Portrait of Maria Trip

Prompt: In Portrait of Maria Trip, how is the abstract discussed?

Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:845. A YOUNG WOMAN AT A STONE BALUSTRADE. Bode 19; Dut. 283; Wb. 352; B.-HdG. 274. About thirty-five. Half-length; life size. She stands, inclined to the left, and looks at the spectator. She holds her fan in her left hand, which rests on the balustrade. Her brown hair is uncovered and falls in ringlets on her brow. Her figured black silk gown is cut out at the throat and trimmed with rosettes; over it is a triple collar of rich lace, lying flat. She has rich pearls in her ears, on her bosom, round her neck, and on her wrists. A small jewelled medallion is suspended from a black ribbon. Her right hand hangs at her side. She stands in front of a recess with a caryatid to the left; behind her is a dark curtain. Full daylight falls from the front. Corrections are visible on the lower edge, where there was once a table, and there were large buttons on the left sleeve.Signed on the left at foot, "Rembrandt f. 1639"; cedar panel, 42 inches by 32 inches. A carefully executed pen-sketch for this picture is in the British Museum Print Room; reproduced, HdG. iv. 88. Etched by L. Flameng in the Gazette des Beaux-Arts, and in Dutuit, iii. Mentioned by Vosmaer, pp. 170, 520; Bode, pp. 459, 559; Dutuit, p. 54; Michel, pp. 213, 565 [163-4, 440]. Exhibited at Amsterdam, 1872 and 1898, No. 44; Brussels, 1882, No. 216; The Hague, 1890, No. 85; Utrecht, 1894, No. 417. In the Van Weede van Dijkveld collection, Utrecht. Exhibited on loan since 1896 in the Rijksmuseum, Amsterdam, 1911 catalogue, No. 2022.The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Isabella Henriette van Eeghen
British Museum
Dut.
Category:Portraits of women
Category:Portraits by Rembrandt
Emile Michel
Category:17th-century portraits
List of paintings by Rembrandt
Category:Paintings in the Rijksmuseum
oil on panel
Gazette des Beaux-Arts
Rijksmuseum
Dutch Golden Age painting
Netherlands Institute for Art History
Wilhelm von Bode
Dutch
Hofstede de Groot
Bode
Rembrandt
Eugène Dutuit
RKD
Wb.
Category:1630s paintings
Carel Vosmaer
Alfred von Wurzbach
Trip
Michel
Vosmaer
oil painting
Netherlands
Isa van Eeghen
Amsterdam


Vitruvian Man

Prompt: Focus on Vitruvian Man and explain the abstract.

The Vitruvian Man (Italian: L'uomo vitruviano; [ˈlwɔːmo vitruˈvjaːno]) is a drawing by the Italian Renaissance artist and scientist Leonardo da Vinci, dated to c. 1490. Inspired by the writings of the ancient Roman architect Vitruvius, the drawing depicts a nude man in two superimposed positions with his arms and legs apart and inscribed in both a circle and square. It was described by the art historian Carmen C. Bambach as "justly ranked among the all-time iconic images of Western civilization". Although not the only known drawing of a man inspired by the writings of Vitruvius, the work is a unique synthesis of artistic and scientific ideals and often considered an archetypal representation of the High Renaissance.The drawing represents Leonardo's conception of ideal body proportions, originally derived from Vitruvius but influenced by his own measurements, the drawings of his contemporaries, and the De pictura treatise by Leon Battista Alberti. Leonardo produced the Vitruvian Man in Milan and the work was probably passed to his student Francesco Melzi. It later came into the possession of Venanzio de Pagave, who convinced the engraver Carlo Giuseppe Gerli to include it in a book of Leonardo's drawings, which widely disseminated the previously little-known image. It was later owned by Giuseppe Bossi, who wrote early scholarship on it, and eventually sold to the Gallerie dell'Accademia of Venice in 1822, where it has remained since. Due to its sensitivity to light, the drawing rarely goes on public display, but it was borrowed by the Louvre in 2019 for their exhibition marking the 500th anniversary of Leonardo's death.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Explain the abstract of this artwork, Vitruvian Man.

The Vitruvian Man (Italian: L'uomo vitruviano; [ˈlwɔːmo vitruˈvjaːno]) is a drawing by the Italian Renaissance artist and scientist Leonardo da Vinci, dated to c. 1490. Inspired by the writings of the ancient Roman architect Vitruvius, the drawing depicts a nude man in two superimposed positions with his arms and legs apart and inscribed in both a circle and square. It was described by the art historian Carmen C. Bambach as "justly ranked among the all-time iconic images of Western civilization". Although not the only known drawing of a man inspired by the writings of Vitruvius, the work is a unique synthesis of artistic and scientific ideals and often considered an archetypal representation of the High Renaissance.The drawing represents Leonardo's conception of ideal body proportions, originally derived from Vitruvius but influenced by his own measurements, the drawings of his contemporaries, and the De pictura treatise by Leon Battista Alberti. Leonardo produced the Vitruvian Man in Milan and the work was probably passed to his student Francesco Melzi. It later came into the possession of Venanzio de Pagave, who convinced the engraver Carlo Giuseppe Gerli to include it in a book of Leonardo's drawings, which widely disseminated the previously little-known image. It was later owned by Giuseppe Bossi, who wrote early scholarship on it, and eventually sold to the Gallerie dell'Accademia of Venice in 1822, where it has remained since. Due to its sensitivity to light, the drawing rarely goes on public display, but it was borrowed by the Louvre in 2019 for their exhibition marking the 500th anniversary of Leonardo's death.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: How does Vitruvian Man explain its abstract?

The Vitruvian Man (Italian: L'uomo vitruviano; [ˈlwɔːmo vitruˈvjaːno]) is a drawing by the Italian Renaissance artist and scientist Leonardo da Vinci, dated to c. 1490. Inspired by the writings of the ancient Roman architect Vitruvius, the drawing depicts a nude man in two superimposed positions with his arms and legs apart and inscribed in both a circle and square. It was described by the art historian Carmen C. Bambach as "justly ranked among the all-time iconic images of Western civilization". Although not the only known drawing of a man inspired by the writings of Vitruvius, the work is a unique synthesis of artistic and scientific ideals and often considered an archetypal representation of the High Renaissance.The drawing represents Leonardo's conception of ideal body proportions, originally derived from Vitruvius but influenced by his own measurements, the drawings of his contemporaries, and the De pictura treatise by Leon Battista Alberti. Leonardo produced the Vitruvian Man in Milan and the work was probably passed to his student Francesco Melzi. It later came into the possession of Venanzio de Pagave, who convinced the engraver Carlo Giuseppe Gerli to include it in a book of Leonardo's drawings, which widely disseminated the previously little-known image. It was later owned by Giuseppe Bossi, who wrote early scholarship on it, and eventually sold to the Gallerie dell'Accademia of Venice in 1822, where it has remained since. Due to its sensitivity to light, the drawing rarely goes on public display, but it was borrowed by the Louvre in 2019 for their exhibition marking the 500th anniversary of Leonardo's death.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In Vitruvian Man, how is the abstract discussed?

