section

民衆を導く自由の女神

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.

Prompt: 民衆を導く自由の女神に関して、どのように購入展示が議論されていますか？英語で出力して下さい。

Airbus Beluga
Albert Boime
Bahrain
Detroit
Detroit Institute of Arts
France
France
Grand Palais
July Revolution
June Rebellion
Lens, Pas-de-Calais
Louvre
Louvre-Lens
Metropolitan Museum of Art
Louvre
Paris
Tokyo


section

民衆を導く自由の女神

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva  Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time  lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode  of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont  is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.

Prompt: 民衆を導く自由の女神に焦点を当てて、その遺産を説明してください。英語で出力して下さい。

2018–2019 Gaza border protests
Aed Abu Amro
Ay mamá
BBC
BBC Radio 4
Coldplay
France
France
Frédéric Auguste Bartholdi
Gavroche
George Antheil
Ghost in the Shell: SAC 2045
June Rebellion
Kathleen Ni Houlihan
Les Misérables
Louvre
Marianne
Melvyn Bragg
Louvre
Netflix
New York City
Phrygian cap
Rigoberta Bandini
Robert Ballagh
Song Joong-ki
Statue of Liberty


section

民衆を導く自由の女神

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva  Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time  lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode  of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont  is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.

Prompt: 民衆を導く自由の女神の遺産を説明してください。英語で出力して下さい。

2018–2019 Gaza border protests
Aed Abu Amro
Ay mamá
BBC
BBC Radio 4
Coldplay
France
France
Frédéric Auguste Bartholdi
Gavroche
George Antheil
Ghost in the Shell: SAC 2045
June Rebellion
Kathleen Ni Houlihan
Les Misérables
Louvre
Marianne
Melvyn Bragg
Louvre
Netflix
New York City
Phrygian cap
Rigoberta Bandini
Robert Ballagh
Song Joong-ki
Statue of Liberty


section

民衆を導く自由の女神

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva  Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time  lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode  of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont  is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.

Prompt: 民衆を導く自由の女神はどのように遺産を説明していますか？英語で出力して下さい。

2018–2019 Gaza border protests
Aed Abu Amro
Ay mamá
BBC
BBC Radio 4
Coldplay
France
France
Frédéric Auguste Bartholdi
Gavroche
George Antheil
Ghost in the Shell: SAC 2045
June Rebellion
Kathleen Ni Houlihan
Les Misérables
Louvre
Marianne
Melvyn Bragg
Louvre
Netflix
New York City
Phrygian cap
Rigoberta Bandini
Robert Ballagh
Song Joong-ki
Statue of Liberty


section

民衆を導く自由の女神

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva  Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time  lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode  of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont  is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.

Prompt: 民衆を導く自由の女神に関して、どのように遺産が議論されていますか？英語で出力して下さい。

2018–2019 Gaza border protests
Aed Abu Amro
Ay mamá
BBC
BBC Radio 4
Coldplay
France
France
Frédéric Auguste Bartholdi
Gavroche
George Antheil
Ghost in the Shell: SAC 2045
June Rebellion
Kathleen Ni Houlihan
Les Misérables
Louvre
Marianne
Melvyn Bragg
Louvre
Netflix
New York City
Phrygian cap
Rigoberta Bandini
Robert Ballagh
Song Joong-ki
Statue of Liberty


section

民衆を導く自由の女神

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

Prompt: 民衆を導く自由の女神に焦点を当てて、その批判を説明してください。英語で出力して下さい。


section

民衆を導く自由の女神

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

Prompt: 民衆を導く自由の女神の批判を説明してください。英語で出力して下さい。


section

民衆を導く自由の女神

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

Prompt: 民衆を導く自由の女神はどのように批判を説明していますか？英語で出力して下さい。


section

民衆を導く自由の女神

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

Prompt: 民衆を導く自由の女神に関して、どのように批判が議論されていますか？英語で出力して下さい。


section

民衆を導く自由の女神

Liberté, égalité, fraternité Liberty  Marianne

Prompt: 民衆を導く自由の女神に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

民衆を導く自由の女神

Liberté, égalité, fraternité Liberty  Marianne

Prompt: 民衆を導く自由の女神の参照を説明してください。英語で出力して下さい。


section

民衆を導く自由の女神

Liberté, égalité, fraternité Liberty  Marianne

Prompt: 民衆を導く自由の女神はどのように参照を説明していますか？英語で出力して下さい。


section

民衆を導く自由の女神

Liberté, égalité, fraternité Liberty  Marianne

Prompt: 民衆を導く自由の女神に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

民衆を導く自由の女神

Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.

