A Painter (Meissonier)

Prompt: How does A Painter (Meissonier) explain its History and description?

Meissonier was fond of creating paintings representing artists and musicians of the 17th and 18th centuries. To ensure the authenticity of his paintings, Meissonier often purchased accessories at local costume fairs.The work depicts an 18th-century painter sitting on a low chair in his studio. He appears deeply focused on painting a small canvas on an easel, depicting a mythological scene containing a nymph and a satyr. The artist holds a brush in his right hand and the remaining brushes and a palette are held in his left hand. The artist's 18th-century clothing transforms the scene into a typical historical genre painting. The mandolin behind the easel and the bust on the wardrobe indicate that the fictional artist has an interest in music and sculpture.Meissonier exhibited the current painting at the Salon in Paris in 1857.

Category:Paintings in the Cleveland Museum of Art


A Painter (Meissonier)

Prompt: In A Painter (Meissonier), how is the History and description discussed?

Meissonier was fond of creating paintings representing artists and musicians of the 17th and 18th centuries. To ensure the authenticity of his paintings, Meissonier often purchased accessories at local costume fairs.The work depicts an 18th-century painter sitting on a low chair in his studio. He appears deeply focused on painting a small canvas on an easel, depicting a mythological scene containing a nymph and a satyr. The artist holds a brush in his right hand and the remaining brushes and a palette are held in his left hand. The artist's 18th-century clothing transforms the scene into a typical historical genre painting. The mandolin behind the easel and the bust on the wardrobe indicate that the fictional artist has an interest in music and sculpture.Meissonier exhibited the current painting at the Salon in Paris in 1857.

Category:Paintings in the Cleveland Museum of Art


A Painter (Meissonier)

Prompt: Focus on A Painter (Meissonier) and explain the Provenance.

The painting was first bought by a private collector in 1861. It went through several owners until being acquired by the Cleveland Museum of Art, in 1982.

Category:Paintings in the Cleveland Museum of Art


A Painter (Meissonier)

Prompt: Explain the Provenance of this artwork, A Painter (Meissonier).

The painting was first bought by a private collector in 1861. It went through several owners until being acquired by the Cleveland Museum of Art, in 1982.

Category:Paintings in the Cleveland Museum of Art


A Painter (Meissonier)

Prompt: How does A Painter (Meissonier) explain its Provenance?

The painting was first bought by a private collector in 1861. It went through several owners until being acquired by the Cleveland Museum of Art, in 1982.

Category:Paintings in the Cleveland Museum of Art


A Painter (Meissonier)

Prompt: In A Painter (Meissonier), how is the Provenance discussed?

The painting was first bought by a private collector in 1861. It went through several owners until being acquired by the Cleveland Museum of Art, in 1982.

Category:Paintings in the Cleveland Museum of Art


Two Running Girls

Prompt: Focus on Two Running Girls and explain the abstract.

Two Running Girls is a 1959 painting by Australian artist John Brack. The painting depicts two girls, wearing dresses and with their hair tied, running from the viewer.The painting was first exhibited in August 1959 at the Antipodeans Exhibition at the Victorian Artists Society galleries in Melbourne.In May 2016, the painting sold at auction for AUD1.65 million. At a previous sale in 1991, the painting was purchased for AUD52,000.

Category:Paintings by John Brack
1959 in art
Melbourne
1959
Category:Paintings of children
Australia
Australian dollar
Victorian Artists Society
AUD
Category:1959 paintings
Antipodeans
John Brack


Two Running Girls

Prompt: Explain the abstract of this artwork, Two Running Girls.

Two Running Girls is a 1959 painting by Australian artist John Brack. The painting depicts two girls, wearing dresses and with their hair tied, running from the viewer.The painting was first exhibited in August 1959 at the Antipodeans Exhibition at the Victorian Artists Society galleries in Melbourne.In May 2016, the painting sold at auction for AUD1.65 million. At a previous sale in 1991, the painting was purchased for AUD52,000.

Category:Paintings by John Brack
1959 in art
Melbourne
1959
Category:Paintings of children
Australia
Australian dollar
Victorian Artists Society
AUD
Category:1959 paintings
Antipodeans
John Brack


Two Running Girls

Prompt: How does Two Running Girls explain its abstract?

Two Running Girls is a 1959 painting by Australian artist John Brack. The painting depicts two girls, wearing dresses and with their hair tied, running from the viewer.The painting was first exhibited in August 1959 at the Antipodeans Exhibition at the Victorian Artists Society galleries in Melbourne.In May 2016, the painting sold at auction for AUD1.65 million. At a previous sale in 1991, the painting was purchased for AUD52,000.

Category:Paintings by John Brack
1959 in art
Melbourne
1959
Category:Paintings of children
Australia
Australian dollar
Victorian Artists Society
AUD
Category:1959 paintings
Antipodeans
John Brack


Two Running Girls

Prompt: In Two Running Girls, how is the abstract discussed?

