Vogel, Carol (20 January 2003). "Renaissance Genius as Compulsive Draftsman; An Exhibition Explores Leonardo's Creative Process With a Wealth of Examples". New York Times . Retrieved 16 August 2020. Do you know what it is? My dad was a really good artist. He used to paint beautiful pictures.” Mostly in oil crayons; Kemp has some on his walls. “But he worked in a factory. And I think in another life my dad would have been an artist. And he knew that he wanted to give me and Gary that chance.” Indeed, Kemp’s favourite memory of Michael, who was godfather to Roman, was “one day, maybe about a year before he left us. And I was painting my living room. The night before, we’d gone out to dinner. He’d said: ‘Oh, I’ll come round tomorrow. I’ll help.’ So at the end of the day there’s me and George in these white painters’ hazmat suits with a glass of wine each, looking round at the job that we’d done … He was just a lovely man.” Indeed, Kemp’s favourite memory of Michael, who was godfather to Roman, was “one day, maybe about a year before he left us. And I was painting my living room. The night before, we’d gone out to dinner. He’d said, ‘Oh, I’ll come round tomorrow. I’ll help.’ So at the end of the day there’s me and George in these white painters’ hazmat suits with a glass of wine each, looking round at the job that we’d done … He was just a lovely man.” In the book, Kemp stops short of an apology. “Oh, listen,” he says immediately. “I would apologise to Tony, absolutely, for the way that he was treated. I think it was really poor.”

The domestic-themed stories make me wonder if the Kemps aspire to a Kardashian-style fame, a Keeping Up With the Kemps. “People have spoken about it several times over the years,” he says. “But I can imagine Roman not wanting to do that.” If there were arguments, me and Gary could go into a room, argue it out. Even to the point where we used to have proper fist fights. Because the pressure of the whole thing was too much Kemp thinks he gets his approach from his own father, a printer, who was encouraging and nonjudgmental. In the early Spandau days, when Kemp was heading for the front door in a crimplene dress and makeup, he would call out: “Goodnight!” hoping to provoke his dad’s disapproval. But his dad would only glance up from his chair and say: “Have you got your keys?” Martin John Kemp FBA (born 5 March 1942) is a British art historian and exhibition curator who is one of the world's leading authorities on the life and works of Leonardo da Vinci. [1] [2] The author of many books on Leonardo, Kemp has also written about visualisation in art and science, particularly anatomy, natural sciences and optics. Instrumental in the controversial authentication of Salvator Mundi to Leonardo, Kemp has been vocal on attributions to Leonardo, including support of La Bella Principessa and opposition of the Isleworth Mona Lisa. a b c "Martin Kemp, Emeritus Professor of the History of Art". ox.ac.uk. University of Oxford. Archived from the original on 26 March 2012 . Retrieved 16 August 2020.He has written a regular column called "Science in Culture" in the scientific journal Nature. Selections of these columns have been published as Visualisations ( OUP, 2000) and Seen and Unseen (OUP, 2006): the latter exploring his concept of "structural intuitions". Reviewing Visualisations, the historian of ideas Scott L. Montgomery described Kemp as like a "master gardener" who "for nearly two decades, [...] has helped shape this new field in major ways, planting a wide array of topics, arranging the colors of their importance, surveying and reconstituting the efforts of others, all the while adding original species of insight and subject matter." [15] In 2011 he published Christ to Coke: How Image becomes Icon (OUP, 2011). [16] [17] Salvator Mundi [ edit ] Baumgartner, Barbara (1 March 2004). "Book Review: Spectacular Bodies: The Art and Science of the Human Body from Leonardo to Now, by Martin Kemp and Marina Wallace. Jointly published by the Hayward Gallery and the University of California Press, 2000. 232 pp". Journal of Medical Humanities. 25 (1): 79–81. doi: 10.1023/B:JOMH.0000007536.30721.5c. ISSN 1573-3645. S2CID 145615453. Spandau Ballet at Live Aid in 1985 … (from left) Martin Kemp, Gary Kemp and Tony Hadley. Photograph: Pete Still/Redferns Martin Kemp was appointed as the Professor of the History of Art Department in 1995. As the leading Leonardo da Vinci scholar, Kemp’s work has stressed the work of the artist as a modeller and empirical investigator of the world. Professor Kemp has been Emeritus Professor of the History of Art since 2008.