Prompt: 民衆を導く自由の女神に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

民衆を導く自由の女神

Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.

Prompt: 民衆を導く自由の女神の参考文献を説明してください。英語で出力して下さい。


section

民衆を導く自由の女神

Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.

Prompt: 民衆を導く自由の女神はどのように参考文献を説明していますか？英語で出力して下さい。


section

民衆を導く自由の女神

Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.

Prompt: 民衆を導く自由の女神に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

ウィトルウィウス的人体図

artist             = Leonardo da Vinci year               =  type               = Pen, brown ink and watercolor over metalpoint on paper height_metric      = 34.4 width_metric       = 24.5 museum             = Gallerie dell'Accademia city               = Venice}}The Vitruvian Man  is a drawing by the Italian Renaissance artist and scientist Leonardo da Vinci, dated to . 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.

Prompt: ウィトルウィウス的人体図に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Carmen C. Bambach
De pictura
Francesco Melzi
Gallerie dell'Accademia
Giuseppe Bossi
High Renaissance
Italian Renaissance
Leon Battista Alberti
Leonardo da Vinci
Louvre
Venanzio de Pagave
Vitruvius


section

ウィトルウィウス的人体図

artist             = Leonardo da Vinci year               =  type               = Pen, brown ink and watercolor over metalpoint on paper height_metric      = 34.4 width_metric       = 24.5 museum             = Gallerie dell'Accademia city               = Venice}}The Vitruvian Man  is a drawing by the Italian Renaissance artist and scientist Leonardo da Vinci, dated to . 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.

Prompt: ウィトルウィウス的人体図の抽象を説明してください。英語で出力して下さい。

Carmen C. Bambach
De pictura
Francesco Melzi
Gallerie dell'Accademia
Giuseppe Bossi
High Renaissance
Italian Renaissance
Leon Battista Alberti
Leonardo da Vinci
Louvre
Venanzio de Pagave
Vitruvius


section

ウィトルウィウス的人体図

artist             = Leonardo da Vinci year               =  type               = Pen, brown ink and watercolor over metalpoint on paper height_metric      = 34.4 width_metric       = 24.5 museum             = Gallerie dell'Accademia city               = Venice}}The Vitruvian Man  is a drawing by the Italian Renaissance artist and scientist Leonardo da Vinci, dated to . 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.

Prompt: ウィトルウィウス的人体図はどのように抽象を説明していますか？英語で出力して下さい。

Carmen C. Bambach
De pictura
Francesco Melzi
Gallerie dell'Accademia
Giuseppe Bossi
High Renaissance
Italian Renaissance
Leon Battista Alberti
Leonardo da Vinci
Louvre
Venanzio de Pagave
Vitruvius


section

ウィトルウィウス的人体図

artist             = Leonardo da Vinci year               =  type               = Pen, brown ink and watercolor over metalpoint on paper height_metric      = 34.4 width_metric       = 24.5 museum             = Gallerie dell'Accademia city               = Venice}}The Vitruvian Man  is a drawing by the Italian Renaissance artist and scientist Leonardo da Vinci, dated to . 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.

Prompt: ウィトルウィウス的人体図に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Carmen C. Bambach
De pictura
Francesco Melzi
Gallerie dell'Accademia
Giuseppe Bossi
High Renaissance
Italian Renaissance
Leon Battista Alberti
Leonardo da Vinci
Louvre
Venanzio de Pagave
Vitruvius


section

ウィトルウィウス的人体図

The drawing is described by Leonardo's notes as , 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.

Prompt: ウィトルウィウス的人体図に焦点を当てて、その名前を説明してください。英語で出力して下さい。


section

ウィトルウィウス的人体図

The drawing is described by Leonardo's notes as , 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.