The Vitruvian Man (Italian: L'uomo vitruviano; [ˈlwɔːmo vitruˈvjaːno]) is a drawing by the Italian Renaissance artist and scientist Leonardo da Vinci, dated to c. 1490. Inspired by the writings of the ancient Roman architect Vitruvius, the drawing depicts a nude man in two superimposed positions with his arms and legs apart and inscribed in both a circle and square. It was described by the art historian Carmen C. Bambach as "justly ranked among the all-time iconic images of Western civilization". Although not the only known drawing of a man inspired by the writings of Vitruvius, the work is a unique synthesis of artistic and scientific ideals and often considered an archetypal representation of the High Renaissance.The drawing represents Leonardo's conception of ideal body proportions, originally derived from Vitruvius but influenced by his own measurements, the drawings of his contemporaries, and the De pictura treatise by Leon Battista Alberti. Leonardo produced the Vitruvian Man in Milan and the work was probably passed to his student Francesco Melzi. It later came into the possession of Venanzio de Pagave, who convinced the engraver Carlo Giuseppe Gerli to include it in a book of Leonardo's drawings, which widely disseminated the previously little-known image. It was later owned by Giuseppe Bossi, who wrote early scholarship on it, and eventually sold to the Gallerie dell'Accademia of Venice in 1822, where it has remained since. Due to its sensitivity to light, the drawing rarely goes on public display, but it was borrowed by the Louvre in 2019 for their exhibition marking the 500th anniversary of Leonardo's death.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Focus on Vitruvian Man and explain the Name.

The drawing is described by Leonardo's notes as Le proporzioni del corpo umano secondo Vitruvio, variously translated as The Proportions of the Human Figure after Vitruvius, or Proportional Study of a Man in the Manner of Vitruvius. It is much better known as the Vitruvian Man. The art historian Carlo Pedretti lists it as Homo Vitruvius, study of proportions with the human figure inscribed in a circle and a square, and later as simply Homo Vitruvius.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Explain the Name of this artwork, Vitruvian Man.

The drawing is described by Leonardo's notes as Le proporzioni del corpo umano secondo Vitruvio, variously translated as The Proportions of the Human Figure after Vitruvius, or Proportional Study of a Man in the Manner of Vitruvius. It is much better known as the Vitruvian Man. The art historian Carlo Pedretti lists it as Homo Vitruvius, study of proportions with the human figure inscribed in a circle and a square, and later as simply Homo Vitruvius.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: How does Vitruvian Man explain its Name?

The drawing is described by Leonardo's notes as Le proporzioni del corpo umano secondo Vitruvio, variously translated as The Proportions of the Human Figure after Vitruvius, or Proportional Study of a Man in the Manner of Vitruvius. It is much better known as the Vitruvian Man. The art historian Carlo Pedretti lists it as Homo Vitruvius, study of proportions with the human figure inscribed in a circle and a square, and later as simply Homo Vitruvius.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In Vitruvian Man, how is the Name discussed?

The drawing is described by Leonardo's notes as Le proporzioni del corpo umano secondo Vitruvio, variously translated as The Proportions of the Human Figure after Vitruvius, or Proportional Study of a Man in the Manner of Vitruvius. It is much better known as the Vitruvian Man. The art historian Carlo Pedretti lists it as Homo Vitruvius, study of proportions with the human figure inscribed in a circle and a square, and later as simply Homo Vitruvius.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In the context of Vitruvian Man, explain the Composition and the Description.

The drawing was executed primarily with pen and light-brown ink, while there are traces of brown wash (watercolor). The paper measures 34.4 cm × 25.5 cm (13.5 in × 10.0 in), larger than most of Leonardo's folio manuscript sheets, while the paper itself was originally made somewhat unevenly, given its irregular edges. Close examination of the drawing reveals that it was meticulously prepared, and is devoid of "sketchy and tentative" lines. Leonardo used metalpoint with a calipers and compass to make precise lines, and small tick marks were used for measurements. These compass marks demonstrate an inner structure of "measured intervals" which is displayed in tandem with the general structure created by the geometric figures.The Vitruvian Man depicts a nude man facing forward and surrounded by a square, while superimposed on a circle. The man is portrayed in different stances simultaneously: His arms are stretched above his shoulders and then perpendicular to them, while his legs are together and also spread out along the circle's base. The scholar Carlo Vecce notes that this approach displays multiple phases of movement at once, akin to a photograph. The man's fingers and toes are arranged carefully as to not breach the surrounding shapes. Commentators often note that Leonardo went out of his way to create an artistic depiction of the man, rather than a simple portrayal. According to the biographer Walter Isaacson, the use of delicate lines, an intimate stare, and intricate hair curls, "weaves together the human and the divine". Pedretti notes close similarities between the man and the angel of Leonardo's earlier Annunciation painting.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Explain the Composition about the Description of this artwork, Vitruvian Man.

The drawing was executed primarily with pen and light-brown ink, while there are traces of brown wash (watercolor). The paper measures 34.4 cm × 25.5 cm (13.5 in × 10.0 in), larger than most of Leonardo's folio manuscript sheets, while the paper itself was originally made somewhat unevenly, given its irregular edges. Close examination of the drawing reveals that it was meticulously prepared, and is devoid of "sketchy and tentative" lines. Leonardo used metalpoint with a calipers and compass to make precise lines, and small tick marks were used for measurements. These compass marks demonstrate an inner structure of "measured intervals" which is displayed in tandem with the general structure created by the geometric figures.The Vitruvian Man depicts a nude man facing forward and surrounded by a square, while superimposed on a circle. The man is portrayed in different stances simultaneously: His arms are stretched above his shoulders and then perpendicular to them, while his legs are together and also spread out along the circle's base. The scholar Carlo Vecce notes that this approach displays multiple phases of movement at once, akin to a photograph. The man's fingers and toes are arranged carefully as to not breach the surrounding shapes. Commentators often note that Leonardo went out of his way to create an artistic depiction of the man, rather than a simple portrayal. According to the biographer Walter Isaacson, the use of delicate lines, an intimate stare, and intricate hair curls, "weaves together the human and the divine". Pedretti notes close similarities between the man and the angel of Leonardo's earlier Annunciation painting.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In Vitruvian Man, how is the Composition of the Description explained?

