About Leonardo Da Vinci | Sculpture Vitruvian Man – White
This beautiful Leonardo Da Vinci Sculpture Vitruvian Man – White (Large) features the notorious drawing by the Italian High-Renaissance master Leonardo Da Vinci, based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Architectura. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. Vitruvius determined that the ideal body should be eight heads high. Leonardo’s drawing is traditionally named in honor of the architect. Le proporzioni del corpo umano secondo Vitruvio (The proportions of the human body according to Vitruvio), is a drawing by Leonardo da Vinci around 1490. It is accompanied by notes based on the work of the architect Vitruvius. The drawing, which is in pen and ink on paper, depicts a man in two superimposed positions with his arms and legs apart and inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man. It is kept in the Gabinetto dei disegni e stampe of the Gallerie dell’Accademia, in Venice, Italy, under reference 228. Like most works on paper, it is displayed to the public only occasionally. More Details on Leonardo Da Vinci Sculpture Vitruvian Man (Large) – White:
- Dimensions: 16.5″ x 16″ x 3″ inches (est)
- Weight: 6 lbs (est)
- Material: Resin (powdered marble finish), Metal Stand.
- Original artwork: Da Vinci, Leonardo. Vitruvian Man. c. 1490. Pen and ink with wash over metal point on paper, Gallerie dell’Accademia, Venice, 13.6 in × 10.0 in.
About Leonardo Da Vinci
Born in the small town of Vinci, near Florence, Leonardo Da Vinci (1452-1519) trained in the studio of Andrea del Verrocchio. The quintessential “Renaissance man,” Leonardo possessed unequaled talent and imagination. Art was but one of his innumerable interests, the scope, and depth of which were without precedent. His unquenchable curiosity is evident in the voluminous notes he interspersed with sketches in his notebooks dealing with botany, geology, geography, cartography, zoology, military engineering, animal lore, anatomy, and aspects of physical science, including hydraulics and mechanics. Leonardo stated repeatedly that his scientific investigations made him a better painter, and indeed this was the case. Leonardo’s studies in optics provided him with a deeper understanding of perspective, light, and color. As a true artist-scientist, most of his drawings are also regarded as artworks, among which is the notorious study of the human proportions, in his drawing The Vitruvian Man.