Two Running Girls is a 1959 painting by Australian artist John Brack. The painting depicts two girls, wearing dresses and with their hair tied, running from the viewer.The painting was first exhibited in August 1959 at the Antipodeans Exhibition at the Victorian Artists Society galleries in Melbourne.In May 2016, the painting sold at auction for AUD1.65 million. At a previous sale in 1991, the painting was purchased for AUD52,000.

Category:Paintings by John Brack
1959 in art
Melbourne
1959
Category:Paintings of children
Australia
Australian dollar
Victorian Artists Society
AUD
Category:1959 paintings
Antipodeans
John Brack


Carp and Pine

Prompt: Focus on Carp and Pine and explain the abstract.

Carp and Pine is an Edo period Japanese woodblock print. Created on commission for a club in Kamige by Yashima Gakutei, the work depicts a dark-scaled carp resting in muddy water. The work, which is in the collection of the Metropolitan Museum of Art, was described by the museum as "the quintessential fish surimono."

Category:Collection of the Metropolitan Museum of Art


Carp and Pine

Prompt: Explain the abstract of this artwork, Carp and Pine.

Carp and Pine is an Edo period Japanese woodblock print. Created on commission for a club in Kamige by Yashima Gakutei, the work depicts a dark-scaled carp resting in muddy water. The work, which is in the collection of the Metropolitan Museum of Art, was described by the museum as "the quintessential fish surimono."

Category:Collection of the Metropolitan Museum of Art


Carp and Pine

Prompt: How does Carp and Pine explain its abstract?

Carp and Pine is an Edo period Japanese woodblock print. Created on commission for a club in Kamige by Yashima Gakutei, the work depicts a dark-scaled carp resting in muddy water. The work, which is in the collection of the Metropolitan Museum of Art, was described by the museum as "the quintessential fish surimono."

Category:Collection of the Metropolitan Museum of Art


Carp and Pine

Prompt: In Carp and Pine, how is the abstract discussed?

Carp and Pine is an Edo period Japanese woodblock print. Created on commission for a club in Kamige by Yashima Gakutei, the work depicts a dark-scaled carp resting in muddy water. The work, which is in the collection of the Metropolitan Museum of Art, was described by the museum as "the quintessential fish surimono."

Category:Collection of the Metropolitan Museum of Art


Prompt: Focus on Madonna and Child with Saints (Mantegna) and explain the abstract.

The Madonna and Child with Saints is a tempera on panel painting, attributed to Andrea Mantegna, dated to around 1500 and now in the Galleria Sabauda in Turin. Its top left hand corner is badly damaged.At the Virgin's knee is the infant John the Baptist, with his cross, camel skin and a scroll reading Ecce Agnus Dei. In the right background are Catherine of Alexandria with her wheel, an old female saint (Anne or Elisabeth) and an old male saint (Joachim or Joseph). On the left are a female saint (possibly Mary Magdalene) and a male saint with a book (possibly John the Evangelist).

Category:Paintings of the Madonna and Child by Andrea Mantegna


Prompt: Explain the abstract of this artwork, Madonna and Child with Saints (Mantegna).

The Madonna and Child with Saints is a tempera on panel painting, attributed to Andrea Mantegna, dated to around 1500 and now in the Galleria Sabauda in Turin. Its top left hand corner is badly damaged.At the Virgin's knee is the infant John the Baptist, with his cross, camel skin and a scroll reading Ecce Agnus Dei. In the right background are Catherine of Alexandria with her wheel, an old female saint (Anne or Elisabeth) and an old male saint (Joachim or Joseph). On the left are a female saint (possibly Mary Magdalene) and a male saint with a book (possibly John the Evangelist).

Category:Paintings of the Madonna and Child by Andrea Mantegna


Prompt: How does Madonna and Child with Saints (Mantegna) explain its abstract?

The Madonna and Child with Saints is a tempera on panel painting, attributed to Andrea Mantegna, dated to around 1500 and now in the Galleria Sabauda in Turin. Its top left hand corner is badly damaged.At the Virgin's knee is the infant John the Baptist, with his cross, camel skin and a scroll reading Ecce Agnus Dei. In the right background are Catherine of Alexandria with her wheel, an old female saint (Anne or Elisabeth) and an old male saint (Joachim or Joseph). On the left are a female saint (possibly Mary Magdalene) and a male saint with a book (possibly John the Evangelist).

Category:Paintings of the Madonna and Child by Andrea Mantegna


Prompt: In Madonna and Child with Saints (Mantegna), how is the abstract discussed?

