic - one of Piero Soderini's close allies was Machiavelli. Historians used to believe, that Machiavelli was instrumental in commissioning Leonardo to decorate the Council Hall.

What is certain is that Leonardo and Michelangelo both had new hope for their city. They had been working far from Florence, in Milan, in Rome. Now they returned. Were they republicans? Michelangelo created the Republic's most seductive work of political art, a powerful symbol of manly, energetic, watchful, clear-eyed heroism: David, hero of the weak against the strong, of Florence against tyrannical powers.

The city of Florence had every reason to expect that Leonardo and Michelangelo, as aware as everyone else of the vulnerability and preciousness of the city's freedom, would create patriotic masterpieces, and that rivalry would spur them on. It spurred them all right - but in odd, hermetic,and pessimistic directions. The images of war they created were not bright and celebratory pageants of chivalry, but enigmatic, disturbing.

Preliminary drawings survive of men and horses by Leonardo; there is a copy, attributed to Rubens, taken from an earlier copy, of the central scene of his painting, known as The Battle of the Standard. For Michelangelo, the main visual source is a painting now in Holkham Hall, Norfolk, by Bastiano da Sangallo, a copy of Michelangelo's Battle of Cascina. Even from these fragments, we can see why contemporaries regarded the Battles of Anghiari and Cascina as the key works of their time - and why they have haunted the representation of war ever since.

Leonardo and Michelangelo, for all their different ages, different styles - Leonardo soft, shadowy, ambiguous; Michelangelo sublimely decisive - and their enmity, had one thing in common. Neither liked to finish anything. By the time Leonardo was commissioned to paint the Council Hall, everyone knew this about him; what no one knew was that Michelangelo - who had been prodigious - was to become dilatory and difficult. In fact, Michelangelo's abortive work on The Battle of Cascina marks the beginning of the pattern of non-completion that was to mark his life. You might even speculate that he learned this from Leonardo.

Leonardo, on this occasion, got a lot further than Michelangelo. He took a long time to finish his cartoon and we know, from sketches of men and horses that survive, how passionately he engaged with it; the horses as tense and confrontational as the men, the men as bestial as the animals - warriors have their mouths snarlingly open, as if they want to bite flesh. Leonardo made a unique machine, a wooden elevator, so he could move up and down the wall in comfort. But, as with the Last Supper, technical ingenuity got the better of him. Leonardo used a method - apparently based on a recipe in the ancient Roman writer Pliny the Elder - to enable him to paint the wall in oils. The mixture didn't work - he may have been cheated on materials; the upper part dried dark and the lower parts disintegrated.

Michelangelo never got past the drawing stage. But what a drawing, everyone agreed. He took over a room in the Hospital of the Dyers in Florence, and drew a full-sized cartoon in superb detail. Everything about it was startling. Leonardo depicted the very heart of battle, an agonising, horrific entanglement of human and animal bodies, but Michelangelo drew war's margins, a moment of bizarre ordinariness, when Florentine soldiers, bathing naked in the Arno, hear the enemy coming and rush to get out of the water and put on armour.

Michelangelo's painting never reached the wall, but Leonardo's did. It's a mystery why it was painted over in 1565, by that same Vasari who wrote Leonardo's life. It was a Leonardo, which meant as much then as now. Vasari reported in 1556 that the Last Supper had deteriorated to "a muddle of blots", but it has been preserved and worshipped ever since in its ruinous state. There is more going on than meets the eye in the Salone dei Quinquecento.

In 1512, a Spanish army sent by the Holy League overthrew the Florentine Republic; Piero Soderini fled and the Medici were returned to power. Machiavelli retired to write his bleak political theory. The sense that Michelangelo was a Republican, despite all he owed the Medici and the Pope as patrons, is strengthened by the way that he again returned to Florence when the Medici were chucked out and the Republic restored one more time in 1527. Michelangelo built defences for this last Florentine Republic; his defences failed, the city fell, the Medici came back in 1530. Michelangelo was forgiven because of his fame.

After 1530, republicanism was finished in Florence, which became a conservative, princely city, whose art would never again be at the forefront of Europe. The Palazzo Vecchio became a Medici palace. When Vasari was commissioned to redecorate the Council Hall, he was suppressing the past, effacing signs of the Republic, of the people. Those signs included Leonardo's Battle of Anghiari.

Today you can walk around Florence seeing ghostly images of the two lost masterpieces. In the Casa Buonarroti is a very early Michelangelo, The Battle of the Centaurs, in which naked bodies twist and wrap around each other and coil and flex as the nude soldiers would have done as they clambered out of the Arno. The most intangible, yet most direct, trace of either battle painting is in the Uffizi, in Leonardo da Vinci's Adoration of the Magi. In the receding distance of Leonardo's unfinished conundrum of a painting are horsemen, engaged in combat. The warriors in Leonardo's battle painting repeated, consciously or unconsciously, those in the earlier Adoration of the Magi. You stand before this astonishing picture, shadowy faces swimming out of the chiaroscuro blur, enigmatic architecture resolving itself out of insubstantial space, and look at those spectral horsemen; they are dream warriors. "Creatures shall be seen on the earth who will always be fighting one with another, with very great losses and frequent deaths on either side," he wrote in one of his prophecies. It is that monstrous version of humanity that Leonardo glimpsed, and painted, in The Battle of Anghiari.

The fascination of the invisible battles of Leonardo and Michelangelo is that they announce a new interiority, emotionalism and self-expression in Renaissance art, of human action no longer making sense, of heroism and martial glory no longer being under control. Just as Machiavelli concluded from the defeat of the Florentine Republic that human affairs are irrational, so the two greatest Renaissance artists created the first modern, disenchanted images of war.

· Palazzo Vecchio, Florence, is open seven days a week. Holkham Hall, Norfolk, is open to the public during the summer months.
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The extraordinary story of a painting contest between Michelangelo and Leonardo

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Nobody knew better than him the value of art, the need to preserve the memory of great artists. You feel the emotion, the hushed awe, when he describes seeing pieces of Michelangelo's drawing of the Battle of Cascina in the house of a gentleman in Mantua: "They seem to the eye things divine rather than human."

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I found a cool website that apparently states the Michelangelo, Raphael, and Leonardo were rivals. However, it wasn't working so here's what I read:

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I found a cool website that apparently states the Michelangelo, Raphael, and Leonardo were rivals. However, it wasn't working so here's what I read:

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Leonardo da Vinci, Michelangelo and Raphael are three of the greatest artists in history. But they were also people with ideas and visions that reached far beyond the world of art. They were also bitter rivals, competing for both commissions and fame. All three became immortal.

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Solid color background but looks 3D

Something like this (pic below)

Black hole appear in ground and nike shoes and 4 turtles get thrown out each with the ninja turtle wrap thing

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shoe brand vs. shoe brand
Mona Lisa's eyes moving

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People we're in charge of and some short hand

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People we're in charge of and some short hand

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Linvia / L- Michelangelo / MI
Kaylin / K - Raphael / R
Melody / M - Leonardo / LDV
Alison / A-  donatello / DO