Prompt: ウィトルウィウス的人体図の名前を説明してください。英語で出力して下さい。


section

ウィトルウィウス的人体図

The drawing is described by Leonardo's notes as , 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.

Prompt: ウィトルウィウス的人体図はどのように名前を説明していますか？英語で出力して下さい。


section

ウィトルウィウス的人体図

The drawing is described by Leonardo's notes as , 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.

Prompt: ウィトルウィウス的人体図に関して、どのように名前が議論されていますか？英語で出力して下さい。


section

ウィトルウィウス的人体図

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  . 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  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."

Prompt: ウィトルウィウス的人体図に焦点を当てて、その遺産を説明してください。英語で出力して下さい。

Encyclopædia Britannica
High Renaissance
Ludwig Heinrich Heydenreich


section

ウィトルウィウス的人体図

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  . 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  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."

Prompt: ウィトルウィウス的人体図の遺産を説明してください。英語で出力して下さい。

Encyclopædia Britannica
High Renaissance
Ludwig Heinrich Heydenreich


section

ウィトルウィウス的人体図

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  . 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  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."

Prompt: ウィトルウィウス的人体図はどのように遺産を説明していますか？英語で出力して下さい。

Encyclopædia Britannica
High Renaissance
Ludwig Heinrich Heydenreich


section

ウィトルウィウス的人体図

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  . 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  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."

Prompt: ウィトルウィウス的人体図に関して、どのように遺産が議論されていますか？英語で出力して下さい。

Encyclopædia Britannica
High Renaissance
Ludwig Heinrich Heydenreich


subsection

ウィトルウィウス的人体図

The drawing was executed primarily with pen and light-brown ink, while there are traces of brown wash . and  do not mention any watercolor, though this is clearly stated in newer studies such as  and .group=n}} The paper measures , larger than most of Leonardo's folio manuscript sheets, to . Bambach notes that many of these smaller folio sheets were probably once larger, and later reduced in size for bindings.group=n}} 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.

Prompt: ウィトルウィウス的人体図の文脈で、作曲と名前を説明してください。英語で出力して下さい。


subsection

ウィトルウィウス的人体図

The drawing was executed primarily with pen and light-brown ink, while there are traces of brown wash . and  do not mention any watercolor, though this is clearly stated in newer studies such as  and .group=n}} The paper measures , larger than most of Leonardo's folio manuscript sheets, to . Bambach notes that many of these smaller folio sheets were probably once larger, and later reduced in size for bindings.group=n}} 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.

Prompt: ウィトルウィウス的人体図の名前に関する作曲を説明してください。英語で出力して下さい。


subsection

ウィトルウィウス的人体図

The drawing was executed primarily with pen and light-brown ink, while there are traces of brown wash . and  do not mention any watercolor, though this is clearly stated in newer studies such as  and .group=n}} The paper measures , larger than most of Leonardo's folio manuscript sheets, to . Bambach notes that many of these smaller folio sheets were probably once larger, and later reduced in size for bindings.group=n}} 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.

Prompt: ウィトルウィウス的人体図では、どのように名前の作曲が説明されていますか？英語で出力して下さい。


subsection

ウィトルウィウス的人体図

The drawing was executed primarily with pen and light-brown ink, while there are traces of brown wash . and  do not mention any watercolor, though this is clearly stated in newer studies such as  and .group=n}} The paper measures , larger than most of Leonardo's folio manuscript sheets, to . Bambach notes that many of these smaller folio sheets were probably once larger, and later reduced in size for bindings.group=n}} 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.