The Madonna and Child with Saints is a tempera on panel painting, attributed to Andrea Mantegna, dated to around 1500 and now in the Galleria Sabauda in Turin. Its top left hand corner is badly damaged.At the Virgin's knee is the infant John the Baptist, with his cross, camel skin and a scroll reading Ecce Agnus Dei. In the right background are Catherine of Alexandria with her wheel, an old female saint (Anne or Elisabeth) and an old male saint (Joachim or Joseph). On the left are a female saint (possibly Mary Magdalene) and a male saint with a book (possibly John the Evangelist).

Category:Paintings of the Madonna and Child by Andrea Mantegna


The New Bonnet

Prompt: Focus on The New Bonnet and explain the abstract.

The New Bonnet is a mid 19th-century painting by American artist Francis William Edmonds. Done in oil on canvas, the painting depicts a woman receiving a new bonnet. The work is on display in the Metropolitan Museum of Art.

Category:Paintings in the Metropolitan Museum of Art


The New Bonnet

Prompt: Explain the abstract of this artwork, The New Bonnet.

The New Bonnet is a mid 19th-century painting by American artist Francis William Edmonds. Done in oil on canvas, the painting depicts a woman receiving a new bonnet. The work is on display in the Metropolitan Museum of Art.

Category:Paintings in the Metropolitan Museum of Art


The New Bonnet

Prompt: How does The New Bonnet explain its abstract?

The New Bonnet is a mid 19th-century painting by American artist Francis William Edmonds. Done in oil on canvas, the painting depicts a woman receiving a new bonnet. The work is on display in the Metropolitan Museum of Art.

Category:Paintings in the Metropolitan Museum of Art


The New Bonnet

Prompt: In The New Bonnet, how is the abstract discussed?

The New Bonnet is a mid 19th-century painting by American artist Francis William Edmonds. Done in oil on canvas, the painting depicts a woman receiving a new bonnet. The work is on display in the Metropolitan Museum of Art.

Category:Paintings in the Metropolitan Museum of Art


The New Bonnet

Prompt: Focus on The New Bonnet and explain the Description.

Bonnet depicts a familial scene in which a woman opens a new bonnet. Edmonds included a number of specific details in his work to comment on contemporaneous American consumerism; for example, the family (a woman, her mother and father) are shown to be part of the middle class, and are presented as being shocked by the price of the bonnet but oblivious to the poverty of the lower-class girl (first from left) who delivered the garment. In addition, the mother (first from right) is implied to be vain as she possess a mirror, while the father (second from right) is implied to be a drunk by the presence of a wine bottle and filled glass on the mantel behind him.Edmonds may have modeled his painting on the works of the 17th-century Dutch masters.

Category:Paintings in the Metropolitan Museum of Art


The New Bonnet

Prompt: Explain the Description of this artwork, The New Bonnet.

Bonnet depicts a familial scene in which a woman opens a new bonnet. Edmonds included a number of specific details in his work to comment on contemporaneous American consumerism; for example, the family (a woman, her mother and father) are shown to be part of the middle class, and are presented as being shocked by the price of the bonnet but oblivious to the poverty of the lower-class girl (first from left) who delivered the garment. In addition, the mother (first from right) is implied to be vain as she possess a mirror, while the father (second from right) is implied to be a drunk by the presence of a wine bottle and filled glass on the mantel behind him.Edmonds may have modeled his painting on the works of the 17th-century Dutch masters.

Category:Paintings in the Metropolitan Museum of Art


The New Bonnet

Prompt: How does The New Bonnet explain its Description?

Bonnet depicts a familial scene in which a woman opens a new bonnet. Edmonds included a number of specific details in his work to comment on contemporaneous American consumerism; for example, the family (a woman, her mother and father) are shown to be part of the middle class, and are presented as being shocked by the price of the bonnet but oblivious to the poverty of the lower-class girl (first from left) who delivered the garment. In addition, the mother (first from right) is implied to be vain as she possess a mirror, while the father (second from right) is implied to be a drunk by the presence of a wine bottle and filled glass on the mantel behind him.Edmonds may have modeled his painting on the works of the 17th-century Dutch masters.

Category:Paintings in the Metropolitan Museum of Art


The New Bonnet

Prompt: In The New Bonnet, how is the Description discussed?

Bonnet depicts a familial scene in which a woman opens a new bonnet. Edmonds included a number of specific details in his work to comment on contemporaneous American consumerism; for example, the family (a woman, her mother and father) are shown to be part of the middle class, and are presented as being shocked by the price of the bonnet but oblivious to the poverty of the lower-class girl (first from left) who delivered the garment. In addition, the mother (first from right) is implied to be vain as she possess a mirror, while the father (second from right) is implied to be a drunk by the presence of a wine bottle and filled glass on the mantel behind him.Edmonds may have modeled his painting on the works of the 17th-century Dutch masters.