The drawing was executed primarily with pen and light-brown ink, while there are traces of brown wash (watercolor). The paper measures 34.4 cm × 25.5 cm (13.5 in × 10.0 in), larger than most of Leonardo's folio manuscript sheets, while the paper itself was originally made somewhat unevenly, given its irregular edges. Close examination of the drawing reveals that it was meticulously prepared, and is devoid of "sketchy and tentative" lines. Leonardo used metalpoint with a calipers and compass to make precise lines, and small tick marks were used for measurements. These compass marks demonstrate an inner structure of "measured intervals" which is displayed in tandem with the general structure created by the geometric figures.The Vitruvian Man depicts a nude man facing forward and surrounded by a square, while superimposed on a circle. The man is portrayed in different stances simultaneously: His arms are stretched above his shoulders and then perpendicular to them, while his legs are together and also spread out along the circle's base. The scholar Carlo Vecce notes that this approach displays multiple phases of movement at once, akin to a photograph. The man's fingers and toes are arranged carefully as to not breach the surrounding shapes. Commentators often note that Leonardo went out of his way to create an artistic depiction of the man, rather than a simple portrayal. According to the biographer Walter Isaacson, the use of delicate lines, an intimate stare, and intricate hair curls, "weaves together the human and the divine". Pedretti notes close similarities between the man and the angel of Leonardo's earlier Annunciation painting.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Describe the characteristics of the Composition in Vitruvian Man's Description.

The drawing was executed primarily with pen and light-brown ink, while there are traces of brown wash (watercolor). The paper measures 34.4 cm × 25.5 cm (13.5 in × 10.0 in), larger than most of Leonardo's folio manuscript sheets, while the paper itself was originally made somewhat unevenly, given its irregular edges. Close examination of the drawing reveals that it was meticulously prepared, and is devoid of "sketchy and tentative" lines. Leonardo used metalpoint with a calipers and compass to make precise lines, and small tick marks were used for measurements. These compass marks demonstrate an inner structure of "measured intervals" which is displayed in tandem with the general structure created by the geometric figures.The Vitruvian Man depicts a nude man facing forward and surrounded by a square, while superimposed on a circle. The man is portrayed in different stances simultaneously: His arms are stretched above his shoulders and then perpendicular to them, while his legs are together and also spread out along the circle's base. The scholar Carlo Vecce notes that this approach displays multiple phases of movement at once, akin to a photograph. The man's fingers and toes are arranged carefully as to not breach the surrounding shapes. Commentators often note that Leonardo went out of his way to create an artistic depiction of the man, rather than a simple portrayal. According to the biographer Walter Isaacson, the use of delicate lines, an intimate stare, and intricate hair curls, "weaves together the human and the divine". Pedretti notes close similarities between the man and the angel of Leonardo's earlier Annunciation painting.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In the context of Vitruvian Man, explain the Text and the Description.

The text above the image reads: And below:

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Explain the Text about the Description of this artwork, Vitruvian Man.

The text above the image reads: And below:

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In Vitruvian Man, how is the Text of the Description explained?

The text above the image reads: And below:

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Describe the characteristics of the Text in Vitruvian Man's Description.

The text above the image reads: And below:

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In the context of Vitruvian Man, explain the Historical context and the Background.

The moderately successful architect and engineer Vitruvius lived from c. 80 – c. 20 BCE, primarily in the Roman Republic. He is best known for authoring De architectura (On Architecture), later called the Ten Books on Architecture, which is the only substantial architecture treatise that survives from antiquity. The work's third volume includes a discussion concerning body proportions, where the figures of a man in a circle and a square are respectively referred to as homo ad circulum, homo ad quadratum. Vitruvius explained that:In a temple there ought to be harmony in the symmetrical relations of the different parts to the whole. In the human body, the central point is the navel. If a man is placed flat on his back, with his hands and feet extended, and a compass centered at his navel, his fingers and toes will touch the circumference of a circle thereby described. And just as the human body yields a circular outline, so too a square may be found from it. For if we measure the distance from the soles of the feet to the top of the head, and then apply that measure to the outstretched arms, the breadth will be found to be the same as the height, as in the case of a perfect square.19th-century historians often postulated that Leonardo had no substantial inspiration from the ancient world, propagating his stance as a 'modern genius' who rejected all of classicism. This has been heavily disproven by many documented accounts from Leonardo's colleagues or records of him either owning, reading, and being influenced by writings from antiquity. The treatise of Vitruvius was long lost, but rediscovered in the 15th century by Poggio Bracciolini among works such as De Rerum natura. Many artists attempted to design figures which would satisfy Vitruvius' claims, with the earliest being three such images by Francesco di Giorgio Martini around the 1470s. Leonardo may have been influenced by the architect Giacomo Andrea, with whom he records as having dined within 1490. Andrea created his own Vitruvian Man drawing that year, which was unknown to scholars until the 1980s.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Explain the Historical context about the Background of this artwork, Vitruvian Man.

The moderately successful architect and engineer Vitruvius lived from c. 80 – c. 20 BCE, primarily in the Roman Republic. He is best known for authoring De architectura (On Architecture), later called the Ten Books on Architecture, which is the only substantial architecture treatise that survives from antiquity. The work's third volume includes a discussion concerning body proportions, where the figures of a man in a circle and a square are respectively referred to as homo ad circulum, homo ad quadratum. Vitruvius explained that:In a temple there ought to be harmony in the symmetrical relations of the different parts to the whole. In the human body, the central point is the navel. If a man is placed flat on his back, with his hands and feet extended, and a compass centered at his navel, his fingers and toes will touch the circumference of a circle thereby described. And just as the human body yields a circular outline, so too a square may be found from it. For if we measure the distance from the soles of the feet to the top of the head, and then apply that measure to the outstretched arms, the breadth will be found to be the same as the height, as in the case of a perfect square.19th-century historians often postulated that Leonardo had no substantial inspiration from the ancient world, propagating his stance as a 'modern genius' who rejected all of classicism. This has been heavily disproven by many documented accounts from Leonardo's colleagues or records of him either owning, reading, and being influenced by writings from antiquity. The treatise of Vitruvius was long lost, but rediscovered in the 15th century by Poggio Bracciolini among works such as De Rerum natura. Many artists attempted to design figures which would satisfy Vitruvius' claims, with the earliest being three such images by Francesco di Giorgio Martini around the 1470s. Leonardo may have been influenced by the architect Giacomo Andrea, with whom he records as having dined within 1490. Andrea created his own Vitruvian Man drawing that year, which was unknown to scholars until the 1980s.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In Vitruvian Man, how is the Historical context of the Background explained?