Prompt: ウィトルウィウス的人体図の名前における作曲の特徴を説明してください。英語で出力して下さい。


subsection

ウィトルウィウス的人体図

The text above the image reads: Vitruvius, the architect, says in his architectural work that the measurements of man are in nature distributed in this manner, that is 4 fingers make a palm, 4 palms make a foot, 6 palms make a cubit, 4 cubits make a man, 4 cubits make a footstep, 24 palms make a man and these measures are in his buildings. If you open your legs enough that your head is lowered by 1/14 of your height and raise your arms enough that your extended fingers touch the line of the top of your head, let you know that the center of the ends of the open limbs will be the navel, and the space between the legs will be an equilateral triangle}}And below:The length of the outspread arms is equal to the height of the man. From the hairline to the bottom of the chin is one-tenth of the height of the man. From below the chin to the top of the head is one-eighth of the height of the man. From above the chest to the top of the head is one-sixth of the height of the man. From above the chest to the hairline is one-seventh of the height of a man. From the chest to the head is a quarter of the height of the man. The maximum width of the shoulders contains a quarter of the man. From the elbow to the tip of the hand is a quarter of the height of a man; the distance from the elbow to the armpit is one-eighth of the height of the man; the length of the hand is one-tenth of the man. The virile member is at the half height of the man. The foot is one-seventh of the man. From below the foot to below the knee is a quarter of the man. From below the knee to the root of the member is a quarter of the man. The distances from the chin to the nose and the hairline and the eyebrows are equal to the ears and one-third of the face}}

Prompt: ウィトルウィウス的人体図の文脈で、テキストと名前を説明してください。英語で出力して下さい。


subsection

ウィトルウィウス的人体図

The text above the image reads: Vitruvius, the architect, says in his architectural work that the measurements of man are in nature distributed in this manner, that is 4 fingers make a palm, 4 palms make a foot, 6 palms make a cubit, 4 cubits make a man, 4 cubits make a footstep, 24 palms make a man and these measures are in his buildings. If you open your legs enough that your head is lowered by 1/14 of your height and raise your arms enough that your extended fingers touch the line of the top of your head, let you know that the center of the ends of the open limbs will be the navel, and the space between the legs will be an equilateral triangle}}And below:The length of the outspread arms is equal to the height of the man. From the hairline to the bottom of the chin is one-tenth of the height of the man. From below the chin to the top of the head is one-eighth of the height of the man. From above the chest to the top of the head is one-sixth of the height of the man. From above the chest to the hairline is one-seventh of the height of a man. From the chest to the head is a quarter of the height of the man. The maximum width of the shoulders contains a quarter of the man. From the elbow to the tip of the hand is a quarter of the height of a man; the distance from the elbow to the armpit is one-eighth of the height of the man; the length of the hand is one-tenth of the man. The virile member is at the half height of the man. The foot is one-seventh of the man. From below the foot to below the knee is a quarter of the man. From below the knee to the root of the member is a quarter of the man. The distances from the chin to the nose and the hairline and the eyebrows are equal to the ears and one-third of the face}}

Prompt: ウィトルウィウス的人体図の名前に関するテキストを説明してください。英語で出力して下さい。


subsection

ウィトルウィウス的人体図

The text above the image reads: Vitruvius, the architect, says in his architectural work that the measurements of man are in nature distributed in this manner, that is 4 fingers make a palm, 4 palms make a foot, 6 palms make a cubit, 4 cubits make a man, 4 cubits make a footstep, 24 palms make a man and these measures are in his buildings. If you open your legs enough that your head is lowered by 1/14 of your height and raise your arms enough that your extended fingers touch the line of the top of your head, let you know that the center of the ends of the open limbs will be the navel, and the space between the legs will be an equilateral triangle}}And below:The length of the outspread arms is equal to the height of the man. From the hairline to the bottom of the chin is one-tenth of the height of the man. From below the chin to the top of the head is one-eighth of the height of the man. From above the chest to the top of the head is one-sixth of the height of the man. From above the chest to the hairline is one-seventh of the height of a man. From the chest to the head is a quarter of the height of the man. The maximum width of the shoulders contains a quarter of the man. From the elbow to the tip of the hand is a quarter of the height of a man; the distance from the elbow to the armpit is one-eighth of the height of the man; the length of the hand is one-tenth of the man. The virile member is at the half height of the man. The foot is one-seventh of the man. From below the foot to below the knee is a quarter of the man. From below the knee to the root of the member is a quarter of the man. The distances from the chin to the nose and the hairline and the eyebrows are equal to the ears and one-third of the face}}