Category:Paintings in the Metropolitan Museum of Art


Parochialstrasse in Berlin

Prompt: Focus on Parochialstrasse in Berlin and explain the abstract.

Parochialstrasse in Berlin is the title of a series of similar paintings by German artist Eduard Gaertner. Done in oil on canvas, the compositions depict the rapidly-industrializing urban landscape of 1830s Berlin, then the capital of the Kingdom of Prussia. The work shows people going about their day, street dogs, and the central street culminates in the Nikolaikirche, Berlin's oldest church. Three compositions were produced; one is in the collection of the Metropolitan Museum of Art, one was destroyed in World War II, and one is in the collection of the Nationalgalerie in Berlin.

Category:Paintings in the Metropolitan Museum of Art


Parochialstrasse in Berlin

Prompt: Explain the abstract of this artwork, Parochialstrasse in Berlin.

Parochialstrasse in Berlin is the title of a series of similar paintings by German artist Eduard Gaertner. Done in oil on canvas, the compositions depict the rapidly-industrializing urban landscape of 1830s Berlin, then the capital of the Kingdom of Prussia. The work shows people going about their day, street dogs, and the central street culminates in the Nikolaikirche, Berlin's oldest church. Three compositions were produced; one is in the collection of the Metropolitan Museum of Art, one was destroyed in World War II, and one is in the collection of the Nationalgalerie in Berlin.

Category:Paintings in the Metropolitan Museum of Art


Parochialstrasse in Berlin

Prompt: How does Parochialstrasse in Berlin explain its abstract?

Parochialstrasse in Berlin is the title of a series of similar paintings by German artist Eduard Gaertner. Done in oil on canvas, the compositions depict the rapidly-industrializing urban landscape of 1830s Berlin, then the capital of the Kingdom of Prussia. The work shows people going about their day, street dogs, and the central street culminates in the Nikolaikirche, Berlin's oldest church. Three compositions were produced; one is in the collection of the Metropolitan Museum of Art, one was destroyed in World War II, and one is in the collection of the Nationalgalerie in Berlin.

Category:Paintings in the Metropolitan Museum of Art


Parochialstrasse in Berlin

Prompt: In Parochialstrasse in Berlin, how is the abstract discussed?

Parochialstrasse in Berlin is the title of a series of similar paintings by German artist Eduard Gaertner. Done in oil on canvas, the compositions depict the rapidly-industrializing urban landscape of 1830s Berlin, then the capital of the Kingdom of Prussia. The work shows people going about their day, street dogs, and the central street culminates in the Nikolaikirche, Berlin's oldest church. Three compositions were produced; one is in the collection of the Metropolitan Museum of Art, one was destroyed in World War II, and one is in the collection of the Nationalgalerie in Berlin.

Category:Paintings in the Metropolitan Museum of Art


Sledging on the Neva

Prompt: Focus on Sledging on the Neva and explain the abstract.

Sledging on the Neva or Promenade on the Neva (Russian: Катание на Неве, lit. 'Riding on the Neva') is a 1854 panoramic painting by the Russian painter Alexey Bogolyubov. Depicts the Neva, the wooden theatre, the Palace Embankment (right), and the Peter and Paul Cathedral (left).

Category:Collection of the Tretyakov Gallery

Saints Peter and Paul Cathedral, Saint Petersburg


Sledging on the Neva

Prompt: Explain the abstract of this artwork, Sledging on the Neva.

Sledging on the Neva or Promenade on the Neva (Russian: Катание на Неве, lit. 'Riding on the Neva') is a 1854 panoramic painting by the Russian painter Alexey Bogolyubov. Depicts the Neva, the wooden theatre, the Palace Embankment (right), and the Peter and Paul Cathedral (left).

Category:Collection of the Tretyakov Gallery

Saints Peter and Paul Cathedral, Saint Petersburg


Sledging on the Neva

Prompt: How does Sledging on the Neva explain its abstract?

Sledging on the Neva or Promenade on the Neva (Russian: Катание на Неве, lit. 'Riding on the Neva') is a 1854 panoramic painting by the Russian painter Alexey Bogolyubov. Depicts the Neva, the wooden theatre, the Palace Embankment (right), and the Peter and Paul Cathedral (left).

Category:Collection of the Tretyakov Gallery

Saints Peter and Paul Cathedral, Saint Petersburg


Sledging on the Neva

Prompt: In Sledging on the Neva, how is the abstract discussed?

Sledging on the Neva or Promenade on the Neva (Russian: Катание на Неве, lit. 'Riding on the Neva') is a 1854 panoramic painting by the Russian painter Alexey Bogolyubov. Depicts the Neva, the wooden theatre, the Palace Embankment (right), and the Peter and Paul Cathedral (left).

Category:Collection of the Tretyakov Gallery

Saints Peter and Paul Cathedral, Saint Petersburg


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