The moderately successful architect and engineer Vitruvius lived from c. 80 – c. 20 BCE, primarily in the Roman Republic. He is best known for authoring De architectura (On Architecture), later called the Ten Books on Architecture, which is the only substantial architecture treatise that survives from antiquity. The work's third volume includes a discussion concerning body proportions, where the figures of a man in a circle and a square are respectively referred to as homo ad circulum, homo ad quadratum. Vitruvius explained that:In a temple there ought to be harmony in the symmetrical relations of the different parts to the whole. In the human body, the central point is the navel. If a man is placed flat on his back, with his hands and feet extended, and a compass centered at his navel, his fingers and toes will touch the circumference of a circle thereby described. And just as the human body yields a circular outline, so too a square may be found from it. For if we measure the distance from the soles of the feet to the top of the head, and then apply that measure to the outstretched arms, the breadth will be found to be the same as the height, as in the case of a perfect square.19th-century historians often postulated that Leonardo had no substantial inspiration from the ancient world, propagating his stance as a 'modern genius' who rejected all of classicism. This has been heavily disproven by many documented accounts from Leonardo's colleagues or records of him either owning, reading, and being influenced by writings from antiquity. The treatise of Vitruvius was long lost, but rediscovered in the 15th century by Poggio Bracciolini among works such as De Rerum natura. Many artists attempted to design figures which would satisfy Vitruvius' claims, with the earliest being three such images by Francesco di Giorgio Martini around the 1470s. Leonardo may have been influenced by the architect Giacomo Andrea, with whom he records as having dined within 1490. Andrea created his own Vitruvian Man drawing that year, which was unknown to scholars until the 1980s.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Describe the characteristics of the Historical context in Vitruvian Man's Background.

The moderately successful architect and engineer Vitruvius lived from c. 80 – c. 20 BCE, primarily in the Roman Republic. He is best known for authoring De architectura (On Architecture), later called the Ten Books on Architecture, which is the only substantial architecture treatise that survives from antiquity. The work's third volume includes a discussion concerning body proportions, where the figures of a man in a circle and a square are respectively referred to as homo ad circulum, homo ad quadratum. Vitruvius explained that:In a temple there ought to be harmony in the symmetrical relations of the different parts to the whole. In the human body, the central point is the navel. If a man is placed flat on his back, with his hands and feet extended, and a compass centered at his navel, his fingers and toes will touch the circumference of a circle thereby described. And just as the human body yields a circular outline, so too a square may be found from it. For if we measure the distance from the soles of the feet to the top of the head, and then apply that measure to the outstretched arms, the breadth will be found to be the same as the height, as in the case of a perfect square.19th-century historians often postulated that Leonardo had no substantial inspiration from the ancient world, propagating his stance as a 'modern genius' who rejected all of classicism. This has been heavily disproven by many documented accounts from Leonardo's colleagues or records of him either owning, reading, and being influenced by writings from antiquity. The treatise of Vitruvius was long lost, but rediscovered in the 15th century by Poggio Bracciolini among works such as De Rerum natura. Many artists attempted to design figures which would satisfy Vitruvius' claims, with the earliest being three such images by Francesco di Giorgio Martini around the 1470s. Leonardo may have been influenced by the architect Giacomo Andrea, with whom he records as having dined within 1490. Andrea created his own Vitruvian Man drawing that year, which was unknown to scholars until the 1980s.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In the context of Vitruvian Man, explain the Creation and the Background.

Leonardo's version of the Vitruvian Man corrected inaccuracies in Vitruvius's account, particularly related to the head, due to use of book two of the De pictura by Leon Battista Alberti. Earlier drawings of the same subject "assumed that the circle and square should be centered around the navel", akin to Vitruvius's account, while Leonardo made the scheme work by using the man's genitals as the center of the square, and the navel as the center of the circle. It is likely that Leonardo's drawings dated to 1487–1490, and entitled The proportions of the arm, were related to the Vitruvian Man, possibly serving as preparatory sketches.Some commentators have speculated that Leonardo incorporated the golden ratio in the drawing, possibly due to his illustrations of Luca Pacioli's Divina proportione, largely plagiarized from Piero della Francesca, concerning the ratio. However, the Vitruvian Man is likely to have been drawn before Leonardo met Pacioli, and there has been doubt over the accuracy of such an observation.  As architectural scholar Vitor Murtinho explains, a circle tangent to the base of a square, with the radius and square sides related by the golden ratio, would pass exactly through the top two corners of the square, unlike Leonardo's drawing. He suggests instead constructions based on a regular octagon or on the vesica piscis.Leonardo's drawing is almost always dated to around 1490 during his First Milanese period. The exact dating is not completely agreed upon and earlier generations of art historians, including Arthur E. Popham, frequently dated the work anywhere from 1485 to 1490. Two leading art historians differ in this respect; Martin Kemp gives c. 1487, while Carmen C. Bambach contends that the earliest possible date—which "one may not entirely discount"—is 1488. Bambach, in addition to Pedretti, Giovanna Nepi Scirè and Annalisa Perissa Torrini give a slightly broader range of c. 1490–1491. Bambach explains that this range fits "best with the manner of exact, engraving-like parallel hatching contained within robust pen-and-ink outlines, over traces of lead paint, stylus-ruling, and compass composition".

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Explain the Creation about the Background of this artwork, Vitruvian Man.

Leonardo's version of the Vitruvian Man corrected inaccuracies in Vitruvius's account, particularly related to the head, due to use of book two of the De pictura by Leon Battista Alberti. Earlier drawings of the same subject "assumed that the circle and square should be centered around the navel", akin to Vitruvius's account, while Leonardo made the scheme work by using the man's genitals as the center of the square, and the navel as the center of the circle. It is likely that Leonardo's drawings dated to 1487–1490, and entitled The proportions of the arm, were related to the Vitruvian Man, possibly serving as preparatory sketches.Some commentators have speculated that Leonardo incorporated the golden ratio in the drawing, possibly due to his illustrations of Luca Pacioli's Divina proportione, largely plagiarized from Piero della Francesca, concerning the ratio. However, the Vitruvian Man is likely to have been drawn before Leonardo met Pacioli, and there has been doubt over the accuracy of such an observation.  As architectural scholar Vitor Murtinho explains, a circle tangent to the base of a square, with the radius and square sides related by the golden ratio, would pass exactly through the top two corners of the square, unlike Leonardo's drawing. He suggests instead constructions based on a regular octagon or on the vesica piscis.Leonardo's drawing is almost always dated to around 1490 during his First Milanese period. The exact dating is not completely agreed upon and earlier generations of art historians, including Arthur E. Popham, frequently dated the work anywhere from 1485 to 1490. Two leading art historians differ in this respect; Martin Kemp gives c. 1487, while Carmen C. Bambach contends that the earliest possible date—which "one may not entirely discount"—is 1488. Bambach, in addition to Pedretti, Giovanna Nepi Scirè and Annalisa Perissa Torrini give a slightly broader range of c. 1490–1491. Bambach explains that this range fits "best with the manner of exact, engraving-like parallel hatching contained within robust pen-and-ink outlines, over traces of lead paint, stylus-ruling, and compass composition".