Prompt: ウィトルウィウス的人体図では、どのように名前のテキストが説明されていますか？英語で出力して下さい。


subsection

ウィトルウィウス的人体図

The text above the image reads: Vitruvius, the architect, says in his architectural work that the measurements of man are in nature distributed in this manner, that is 4 fingers make a palm, 4 palms make a foot, 6 palms make a cubit, 4 cubits make a man, 4 cubits make a footstep, 24 palms make a man and these measures are in his buildings. If you open your legs enough that your head is lowered by 1/14 of your height and raise your arms enough that your extended fingers touch the line of the top of your head, let you know that the center of the ends of the open limbs will be the navel, and the space between the legs will be an equilateral triangle}}And below:The length of the outspread arms is equal to the height of the man. From the hairline to the bottom of the chin is one-tenth of the height of the man. From below the chin to the top of the head is one-eighth of the height of the man. From above the chest to the top of the head is one-sixth of the height of the man. From above the chest to the hairline is one-seventh of the height of a man. From the chest to the head is a quarter of the height of the man. The maximum width of the shoulders contains a quarter of the man. From the elbow to the tip of the hand is a quarter of the height of a man; the distance from the elbow to the armpit is one-eighth of the height of the man; the length of the hand is one-tenth of the man. The virile member is at the half height of the man. The foot is one-seventh of the man. From below the foot to below the knee is a quarter of the man. From below the knee to the root of the member is a quarter of the man. The distances from the chin to the nose and the hairline and the eyebrows are equal to the ears and one-third of the face}}

Prompt: ウィトルウィウス的人体図の名前におけるテキストの特徴を説明してください。英語で出力して下さい。


subsection

ウィトルウィウス的人体図

The moderately successful architect and engineer Vitruvius lived from  BCE, primarily in the Roman Republic. He is best known for authoring  , 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:}}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.

Prompt: ウィトルウィウス的人体図の文脈で、歴史的文脈と名前を説明してください。英語で出力して下さい。

Francesco di Giorgio Martini
Poggio Bracciolini
Roman Republic
Vitruvius


subsection

ウィトルウィウス的人体図

The moderately successful architect and engineer Vitruvius lived from  BCE, primarily in the Roman Republic. He is best known for authoring  , 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:}}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.

Prompt: ウィトルウィウス的人体図の名前に関する歴史的文脈を説明してください。英語で出力して下さい。

Francesco di Giorgio Martini
Poggio Bracciolini
Roman Republic
Vitruvius


subsection

ウィトルウィウス的人体図

The moderately successful architect and engineer Vitruvius lived from  BCE, primarily in the Roman Republic. He is best known for authoring  , 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:}}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.

Prompt: ウィトルウィウス的人体図では、どのように名前の歴史的文脈が説明されていますか？英語で出力して下さい。

Francesco di Giorgio Martini
Poggio Bracciolini
Roman Republic
Vitruvius


subsection

ウィトルウィウス的人体図

The moderately successful architect and engineer Vitruvius lived from  BCE, primarily in the Roman Republic. He is best known for authoring  , 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:}}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.

Prompt: ウィトルウィウス的人体図の名前における歴史的文脈の特徴を説明してください。英語で出力して下さい。

Francesco di Giorgio Martini
Poggio Bracciolini
Roman Republic
Vitruvius


subsection

ウィトルウィウス的人体図

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,group=n}} 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 , is almost certainly a typo, which was meant to be the 1487 that  gives.group=n}} 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 . 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".

Prompt: ウィトルウィウス的人体図の文脈で、創造と名前を説明してください。英語で出力して下さい。

Arthur E. Popham
Carmen C. Bambach
De pictura
Divina proportione
Leon Battista Alberti
Luca Pacioli
Piero della Francesca
Vitruvius


subsection

ウィトルウィウス的人体図

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,group=n}} 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 , is almost certainly a typo, which was meant to be the 1487 that  gives.group=n}} 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 . 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".

Prompt: ウィトルウィウス的人体図の名前に関する創造を説明してください。英語で出力して下さい。

Arthur E. Popham
Carmen C. Bambach
De pictura
Divina proportione
Leon Battista Alberti
Luca Pacioli
Piero della Francesca
Vitruvius


subsection

ウィトルウィウス的人体図

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,group=n}} 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 , is almost certainly a typo, which was meant to be the 1487 that  gives.group=n}} 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 . 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".

