Leonardo da Vinci is often treated as the emblem of genius, the Renaissance mind par excellence. And yet, late in life, Leonardo regarded himself as something of a failure (a point that gets picked up a good deal in mainstream articles about him these days). He believed he had not finished enough, not delivered enough, not brought his restless investigations to proper completion, as in this post I read this morning, Why Da Vinci Thought He Was a Failure, The Culturist.
Obviously, this feels almost absurd. How could someone whose work reshaped art, anatomy, engineering, and natural observation judge himself so harshly… The Mona Lisa, The Last Supper, having a Teenage Mutant Ninja Turtle named after you (also my favorite one)? But if we approach Leonardo phenomenologically, attending not to outcomes but to lived experience, his dissatisfaction begins to make a different kind of sense.
What Leonardo struggled with was not a lack of talent or discipline, but the burden of curiosity itself.
Curiosity as a Way of Being
Leonardo’s notebooks reveal a mind endlessly drawn outward. I suffer similar tendencies, and the notebooks that I’ve meticulously kept since around 2010 would probably testify to that for an outside reader. He observed water curling around obstacles, birds banking in flight, muscles tightening beneath skin, and light diffusing through air. These observations were not collected for a single project. They were acts of sustained attention to the world as it presented itself.
Curiosity, for Leonardo, was not an instrument aimed at mastery. It was an orientation toward phenomena, a continual turning of the self toward whatever appeared. In phenomenological terms, this resembles intentionality, the basic structure of consciousness as always being consciousness of something that we find in Edmund Husserl’s Ideas I (PDF here).
Maurice Merleau-Ponty later argued that perception itself is a bodily engagement with the world rather than a detached mental representation (Phenomenology of Perception… dense but one of my fav works that should be more read these days!). Leonardo seems to have intuited this centuries earlier. His curiosity was embodied, sensory, and relational. He learned by lingering, sketching, returning, and allowing phenomena to resist easy explanation.
From this perspective, curiosity is not a trait one possesses. It is a way of inhabiting the world.
Why Curiosity Can Feel Like Failure
Leonardo’s sense of failure arose precisely because this mode of being does not align well with cultures of completion. He moved slowly, followed questions wherever they led, and often abandoned works when new phenomena called for his attention. Patrons expected finished paintings. Leonardo found himself perpetually unfinished. I often feel the same!
Phenomenologically speaking, this tension reflects a clash between two temporalities. One is the linear time of production and achievement. The other is the lived time of attention, where meaning unfolds through repeated encounters and deepening perception.
Leonardo lived primarily in the second. What looks like failure from the outside can, from within, be fidelity to experience. To remain curious is to resist closure. It is to stay with the world longer than efficiency allows. It’s certainly a curse on one level and we often treat it with pharmaceutical medication these days… but it’s also a blessing or superpower, depending on your persuasion.
Empathy as Curiosity Turned Relational
Leonardo’s curiosity did not stop at nature or mechanics. It extended deeply into human expression. His drawings and paintings reveal a remarkable sensitivity to gesture, posture, and facial expression. He did not simply depict bodies. He rendered states of being.
This is where curiosity becomes empathy.
Phenomenologically, empathy is not projection or emotional contagion. Edith Stein describes it as a way of accessing another’s experience while preserving their otherness (Stein, On the Problem of Empathy PDF, which should be required reading in all colleges and universities, if not in high schools). Empathy begins with curiosity, with the willingness to attend to another without collapsing them into our own expectations.
Leonardo’s art practices this attentiveness. His figures invite us to linger with them, to sense the interiority suggested by an angle of the head or a softness around the eyes. He does not explain them. He lets them be encountered.
This pairing of curiosity and empathy is essential. Curiosity without empathy becomes extractive. Empathy without curiosity becomes sentimental. Together, they form a disciplined openness to reality as it shows itself.
Curiosity Beyond the Human
Leonardo’s curiosity was also ecological, long before the term existed. He did not treat nature as inert matter to be controlled. Water had character. Air had movement. Plants and animals exhibited their own intelligences.
This resonates strongly with phenomenological approaches to ecology, where attention is given not only to systems but to lived encounters with the more-than-human world. To observe a tree across seasons, or to watch how rain alters the texture of soil, is not merely to gather data. It is to practice a form of relational knowing grounded in care.
Curiosity, in this sense, is ethical before it is theoretical. It teaches us how to stay with what exceeds us.
Real Being as Attentive Presence
Leonardo’s evident dissatisfaction with his life’s output may say less about his achievements and more about the cost of living attentively in a world that rewards closure. His life suggests that real being does not consist in finishing everything we begin, but in remaining responsive to what continually addresses us.
Curiosity keeps us open. Empathy keeps us responsible.
Together, they shape a way of being that is not centered on control or accumulation, but on presence, participation, and care. If Leonardo indeed felt like a failure, perhaps it was because he measured himself by standards that could never capture the depth of his engagement with the world.
Phenomenology invites us to reconsider those standards. It asks not what we have produced, but how we have learned to see, to listen, and to remain with what is given.
In that light, curiosity and empathy are not distractions from real being. They are its conditions.