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In Vitruvian Man, how is the Creation of the Background explained?

Leonardo's version of the Vitruvian Man corrected inaccuracies in Vitruvius's account, particularly related to the head, due to use of book two of the De pictura by Leon Battista Alberti. Earlier drawings of the same subject "assumed that the circle and square should be centered around the navel", akin to Vitruvius's account, while Leonardo made the scheme work by using the man's genitals as the center of the square, and the navel as the center of the circle. It is likely that Leonardo's drawings dated to 1487–1490, and entitled The proportions of the arm, were related to the Vitruvian Man, possibly serving as preparatory sketches.Some commentators have speculated that Leonardo incorporated the golden ratio in the drawing, possibly due to his illustrations of Luca Pacioli's Divina proportione, largely plagiarized from Piero della Francesca, concerning the ratio. However, the Vitruvian Man is likely to have been drawn before Leonardo met Pacioli, and there has been doubt over the accuracy of such an observation.  As architectural scholar Vitor Murtinho explains, a circle tangent to the base of a square, with the radius and square sides related by the golden ratio, would pass exactly through the top two corners of the square, unlike Leonardo's drawing. He suggests instead constructions based on a regular octagon or on the vesica piscis.Leonardo's drawing is almost always dated to around 1490 during his First Milanese period. The exact dating is not completely agreed upon and earlier generations of art historians, including Arthur E. Popham, frequently dated the work anywhere from 1485 to 1490. Two leading art historians differ in this respect; Martin Kemp gives c. 1487, while Carmen C. Bambach contends that the earliest possible date—which "one may not entirely discount"—is 1488. Bambach, in addition to Pedretti, Giovanna Nepi Scirè and Annalisa Perissa Torrini give a slightly broader range of c. 1490–1491. Bambach explains that this range fits "best with the manner of exact, engraving-like parallel hatching contained within robust pen-and-ink outlines, over traces of lead paint, stylus-ruling, and compass composition".

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Describe the characteristics of the Creation in Vitruvian Man's Background.

Leonardo's version of the Vitruvian Man corrected inaccuracies in Vitruvius's account, particularly related to the head, due to use of book two of the De pictura by Leon Battista Alberti. Earlier drawings of the same subject "assumed that the circle and square should be centered around the navel", akin to Vitruvius's account, while Leonardo made the scheme work by using the man's genitals as the center of the square, and the navel as the center of the circle. It is likely that Leonardo's drawings dated to 1487–1490, and entitled The proportions of the arm, were related to the Vitruvian Man, possibly serving as preparatory sketches.Some commentators have speculated that Leonardo incorporated the golden ratio in the drawing, possibly due to his illustrations of Luca Pacioli's Divina proportione, largely plagiarized from Piero della Francesca, concerning the ratio. However, the Vitruvian Man is likely to have been drawn before Leonardo met Pacioli, and there has been doubt over the accuracy of such an observation.  As architectural scholar Vitor Murtinho explains, a circle tangent to the base of a square, with the radius and square sides related by the golden ratio, would pass exactly through the top two corners of the square, unlike Leonardo's drawing. He suggests instead constructions based on a regular octagon or on the vesica piscis.Leonardo's drawing is almost always dated to around 1490 during his First Milanese period. The exact dating is not completely agreed upon and earlier generations of art historians, including Arthur E. Popham, frequently dated the work anywhere from 1485 to 1490. Two leading art historians differ in this respect; Martin Kemp gives c. 1487, while Carmen C. Bambach contends that the earliest possible date—which "one may not entirely discount"—is 1488. Bambach, in addition to Pedretti, Giovanna Nepi Scirè and Annalisa Perissa Torrini give a slightly broader range of c. 1490–1491. Bambach explains that this range fits "best with the manner of exact, engraving-like parallel hatching contained within robust pen-and-ink outlines, over traces of lead paint, stylus-ruling, and compass composition".

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In the context of Vitruvian Man, explain the Provenance and the Background.

After Leonardo's death, the drawing most likely passed to his student Francesco Melzi (1491–1570), who was bequeathed most of Leonardo's possessions. From then on, the drawing's provenance history is almost certain: it found its way to Cesare Monti (1594–1650), was passed to his heir Anna Luisa Monti, then to the De Page family, first Venanzio de Pagave (in 1777) and then his son Gaudenzio de Page. While owned by the elder De Page, he convinced the engraver Carlo Giuseppe Gerli to publish a book of Leonardo's drawings, which would be the first widespread dissemination of the Vitruvian Man and many other Leonardo drawings. The younger de Page sold the drawing to Giuseppe Bossi, who described, discussed, and illustrated it in the fourth chapter of his 1810 monograph on Leonardo's The Last Supper, Del Cenacolo di Leonardo da Vinci (On The Last Supper of Leonardo da Vinci). This chapter was published as a stand-alone study the next year Delle opinion di Leonardo da Vinci intorno alla simmetria de' corpi umani (On the opinions of Leonardo da Vinci regarding the symmetry of human bodies). After Bossi's death in 1815, the drawing was sold to the abbot Luigi Celotti in 1818, and entered into the Venetian Gallerie dell'Accademia's collection in 1822, where it has since remained. Because of its high artistic quality and its well-recorded history of provenance, Leonardo's authorship of the Vitruvian Man has never been doubted.The Vitruvian Man is rarely displayed as extended exposure to light would cause fading; it is kept on the fourth floor of the Gallerie dell'Accademia, in a locked room. In 2019, the Louvre requested to borrow the drawing for their monumental Léonard de Vinci exhibition, which celebrated the 500th anniversary of the artist’s death. They faced substantial resistance from the heritage group Italia Nostra, who contended that the drawing was too fragile to be transported, and filed a lawsuit. At a hearing on 16 October 2019, a judge ruled that the group had not proven their claim, but set a maximum amount of light for the drawing to be exposed to as well as a subsequent rest period to offset its overall exposure to light. The Louvre promised to lend paintings by Raphael to Italy for his own 500th death anniversary; Italy's Minister for Cultural Affairs Dario Franceschini stated that "Now a great cultural operation can start between Italy and France on the two exhibitions about Leonardo in France and Raphael in Rome."

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Explain the Provenance about the Background of this artwork, Vitruvian Man.