Prompt: ウィトルウィウス的人体図では、どのように名前の創造が説明されていますか？英語で出力して下さい。

Arthur E. Popham
Carmen C. Bambach
De pictura
Divina proportione
Leon Battista Alberti
Luca Pacioli
Piero della Francesca
Vitruvius


subsection

ウィトルウィウス的人体図

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,group=n}} 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 , is almost certainly a typo, which was meant to be the 1487 that  gives.group=n}} 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 . 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".

Prompt: ウィトルウィウス的人体図の名前における創造の特徴を説明してください。英語で出力して下さい。

Arthur E. Popham
Carmen C. Bambach
De pictura
Divina proportione
Leon Battista Alberti
Luca Pacioli
Piero della Francesca
Vitruvius


subsection

ウィトルウィウス的人体図

After Leonardo's death, the drawing most likely passed to his student Francesco Melzi , 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 , was passed to his heir Anna Luisa Monti, then to the De Page family, first   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 st Supper,  . This chapter was published as a stand-alone study the next year  . 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."

Prompt: ウィトルウィウス的人体図の文脈で、起源と名前を説明してください。英語で出力して下さい。

Cesare Monti
Dario Franceschini
Francesco Melzi
Gallerie dell'Accademia
Giuseppe Bossi
Italia Nostra
Louvre
Raphael


subsection

ウィトルウィウス的人体図

After Leonardo's death, the drawing most likely passed to his student Francesco Melzi , 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 , was passed to his heir Anna Luisa Monti, then to the De Page family, first   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 st Supper,  . This chapter was published as a stand-alone study the next year  . 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."

Prompt: ウィトルウィウス的人体図の名前に関する起源を説明してください。英語で出力して下さい。

Cesare Monti
Dario Franceschini
Francesco Melzi
Gallerie dell'Accademia
Giuseppe Bossi
Italia Nostra
Louvre
Raphael


subsection

ウィトルウィウス的人体図

After Leonardo's death, the drawing most likely passed to his student Francesco Melzi , 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 , was passed to his heir Anna Luisa Monti, then to the De Page family, first   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 st Supper,  . This chapter was published as a stand-alone study the next year  . 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."

Prompt: ウィトルウィウス的人体図では、どのように名前の起源が説明されていますか？英語で出力して下さい。

Cesare Monti
Dario Franceschini
Francesco Melzi
Gallerie dell'Accademia
Giuseppe Bossi
Italia Nostra
Louvre
Raphael


subsection

ウィトルウィウス的人体図

After Leonardo's death, the drawing most likely passed to his student Francesco Melzi , 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 , was passed to his heir Anna Luisa Monti, then to the De Page family, first   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 st Supper,  . This chapter was published as a stand-alone study the next year  . 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."

Prompt: ウィトルウィウス的人体図の名前における起源の特徴を説明してください。英語で出力して下さい。

Cesare Monti
Dario Franceschini
Francesco Melzi
Gallerie dell'Accademia
Giuseppe Bossi
Italia Nostra
Louvre
Raphael


subsection

ウィトルウィウス的人体図

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  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.

Prompt: ウィトルウィウス的人体図の文脈で、法的紛争と名前を説明してください。英語で出力して下さい。


subsection

ウィトルウィウス的人体図

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  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.

Prompt: ウィトルウィウス的人体図の名前に関する法的紛争を説明してください。英語で出力して下さい。


subsection

ウィトルウィウス的人体図

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  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.

Prompt: ウィトルウィウス的人体図では、どのように名前の法的紛争が説明されていますか？英語で出力して下さい。


subsection

ウィトルウィウス的人体図

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  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.

