In "Leonardo da Vinci," Ken Burns Reveals a Seeker, Not a Mythical Wizard

Ken Burns and his collaborators usually tackle expansive topics The Civil War. National Parks. Baseball. Country Music.

However, at times he does focus on specific historical individuals like Thomas Jefferson and Muhammad Ali. In his most recent documentary, Burns zeroes in on none other than Leonardo. It’s not about DiCaprio, though. the man hailing from the Italian town of Vinci That brilliant Renaissance figure who thoroughly deserves the two-part, four-hour special "Leonardo da Vinci," scheduled for broadcast on PBS on November 18 and 19 (please check local listings).

"Leonardo outshines many of the subjects we've covered before," remarks Burns, who co-directed with her daughter and son-in-law, Saran Burns and David McMahon. "His insatiable curiosity elevates him as an ideal topic: he possesses extensive knowledge and deep insights into humanity’s place within the cosmos. There isn't much that surpasses this level of significance.”

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Leonardo had an array of interests ranging from painting to engineering and natural sciences, prompting the documentary to delve deeply into these topics with insights from specialists in art, medicine, theater, aviation, and film. Additionally, the documentary candidly examines Leonardo's homosexuality and his significant personal connections in "Leonardo da Vinci."

“Each one of our projects is an expedition of exploration,” remarks Sarah Burns, who resided in Florence for a period to gain deeper insights into the renowned city’s celebrated figure. “We tend to choose subjects specifically because they are unfamiliar territories for us. However, when dealing with someone such as Leonardo da Vinci, the process presented an exceptionally challenging educational ascent.”

The Burnses shared some of their Leonardo da Vinci insights with USA TODAY.

Question: Numerous biographies of Leonardo exist, including a recent one by your contributor, Walter Isaacson. What fresh insights did you gain about this individual?

For Ken Burns, everything felt fresh. He understood what the artist created but wasn’t aware that there were less than 20 works overall, with just half being finished pieces. Beyond this, he discovered the intricacy of the painter's methods which highlighted something referred to as the “intention of the mind” within his subjects, setting him apart from others in his field. It’s remarkable how Leonardo stands out; despite being our eldest focus subject, he seems incredibly contemporary. Were he transported into today’s world, he would likely remark, "Ah, excellent job getting to the moon!"

Sarah Burns: I really enjoyed discovering more about his character. It’s simple to picture him as a tormented loner artist. However, that wasn’t the case at all. Everyone adored having him around because he cherished singing and making music, plus he had an extravagant sense of style. Our aim is to depict a genuine individual with depth—a multifaceted human being rather than a legendary sorcerer credited with foreseeing significant innovations. Instead, we're talking about someone who experienced friendships and personal connections.

It's incredible to think that he was competing against contemporaries like Michelangelo and Raphael. What an impressive rivalry! !

Ken Burns: Definitely. Currently, I am diligently working on my upcoming documentary which focuses on the American Revolution. Similar to previous projects, it involves figures like George Washington, Thomas Jefferson, Alexander Hamilton, John Adams, and James Monroe—these towering historical figures. It makes one wonder, “How did all of this come together?” This project only amplifies that feeling.

Sarah Burns: However, in a sense, these artists were profoundly shaped by their extraordinary era. In places such as Florence and Milan during the Renaissance, there existed opportunities to (break new ground). Wealthy benefactors alongside the principles of humanism provided openings for creativity. Yet, concurrently, there was significant impetus from mutual encouragement and rivalry among them.

However, even when we consider geniuses such as Michelangelo and other figures from the 1500s whom we continue to admire today, Leonardo appears in your film as genuinely exceptional.

Ken Burns: Absolutely unparalleled; there’s no doubt about it. Just examine the intricacies in “The Last Supper”; it feels more like a mini-movie rather than a traditional still image due to all the dramatic elements scattered throughout. While Michelangelo certainly made remarkable contributions, his work didn’t delve into fluid mechanics or avian flight, nor did it foreshadow advancements in cardiovascular medicine. Amidst an otherwise gradual progression of ordinary humans, figures such as Leonardo emerge almost out of nowhere. Assuming most people use only around 10 percent of their brain capacity, individuals like Leonardo were operating with perhaps 75 percent—or even beyond—of theirs. Regardless of what one takes away from this documentary, I genuinely wish for viewers to aspire to embody some of those qualities exhibited by da Vinci himself.

What you're suggesting is just being more inquisitive regarding all the things surrounding us. ?

Sarah Burns: Precisely. Leonardo possesses an insatiable desire for knowledge; he harbors this compulsive curiosity. He pushes boundaries even further. He asserts, “I not only wish to comprehend the workings of the human form to enhance my artistry, but I will also venture into dissections of corpses just to gain broader insights into the body.” This intense dedication distinguishes him even among his highly meticulous contemporaries.

Leonardo was born out of wedlock and spent some time growing up on the periphery, an experience that significantly influenced his development into adulthood.

Ken Burns points out that this is crucial since being born out of wedlock at that time prevented him from attending college, thus keeping him away from the confines of academia. As a result, he concludes with, "Nature is my true mentor, and it is flawless."

Sarah Burns: He doubts every single thing. It seems like he carries a grudge about questioning things.

It took you 18 months to receive approval for filming "The Last Supper," but the Louvre in Paris allowed you to shoot "The Mona Lisa." Despite this, "The Mona Lisa" only shows up in the last few moments of the movie. Can you explain why?

Sarah Burns: Our aim was to place it within the broader scope of Leonardo's entire life journey. Despite commencing this masterpiece roughly 15 years prior to his passing, he infused every aspect of his lifelong research and knowledge into that single artwork—his insights into human anatomy, his observations of natural phenomena, and his understanding of how the human form connects with our planet.

In the close-up shot, Ken Burns reveals his remarkable skill. The painting appears seamless without distinct boundaries; instead, it flows smoothly from her cheek to her nostril to her forehead through layers of pigment. As one of our art experts mentions in the documentary, observing how delicately he captures the subtle pulse beneath her fair skin brings the figure vividly to life. This expertise leads our expert to dub him a "painter god."

The article initially appeared on USA TODAY: In "Leonardo da Vinci," Ken Burns portrays him as not a mythical sorcerer but rather as an explorer of knowledge.