After Leonardo's death, the drawing most likely passed to his student Francesco Melzi (1491–1570), who was bequeathed most of Leonardo's possessions. From then on, the drawing's provenance history is almost certain: it found its way to Cesare Monti (1594–1650), was passed to his heir Anna Luisa Monti, then to the De Page family, first Venanzio de Pagave (in 1777) and then his son Gaudenzio de Page. While owned by the elder De Page, he convinced the engraver Carlo Giuseppe Gerli to publish a book of Leonardo's drawings, which would be the first widespread dissemination of the Vitruvian Man and many other Leonardo drawings. The younger de Page sold the drawing to Giuseppe Bossi, who described, discussed, and illustrated it in the fourth chapter of his 1810 monograph on Leonardo's The Last Supper, Del Cenacolo di Leonardo da Vinci (On The Last Supper of Leonardo da Vinci). This chapter was published as a stand-alone study the next year Delle opinion di Leonardo da Vinci intorno alla simmetria de' corpi umani (On the opinions of Leonardo da Vinci regarding the symmetry of human bodies). After Bossi's death in 1815, the drawing was sold to the abbot Luigi Celotti in 1818, and entered into the Venetian Gallerie dell'Accademia's collection in 1822, where it has since remained. Because of its high artistic quality and its well-recorded history of provenance, Leonardo's authorship of the Vitruvian Man has never been doubted.The Vitruvian Man is rarely displayed as extended exposure to light would cause fading; it is kept on the fourth floor of the Gallerie dell'Accademia, in a locked room. In 2019, the Louvre requested to borrow the drawing for their monumental Léonard de Vinci exhibition, which celebrated the 500th anniversary of the artist’s death. They faced substantial resistance from the heritage group Italia Nostra, who contended that the drawing was too fragile to be transported, and filed a lawsuit. At a hearing on 16 October 2019, a judge ruled that the group had not proven their claim, but set a maximum amount of light for the drawing to be exposed to as well as a subsequent rest period to offset its overall exposure to light. The Louvre promised to lend paintings by Raphael to Italy for his own 500th death anniversary; Italy's Minister for Cultural Affairs Dario Franceschini stated that "Now a great cultural operation can start between Italy and France on the two exhibitions about Leonardo in France and Raphael in Rome."

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In Vitruvian Man, how is the Provenance of the Background explained?

After Leonardo's death, the drawing most likely passed to his student Francesco Melzi (1491–1570), who was bequeathed most of Leonardo's possessions. From then on, the drawing's provenance history is almost certain: it found its way to Cesare Monti (1594–1650), was passed to his heir Anna Luisa Monti, then to the De Page family, first Venanzio de Pagave (in 1777) and then his son Gaudenzio de Page. While owned by the elder De Page, he convinced the engraver Carlo Giuseppe Gerli to publish a book of Leonardo's drawings, which would be the first widespread dissemination of the Vitruvian Man and many other Leonardo drawings. The younger de Page sold the drawing to Giuseppe Bossi, who described, discussed, and illustrated it in the fourth chapter of his 1810 monograph on Leonardo's The Last Supper, Del Cenacolo di Leonardo da Vinci (On The Last Supper of Leonardo da Vinci). This chapter was published as a stand-alone study the next year Delle opinion di Leonardo da Vinci intorno alla simmetria de' corpi umani (On the opinions of Leonardo da Vinci regarding the symmetry of human bodies). After Bossi's death in 1815, the drawing was sold to the abbot Luigi Celotti in 1818, and entered into the Venetian Gallerie dell'Accademia's collection in 1822, where it has since remained. Because of its high artistic quality and its well-recorded history of provenance, Leonardo's authorship of the Vitruvian Man has never been doubted.The Vitruvian Man is rarely displayed as extended exposure to light would cause fading; it is kept on the fourth floor of the Gallerie dell'Accademia, in a locked room. In 2019, the Louvre requested to borrow the drawing for their monumental Léonard de Vinci exhibition, which celebrated the 500th anniversary of the artist’s death. They faced substantial resistance from the heritage group Italia Nostra, who contended that the drawing was too fragile to be transported, and filed a lawsuit. At a hearing on 16 October 2019, a judge ruled that the group had not proven their claim, but set a maximum amount of light for the drawing to be exposed to as well as a subsequent rest period to offset its overall exposure to light. The Louvre promised to lend paintings by Raphael to Italy for his own 500th death anniversary; Italy's Minister for Cultural Affairs Dario Franceschini stated that "Now a great cultural operation can start between Italy and France on the two exhibitions about Leonardo in France and Raphael in Rome."

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Describe the characteristics of the Provenance in Vitruvian Man's Background.

After Leonardo's death, the drawing most likely passed to his student Francesco Melzi (1491–1570), who was bequeathed most of Leonardo's possessions. From then on, the drawing's provenance history is almost certain: it found its way to Cesare Monti (1594–1650), was passed to his heir Anna Luisa Monti, then to the De Page family, first Venanzio de Pagave (in 1777) and then his son Gaudenzio de Page. While owned by the elder De Page, he convinced the engraver Carlo Giuseppe Gerli to publish a book of Leonardo's drawings, which would be the first widespread dissemination of the Vitruvian Man and many other Leonardo drawings. The younger de Page sold the drawing to Giuseppe Bossi, who described, discussed, and illustrated it in the fourth chapter of his 1810 monograph on Leonardo's The Last Supper, Del Cenacolo di Leonardo da Vinci (On The Last Supper of Leonardo da Vinci). This chapter was published as a stand-alone study the next year Delle opinion di Leonardo da Vinci intorno alla simmetria de' corpi umani (On the opinions of Leonardo da Vinci regarding the symmetry of human bodies). After Bossi's death in 1815, the drawing was sold to the abbot Luigi Celotti in 1818, and entered into the Venetian Gallerie dell'Accademia's collection in 1822, where it has since remained. Because of its high artistic quality and its well-recorded history of provenance, Leonardo's authorship of the Vitruvian Man has never been doubted.The Vitruvian Man is rarely displayed as extended exposure to light would cause fading; it is kept on the fourth floor of the Gallerie dell'Accademia, in a locked room. In 2019, the Louvre requested to borrow the drawing for their monumental Léonard de Vinci exhibition, which celebrated the 500th anniversary of the artist’s death. They faced substantial resistance from the heritage group Italia Nostra, who contended that the drawing was too fragile to be transported, and filed a lawsuit. At a hearing on 16 October 2019, a judge ruled that the group had not proven their claim, but set a maximum amount of light for the drawing to be exposed to as well as a subsequent rest period to offset its overall exposure to light. The Louvre promised to lend paintings by Raphael to Italy for his own 500th death anniversary; Italy's Minister for Cultural Affairs Dario Franceschini stated that "Now a great cultural operation can start between Italy and France on the two exhibitions about Leonardo in France and Raphael in Rome."