Prompt: ウィトルウィウス的人体図の名前における法的紛争の特徴を説明してください。英語で出力して下さい。


section

チャージング・ブル

completion_date    =   catalogue          = medium             = Bronze movement           = subject            = dimensions         = 11 ft × 16 ft  dimensions_ref     =  weight             =  designation        = condition          = museum             = city               = New York City, New York, US coordinates        =  mapframe           = no mapframe-zoom      =  owner              = accession          = preceded_by        =   followed_by        =   module             = website            =   pushpin_map        = map_size           =}}Charging Bull, sometimes referred to as the Bull of Wall Street or the Bowling Green Bull, is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The  bronze sculpture, standing  tall and measuring  long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. te in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Prompt: チャージング・ブルに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Arturo Di Modica
Bull
Egypt
Israelites
Manhattan
New York City
New York City Police Department
New York Stock Exchange Building
Occupy Wall Street
Wall Street


section

チャージング・ブル

completion_date    =   catalogue          = medium             = Bronze movement           = subject            = dimensions         = 11 ft × 16 ft  dimensions_ref     =  weight             =  designation        = condition          = museum             = city               = New York City, New York, US coordinates        =  mapframe           = no mapframe-zoom      =  owner              = accession          = preceded_by        =   followed_by        =   module             = website            =   pushpin_map        = map_size           =}}Charging Bull, sometimes referred to as the Bull of Wall Street or the Bowling Green Bull, is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The  bronze sculpture, standing  tall and measuring  long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. te in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Prompt: チャージング・ブルの抽象を説明してください。英語で出力して下さい。

Arturo Di Modica
Bull
Egypt
Israelites
Manhattan
New York City
New York City Police Department
New York Stock Exchange Building
Occupy Wall Street
Wall Street


section

チャージング・ブル

completion_date    =   catalogue          = medium             = Bronze movement           = subject            = dimensions         = 11 ft × 16 ft  dimensions_ref     =  weight             =  designation        = condition          = museum             = city               = New York City, New York, US coordinates        =  mapframe           = no mapframe-zoom      =  owner              = accession          = preceded_by        =   followed_by        =   module             = website            =   pushpin_map        = map_size           =}}Charging Bull, sometimes referred to as the Bull of Wall Street or the Bowling Green Bull, is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The  bronze sculpture, standing  tall and measuring  long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. te in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Prompt: チャージング・ブルはどのように抽象を説明していますか？英語で出力して下さい。

Arturo Di Modica
Bull
Egypt
Israelites
Manhattan
New York City
New York City Police Department
New York Stock Exchange Building
Occupy Wall Street
Wall Street


section

チャージング・ブル

completion_date    =   catalogue          = medium             = Bronze movement           = subject            = dimensions         = 11 ft × 16 ft  dimensions_ref     =  weight             =  designation        = condition          = museum             = city               = New York City, New York, US coordinates        =  mapframe           = no mapframe-zoom      =  owner              = accession          = preceded_by        =   followed_by        =   module             = website            =   pushpin_map        = map_size           =}}Charging Bull, sometimes referred to as the Bull of Wall Street or the Bowling Green Bull, is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The  bronze sculpture, standing  tall and measuring  long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. te in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Prompt: チャージング・ブルに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Arturo Di Modica
Bull
Egypt
Israelites
Manhattan
New York City
New York City Police Department
New York Stock Exchange Building
Occupy Wall Street
Wall Street


section

チャージング・ブル

The  sculpture It stands  tall and measures  long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon". Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.

Prompt: チャージング・ブルに焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

チャージング・ブル

The  sculpture It stands  tall and measures  long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon". Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.

Prompt: チャージング・ブルの説明を説明してください。英語で出力して下さい。


section

チャージング・ブル

The  sculpture It stands  tall and measures  long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon". Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.

Prompt: チャージング・ブルはどのように説明を説明していますか？英語で出力して下さい。


section

チャージング・ブル

The  sculpture It stands  tall and measures  long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon". Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.

Prompt: チャージング・ブルに関して、どのように説明が議論されていますか？英語で出力して下さい。


section

チャージング・ブル

In 2010, a similar Charging Bull sculpture by Di Modica was installed in Shanghai on commission by the Shanghai city authority; it is informally called the Bund Bull. Two years later, Di Modica unofficially installed another Charging Bull sculpture outside the Amsterdam Stock Exchange on Beursplein, Amsterdam.In 2019, Professional Bull Riders authorized Di Modica to craft a scaled replica of Charging Bull as the trophy for the champion of their annual Monster Energy PBR Unleash the Beast bull riding major event, the Monster Energy Buck Off at the Garden major.  It was first presented during the 2020 event to João Ricardo Vieira.

