Changing the Paradigm
In the 1970s, people started to research left-handedness, at last breaking the prejudice. On August 13th, 1992, the Lefthanders Club established International Left-Handers Day, finally changing history. In the same years, the art historian Philippe Lanthony started a systematic analysis of an incredible number of masterpieces and sources, in order to determine which painters had created them with their left hand. He searched in the literature; in the paintings themselves (for example, observing the orientation of the hatchings); and in representations of the artists (portraits or photos). Through these techniques, he found very interesting answers.1
Are Left-Handed People Rare Among Artists?
On the contrary! From the 1990s on, it became clear that a very large number of artists were and are left-handed. From painters to architects to illustrators and graphic artists, it may seem that among art creators there’s a high percentage of left-handers. If in the general population, about 8-10% are left-handed, it seems higher among artists.2
This might have a scientific explanation; in general, every person has a hemisphere of their brain that is dominant. In the majority of people, it is the left one, which controls the right side of the body. For left-handers, the dominant side of the brain is the right one. From a historical point of view, it has always been linked to fantasy and creativity. Actually, research more precisely hypothesized that this was a myth, and both sides are necessary. However, the right side may actually be more developed to express “creative thought” (if compared to the “logical thought” of the left hemisphere) and visuospatial skills. In other words, left-handers could have more developed visuospatial abilities and the capability to act with an alternative logic.
Leonardo & Michelangelo: Some Hypotheses and the Stigma
The stigma of being left-handed, very present during the Middle Ages, remained alive throughout Renaissance. Michelangelo Buonarroti (1475–1564) probably forced himself to learn to use his right hand when painting, but some sources report him as left-handed. One of the first biographies of the artist describes this detail.
Recently, an Italian art historian and researcher studied his hand deformities from observation of three portraits representing Michelangelo.3 All three paintings show the artist’s left hand later in his life, being affected by degenerative arthritis. This is a non-inflammatory disease affecting joints, which may be accelerated by prolonged hammering and chiseling. We cannot be sure, but these images may effectively suggest the artist’s left-handedness.
As for Leonardo da Vinci (1452–1519), there are even more hypotheses about his left-handedness, although no definitive answers. Many authors explained his left-handedness through his mirror-handwriting, i.e. from right to left. In their opinion, it was not (only) a brilliant idea to hide his discoveries and projects, but “just” a comfortable habit. However, throughout centuries, a new hypothesis emerged: he was ambidextrous. In other words, he was left-handed in writing and sketching, but he actually used his right hand when painting.
This hypothesis seems to find confirmation in his later life and work. In fact, in older age, he suffered from a paresis in his right arm, and although his production continued to flourish, it was mainly composed of sketches and drawings rather than paintings.4 The origin of his paresis is still unclear, but it might have been due to a stroke, to Dupuytren’s contracture, to an ulnar nerve palsy, or to focal dystonia.