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In the context of Vitruvian Man, explain the Legal dispute and the Background.

In 2022, the Gallerie dell’Accademia, which owns the drawing, sued German jigsaw puzzle manufacturer Ravensburger for reproducing the artwork in one of the company's jigsaw puzzles. Ravensburger started selling the 1,000-piece jigsaw puzzle in Italy in 2009 and in 2019 the museum sent the company a cease-and-desist letter and demanded 10% of the revenue. Ravensburger refused to comply and subsequently was sued by the museum under Italy's 2004 Cultural Heritage and Landscape Code which governs reproductions of works deemed to be under Italy's cultural heritage. In its objections, the German company claimed that it had the right to reproduce the artwork because it was already in the public domain for centuries and that the reproduction occurred outside Italy and thus not subject to Italy's Cultural Heritage Code. An Italian court rejected Ravensburger's arguments and decided in favor of the museum. In a ruling dated 17 November 2022, the court ordered the puzzle company to cease producing the product for commercial purposes and levied a fine of 1,500 euros for every day that the company failed to comply. In March 2024, a German court ruled in favor of the company, stating that the Cultural Heritage Code is not applicable outside Italy, and therefore a violation of the sovereignty of the individual states. In response, an Italian government official argues they will challenge this "abnormal" German ruling even before the European and international courts.Licensing fees for famous artworks are an important source of income for Italian museums, and Italian law says that museums owning famous public domain works hold the copyright on those works forever and can control who is allowed to make copies and derivative works of them.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Explain the Legal dispute about the Background of this artwork, Vitruvian Man.

In 2022, the Gallerie dell’Accademia, which owns the drawing, sued German jigsaw puzzle manufacturer Ravensburger for reproducing the artwork in one of the company's jigsaw puzzles. Ravensburger started selling the 1,000-piece jigsaw puzzle in Italy in 2009 and in 2019 the museum sent the company a cease-and-desist letter and demanded 10% of the revenue. Ravensburger refused to comply and subsequently was sued by the museum under Italy's 2004 Cultural Heritage and Landscape Code which governs reproductions of works deemed to be under Italy's cultural heritage. In its objections, the German company claimed that it had the right to reproduce the artwork because it was already in the public domain for centuries and that the reproduction occurred outside Italy and thus not subject to Italy's Cultural Heritage Code. An Italian court rejected Ravensburger's arguments and decided in favor of the museum. In a ruling dated 17 November 2022, the court ordered the puzzle company to cease producing the product for commercial purposes and levied a fine of 1,500 euros for every day that the company failed to comply. In March 2024, a German court ruled in favor of the company, stating that the Cultural Heritage Code is not applicable outside Italy, and therefore a violation of the sovereignty of the individual states. In response, an Italian government official argues they will challenge this "abnormal" German ruling even before the European and international courts.Licensing fees for famous artworks are an important source of income for Italian museums, and Italian law says that museums owning famous public domain works hold the copyright on those works forever and can control who is allowed to make copies and derivative works of them.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In Vitruvian Man, how is the Legal dispute of the Background explained?

In 2022, the Gallerie dell’Accademia, which owns the drawing, sued German jigsaw puzzle manufacturer Ravensburger for reproducing the artwork in one of the company's jigsaw puzzles. Ravensburger started selling the 1,000-piece jigsaw puzzle in Italy in 2009 and in 2019 the museum sent the company a cease-and-desist letter and demanded 10% of the revenue. Ravensburger refused to comply and subsequently was sued by the museum under Italy's 2004 Cultural Heritage and Landscape Code which governs reproductions of works deemed to be under Italy's cultural heritage. In its objections, the German company claimed that it had the right to reproduce the artwork because it was already in the public domain for centuries and that the reproduction occurred outside Italy and thus not subject to Italy's Cultural Heritage Code. An Italian court rejected Ravensburger's arguments and decided in favor of the museum. In a ruling dated 17 November 2022, the court ordered the puzzle company to cease producing the product for commercial purposes and levied a fine of 1,500 euros for every day that the company failed to comply. In March 2024, a German court ruled in favor of the company, stating that the Cultural Heritage Code is not applicable outside Italy, and therefore a violation of the sovereignty of the individual states. In response, an Italian government official argues they will challenge this "abnormal" German ruling even before the European and international courts.Licensing fees for famous artworks are an important source of income for Italian museums, and Italian law says that museums owning famous public domain works hold the copyright on those works forever and can control who is allowed to make copies and derivative works of them.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Describe the characteristics of the Legal dispute in Vitruvian Man's Background.

In 2022, the Gallerie dell’Accademia, which owns the drawing, sued German jigsaw puzzle manufacturer Ravensburger for reproducing the artwork in one of the company's jigsaw puzzles. Ravensburger started selling the 1,000-piece jigsaw puzzle in Italy in 2009 and in 2019 the museum sent the company a cease-and-desist letter and demanded 10% of the revenue. Ravensburger refused to comply and subsequently was sued by the museum under Italy's 2004 Cultural Heritage and Landscape Code which governs reproductions of works deemed to be under Italy's cultural heritage. In its objections, the German company claimed that it had the right to reproduce the artwork because it was already in the public domain for centuries and that the reproduction occurred outside Italy and thus not subject to Italy's Cultural Heritage Code. An Italian court rejected Ravensburger's arguments and decided in favor of the museum. In a ruling dated 17 November 2022, the court ordered the puzzle company to cease producing the product for commercial purposes and levied a fine of 1,500 euros for every day that the company failed to comply. In March 2024, a German court ruled in favor of the company, stating that the Cultural Heritage Code is not applicable outside Italy, and therefore a violation of the sovereignty of the individual states. In response, an Italian government official argues they will challenge this "abnormal" German ruling even before the European and international courts.Licensing fees for famous artworks are an important source of income for Italian museums, and Italian law says that museums owning famous public domain works hold the copyright on those works forever and can control who is allowed to make copies and derivative works of them.

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Focus on Vitruvian Man and explain the Legacy.

The Vitruvian Man is often considered an archetypal representative of the High Renaissance, just as Leonardo himself came to represent the archetypal 'Renaissance man'. It holds a unique distinction in aligning art, mathematics, science, classicism, and naturalism. The art historian Ludwig Heinrich Heydenreich, writing for Encyclopædia Britannica, states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo ('cosmography of the microcosm'). He believed the workings of the human body to be an analogy, in microcosm, for the workings of the universe."Kemp calls the drawing "the world's most famous drawing", while Bambach describes it as "justly rank[ing] among the all-time iconic images of Western civilization". Reflecting on its fame, Bambach further stated in 2019 that "the endless recent fetishizing of the image by modern commerce through ubiquitous reproductions (in popular books, advertising, and the Euro coin) has kidnapped it from the realm of Renaissance drawing, making it difficult for the viewer to appreciate it as a work of nuanced, creative expression."