Structural Intuitions: Seeing Shapes in Art and Science. Charlottesville: University of Virginia Press. ISBN 978-0-8139-3699-4. OCLC 936204711. Dalivalle, Margaret; Simon, Robert Barry (2019). Leonardo's Salvator Mundi & The Collecting of Leonardo in the Stuart Courts (Firsted.). Oxford. ISBN 978-0-19-254328-8. OCLC 1127668595. {{ cite book}}: CS1 maint: location missing publisher ( link) Lankford, Mike (17 August 2018). "The Keeper of the Keys Tells His Tale". lareviewofbooks.org. Los Angeles Review of Books . Retrieved 16 August 2020. Had his envy of Gary boiled over by this point? “No. Not at all, really. Because at that point,” he says, clearing his throat, “Gary and my personalities are so different. We recognised that. So the parts Gary was getting, I wasn’t right for anyway.”Kemp has written many books about Leonardo da Vinci, his first of which, Leonardo da Vinci. The Marvellous Works of Nature and Man in 1981, won the Mitchell Prize in art history for best first book. [13] He has published on imagery in the sciences of anatomy, natural history and optics, including The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat ( Yale University Press). The art theorist and psychologist Rudolf Arnheim said that The Science of Art "may deserve to be called the definitive treatise on its topic" though its detail may make it difficult reading for non-specialists. [14] Wolfson Research Professorships". thebritishacademy.ac.uk. The British Academy . Retrieved 16 August 2020. Now that he is mostly playing himself – in books, and in all those reality TV shows and presenting roles – he feels much better about being recognised. With the band he used to feel he was “never putting enough of me into it”. “Now it’s different,” he says. “Someone sees me and waves, that’s great. Am I coming into my own? I think I’m a lot more relaxed about life.” Leonardo by Leonardo. New York: Callaway Arts & Entertainment. ISBN 978-0-935112-82-5. OCLC 1083154267. [30]

Vasari, Giorgio (2019). The Life of Leonardo da Vinci. Translated by Kemp, Martin; Russell, Lucy Emma Victoria. New York: Thames & Hudson. ISBN 978-0-500-23985-8. OCLC 1079261129.The Salvator Mundi is a painted wooden panel depicting Christ. It was exhibited in 2011 as an original work by Leonardo da Vinci, but the attribution has been controversial, with some scholars describing da Vinci as a contributor but not the main artist. [18] Kemp's research supported its attribution to da Vinci. [19] [20] He said that as soon as he viewed the painting, he recognised the presence and "uncanny strangeness" of da Vinci's works. [21] The painting was sold in 2017, setting a new record for the most expensive painting ever sold at public auction. [22] In a 2019 book, Kemp identifies symbolism in the painting that is familiar from da Vinci's other religious paintings. [18] He is interviewed in the 2021 documentary about the work, The Lost Leonardo. a b Christensen, Lauren (27 July 2019). "A da Vinci for Any Budget". New York Times . Retrieved 16 August 2020. Kemp thinks he gets his approach from his own father, a printer, who was encouraging and nonjudgmental. In the early Spandau days, when Kemp was heading for the front door in a crimplene dress and makeup, he would call out “Goodnight!” hoping to provoke his dad’s disapproval. But his dad would only glance up from his chair and say, “Have you got your keys?” Spandau Ballet at Live Aid in 1985: Martin Kemp with Gary Kemp and Tony Hadley. Photograph: Pete Still/Redferns/Getty

Au-Yeung, Angel (15 November 2017). "At Auction, Billionaire Sells Da Vinci Painting For A New World Record Price". Forbes . Retrieved 14 September 2021. Leonardo da Vinci (2019). Laurenza, Domenico; Kemp, Martin (eds.). Leonardo da Vinci's Codex Leicester: A New Edition (Firsted.). Oxford: Oxford University Press. ISBN 978-0-19-883287-4. OCLC 1108727522. Pallanti, Giuseppe (2017). Mona Lisa: The People and the Painting. Oxford: Oxford University Press. ISBN 978-0-19-874990-5. OCLC 966534826. Besides, they all get on too well. On Gogglebox, “you see me and Roman absolutely how we have been since he was a kid”, Kemp says. Years ago, he and Shirlie discussed their parenting philosophy and agreed “to bring Harley and Roman up as if they were mates”.These days, if people think of the Kemps, they are more likely to picture Martin and his son, Roman, than Martin and Gary. He has surely overtaken his brother. “No. We’re a dynasty, I think,” Kemp says. And, sounding as if he is remembering how things were settled in childhood, he adds: “We take it in turns.” Castle, Tim (11 October 2007). "London show strips bare 2,500 years of erotic art". Reuters . Retrieved 21 October 2020. You would call it dysfunctional, except “it really worked”, he says. “It was easy for me and Gary. We loved each other underneath all of it. We could forget about it because we’d been doing it all our lives.” What makes an image an icon?". blog.oup.com. Oxford University Press. 3 October 2011 . Retrieved 3 October 2020. Kemp’s role was “mediator”, he says. “If there were arguments, me and Gary could go into a room, argue it out. Even to the point where we used to have proper fist fights. Because the pressure of the whole thing was too much.”