Prompt: チャージング・ブルに焦点を当てて、そのレプリカを説明してください。英語で出力して下さい。

Amsterdam
Bull
João Ricardo Vieira
Monster Energy
Professional Bull Riders
Shanghai


section

チャージング・ブル

In 2010, a similar Charging Bull sculpture by Di Modica was installed in Shanghai on commission by the Shanghai city authority; it is informally called the Bund Bull. Two years later, Di Modica unofficially installed another Charging Bull sculpture outside the Amsterdam Stock Exchange on Beursplein, Amsterdam.In 2019, Professional Bull Riders authorized Di Modica to craft a scaled replica of Charging Bull as the trophy for the champion of their annual Monster Energy PBR Unleash the Beast bull riding major event, the Monster Energy Buck Off at the Garden major.  It was first presented during the 2020 event to João Ricardo Vieira.

Prompt: チャージング・ブルのレプリカを説明してください。英語で出力して下さい。

Amsterdam
Bull
João Ricardo Vieira
Monster Energy
Professional Bull Riders
Shanghai


section

チャージング・ブル

In 2010, a similar Charging Bull sculpture by Di Modica was installed in Shanghai on commission by the Shanghai city authority; it is informally called the Bund Bull. Two years later, Di Modica unofficially installed another Charging Bull sculpture outside the Amsterdam Stock Exchange on Beursplein, Amsterdam.In 2019, Professional Bull Riders authorized Di Modica to craft a scaled replica of Charging Bull as the trophy for the champion of their annual Monster Energy PBR Unleash the Beast bull riding major event, the Monster Energy Buck Off at the Garden major.  It was first presented during the 2020 event to João Ricardo Vieira.

Prompt: チャージング・ブルはどのようにレプリカを説明していますか？英語で出力して下さい。

Amsterdam
Bull
João Ricardo Vieira
Monster Energy
Professional Bull Riders
Shanghai


section

チャージング・ブル

In 2010, a similar Charging Bull sculpture by Di Modica was installed in Shanghai on commission by the Shanghai city authority; it is informally called the Bund Bull. Two years later, Di Modica unofficially installed another Charging Bull sculpture outside the Amsterdam Stock Exchange on Beursplein, Amsterdam.In 2019, Professional Bull Riders authorized Di Modica to craft a scaled replica of Charging Bull as the trophy for the champion of their annual Monster Energy PBR Unleash the Beast bull riding major event, the Monster Energy Buck Off at the Garden major.  It was first presented during the 2020 event to João Ricardo Vieira.

Prompt: チャージング・ブルに関して、どのようにレプリカが議論されていますか？英語で出力して下さい。

Amsterdam
Bull
João Ricardo Vieira
Monster Energy
Professional Bull Riders
Shanghai


section

チャージング・ブル

Charging Bull has often been a subject of criticism from an anti-capitalist perspective. The Occupy Wall Street protests used the bull as a symbolic figure around which to direct their critiques of corporate greed. A 2011 image from Adbusters portraying a dancer posed in an attitude position atop the sculpture was used to promote the forthcoming protests. The first gathering of Occupy took place around the sculpture on September 17, 2011, before moving to Zuccotti Park. Because of the protests, the bull was surrounded by barricades and guarded by police until 2014.Charging Bull has been likened to the golden calf worshiped by the Israelites during their Exodus from Egypt. During Occupy Wall Street on multiple occasions an interfaith group of religious leaders led a procession of a golden calf figure that was modeled on the bull. A large papier-mâché piñata made by Sebastian Errazuriz for a 2014 New York design festival was intended to be reminiscent of both the golden calf and Charging Bull. Further comparisons to the golden calf have been made by Jewish and Christian religious commentators.

Prompt: チャージング・ブルに焦点を当てて、その批判を説明してください。英語で出力して下さい。

Adbusters
Bull
Egypt
Israelites
Occupy Wall Street
Wall Street
Zuccotti Park