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: Explain the Legacy of this artwork, Vitruvian Man.

The Vitruvian Man is often considered an archetypal representative of the High Renaissance, just as Leonardo himself came to represent the archetypal 'Renaissance man'. It holds a unique distinction in aligning art, mathematics, science, classicism, and naturalism. The art historian Ludwig Heinrich Heydenreich, writing for Encyclopædia Britannica, states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo ('cosmography of the microcosm'). He believed the workings of the human body to be an analogy, in microcosm, for the workings of the universe."Kemp calls the drawing "the world's most famous drawing", while Bambach describes it as "justly rank[ing] among the all-time iconic images of Western civilization". Reflecting on its fame, Bambach further stated in 2019 that "the endless recent fetishizing of the image by modern commerce through ubiquitous reproductions (in popular books, advertising, and the Euro coin) has kidnapped it from the realm of Renaissance drawing, making it difficult for the viewer to appreciate it as a work of nuanced, creative expression."

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: How does Vitruvian Man explain its Legacy?

The Vitruvian Man is often considered an archetypal representative of the High Renaissance, just as Leonardo himself came to represent the archetypal 'Renaissance man'. It holds a unique distinction in aligning art, mathematics, science, classicism, and naturalism. The art historian Ludwig Heinrich Heydenreich, writing for Encyclopædia Britannica, states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo ('cosmography of the microcosm'). He believed the workings of the human body to be an analogy, in microcosm, for the workings of the universe."Kemp calls the drawing "the world's most famous drawing", while Bambach describes it as "justly rank[ing] among the all-time iconic images of Western civilization". Reflecting on its fame, Bambach further stated in 2019 that "the endless recent fetishizing of the image by modern commerce through ubiquitous reproductions (in popular books, advertising, and the Euro coin) has kidnapped it from the realm of Renaissance drawing, making it difficult for the viewer to appreciate it as a work of nuanced, creative expression."

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


Vitruvian Man

Prompt: In Vitruvian Man, how is the Legacy discussed?

The Vitruvian Man is often considered an archetypal representative of the High Renaissance, just as Leonardo himself came to represent the archetypal 'Renaissance man'. It holds a unique distinction in aligning art, mathematics, science, classicism, and naturalism. The art historian Ludwig Heinrich Heydenreich, writing for Encyclopædia Britannica, states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo ('cosmography of the microcosm'). He believed the workings of the human body to be an analogy, in microcosm, for the workings of the universe."Kemp calls the drawing "the world's most famous drawing", while Bambach describes it as "justly rank[ing] among the all-time iconic images of Western civilization". Reflecting on its fame, Bambach further stated in 2019 that "the endless recent fetishizing of the image by modern commerce through ubiquitous reproductions (in popular books, advertising, and the Euro coin) has kidnapped it from the realm of Renaissance drawing, making it difficult for the viewer to appreciate it as a work of nuanced, creative expression."

:s:Page:Vitruvius the Ten Books on Architecture.djvu/103

Leonardo da Vinci#First Milanese period (c. 1482–1499)

Category:Collection of the Gallerie dell'Accademia


The Sphere

Prompt: Focus on The Sphere and explain the abstract.

The Sphere (officially Große Kugelkaryatide N.Y., also known as Sphere at Plaza Fountain, WTC Sphere or Koenig Sphere) is a monumental cast bronze sculpture by German artist Fritz Koenig (1924–2017).The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Explain the abstract of this artwork, The Sphere.

The Sphere (officially Große Kugelkaryatide N.Y., also known as Sphere at Plaza Fountain, WTC Sphere or Koenig Sphere) is a monumental cast bronze sculpture by German artist Fritz Koenig (1924–2017).The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: How does The Sphere explain its abstract?

The Sphere (officially Große Kugelkaryatide N.Y., also known as Sphere at Plaza Fountain, WTC Sphere or Koenig Sphere) is a monumental cast bronze sculpture by German artist Fritz Koenig (1924–2017).The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In The Sphere, how is the abstract discussed?

The Sphere (officially Große Kugelkaryatide N.Y., also known as Sphere at Plaza Fountain, WTC Sphere or Koenig Sphere) is a monumental cast bronze sculpture by German artist Fritz Koenig (1924–2017).The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Focus on The Sphere and explain the Artwork.

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y. (catalogue raisonné Sk 416)  dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States.After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring 3.3 feet (1.0 m) high, with a diameter of 82 feet (25 m), the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water (600 liters) per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is 25 feet (7.6 m) high and has a diameter of 17 feet (5.2 m). Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near Landshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Explain the Artwork of this artwork, The Sphere.

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y. (catalogue raisonné Sk 416)  dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States.After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring 3.3 feet (1.0 m) high, with a diameter of 82 feet (25 m), the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water (600 liters) per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is 25 feet (7.6 m) high and has a diameter of 17 feet (5.2 m). Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near Landshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: How does The Sphere explain its Artwork?

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y. (catalogue raisonné Sk 416)  dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States.After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring 3.3 feet (1.0 m) high, with a diameter of 82 feet (25 m), the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water (600 liters) per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is 25 feet (7.6 m) high and has a diameter of 17 feet (5.2 m). Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near Landshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In The Sphere, how is the Artwork discussed?

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y. (catalogue raisonné Sk 416)  dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States.After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring 3.3 feet (1.0 m) high, with a diameter of 82 feet (25 m), the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water (600 liters) per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is 25 feet (7.6 m) high and has a diameter of 17 feet (5.2 m). Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near Landshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In the context of The Sphere, explain the Immediately after the attacks and the Relocation after 9/11.

After the September 11 attacks, upon recovery from the rubble pile, the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel (Koenig's Sphere) at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Explain the Immediately after the attacks about the Relocation after 9/11 of this artwork, The Sphere.

After the September 11 attacks, upon recovery from the rubble pile, the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel (Koenig's Sphere) at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In The Sphere, how is the Immediately after the attacks of the Relocation after 9/11 explained?

After the September 11 attacks, upon recovery from the rubble pile, the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel (Koenig's Sphere) at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Describe the characteristics of the Immediately after the attacks in The Sphere's Relocation after 9/11.

After the September 11 attacks, upon recovery from the rubble pile, the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel (Koenig's Sphere) at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In the context of The Sphere, explain the Relocation to Battery Park and the Relocation after 9/11.

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Explain the Relocation to Battery Park about the Relocation after 9/11 of this artwork, The Sphere.

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In The Sphere, how is the Relocation to Battery Park of the Relocation after 9/11 explained?

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance