A. 達芬奇證券上打新如何參與
公司上市又稱為首次公開發行（IPO），是指一家公司設定一個發行價格區間首次向公眾發行股票進行融資。「打新」即指投資者參與認購首次公開招股，有機會以最終確定的發行價在上市當天買入股票。
與A股、港股的新股認購不同，傳統美股IPO沒有面向公眾的公開認購環節。由於美股市場以機構為主，過去新股發行上市時配售一般只面向機構投資者、親友團和少量認購資金在百萬美元以上的個人投資者，散戶認購門檻較高。
達芬奇證券的美股打新是為普通投資者提供的創新服務，它指的是達芬奇參與美股新股IPO承銷或分銷，將獲得的新股分配額度提供給客戶認購的服務，旨在降低美股打新門檻。投資者可通過「達芬奇證券」APP – 【新股申購】中查看近期可參與打新的美股新股。
B. DaVinci達芬奇是哪一家公司的
達芬奇現在是Blackmagic的產品。
C. 達芬奇簡介
達芬奇：萊昂納多·達·芬奇，出生於義大利的文藝復興時期。
他涉及的領域：包括素描、繪畫、雕塑、建築、科學、音樂、數學、工程、文學、解剖學、地質學、天文學、植物學、古生物學和制圖學。他被人們稱為古生物學、植物學和建築學之父，被廣泛認為是世界有史以來最偉大的畫家之一。
D. 最近再用達芬奇證券炒股，問下港股打新怎麼操作
公司上市又稱為首次公開發行（IPO），是指一家公司設定一個發行價格區間首次向公眾發行股票進行融資。「打新」即指投資者參與申購首次公開招股，有機會以最終確定的發行價在上市當天買入股票。
公司擬於香港主板上市，需向香港聯交所提交申請，由聯交所統一審批並發布，分為國際配售和公開發售兩部分。國際配售是直接賣給專業投資者（一般為機構投資者或者大額個人投資者）的部分，包括基石投資和錨定投資。其中，基石投資者獲得的配售股票具有半年的鎖定期。上市條例規定一般情況下國際配售佔到整個發行量的90%以上，剩下的為公開發售，也就是散戶參與打新的部分。另設回撥機制，根據公開發售超購倍數擴大公開發售部分的比例，公開發售最多可以占整個發行量的50%，以保證散戶有足夠的機會參與。
E. 達芬奇證券有什麼優缺點
還可以，最大的有點是手續費低，大家自行比較就知道了
F. 為什麼有些股票在達芬奇 APP里看不到
達芬奇支持98%以上的美股交易，對於風險較高的個股，暫時予以剔除，如果需要再進行添加。
不收呀，達芬奇的任何股票實時行情均為免費
H. 達芬奇是一家什麼公司
生產傢具的公司
I. 達芬奇資料
達芬奇
達.芬奇（Leonardo da Vinci，1452-1519）
義大利文藝復新時期最負盛名的藝術大師,科學家。他生於佛羅倫薩郊區的芬奇鎮,卒於法國。其父為律師兼公證人,母為農婦,他15歲來到佛羅倫薩,學藝於韋羅基奧的作坊,1472年入畫家行會。70年代中期個人風格已趨成熟。1482--1499年間一直工作於米蘭,主要為米蘭公爵服務,進行了廣泛的藝術和科學活動,《岩間聖母》是他在這段時期創作的最有名的代表作。
他是一位天才，他一面熱心於藝術創作和理論研究，他研究如何用線條與立體造型去表現形體的各種問題；另一方面他也同時研究自然科學。
《自畫像》義大利繪畫大師達.芬奇的素描精品。他的素描作品的藝術水平已達極高的境地,被譽為素描藝術的典範。他對建築,雕刻和繪畫的創作都以大量素描為構思和研究的基礎,從構到每個人物 甚至每個手勢都准備了充分的素描習作及寫生,他的素描起了相當於甚或超過現代攝影術的作用。在這幅《自畫像》中,畫家描繪起自己來可謂得心應手,他觀察入微,用的線條豐富多變,剛柔相濟 尤其善用濃密程度不同斜線表現光暗的微妙變化,這些素描藝術手法使後來的不少畫家得益菲淺,堪稱素描藝術的精典。此畫用線生動靈活,概括性強,簡單的寥寥數筆卻包含許多轉折,體面關系,發線代面,立體感很強,還有,人物的表情也很傳神。因此,此畫雖為素描小作,其藝術美,形式美卻絲毫不亞於達.芬奇的那些恢宏巨制,諸多年來,繼續以其雋永的魅力吸引後世 美術愛好者的贊賞和推崇。
LEONARDO: RENAISSANCE POLYMATH
"There has never been an artist who was more fittingly, and without qualification, described as a genius. Like Shakespeare, Leonardo came from an insignificant background and rose to universal acclaim. Leonardo was the illegitimate son of a local lawyer in the small town of Vinci in the Tuscan region. His father acknowledged him and paid for his training, but we may wonder whether the strangely self-sufficient tone of Leonardo's mind was not perhaps affected by his early ambiguity of status. The definitive polymath, he had almost too many gifts, including superlative male beauty, a splendid singing voice, magnificent physique, mathematical excellence, scientific daring ... the list is endless. This overabundance of talents caused him to treat his artistry lightly, seldom finishing a picture, and sometimes making rash technical experiments. The Last Supper, in the church of Santa Maria delle Grazie in Milan, for example, has almost vanished, so inadequate were his innovations in fresco preparation.
"Yet the works that we have salvaged remain the most dazzlingly poetic pictures ever created. The Mona Lisa has the innocent disadvantage of being too famous. It can only be seen behind thick glass in a heaving crowd of awe-struck sightseers. It has been reproced in every conceivable medium; it remains intact in its magic, forever defying the human insistence on comprehending. It is a work that we can only gaze at in silence.
"Leonardo's three great portraits of women all have a secret wistfulness. This quality is at its most appealing in Cecilia Gallarani, at its most enigmatic in the Mona Lisa, and at its most confrontational in Ginevra de' Benci. It is hard to gaze at the Mona Lisa because we have so many expectations of it. Perhaps we can look more truly at a less famous portrait, Ginevra de' Benci. It has that haunting, almost unearthly beauty peculiar to Leonardo da Vinci.
A WITHHELD IDENTITY
"The subject of Ginevra de' Benci has nothing of the Mona Lisa's inward amusement, and also nothing of Cecilia's gentle submissiveness. The young woman looks past us with a wonderful luminous sulkiness. Her mouth is set in an unforgiving line of sensitive disgruntlement, her proud and perfect head is taut above the unyielding column of her neck, and her eyes seem to narrow as she enres the painter and his art. Her ringlets, infinitely subtle, cascade down from the breadth of her gleaming forehead (the forehead, incidentally, of one of the most gifted intellectuals of her time). These delicate ripples are repeated in the spikes of the juniper bush.
"The desolate waters, the mists, the dark trees, the reflected gleams of still waters - all these surround and illuminate the sitter. She is totally fleshly and totally impermeable to the artist. He observes, held rapt by her perfection of form, and shows us the thin veil of her upper bodice and the delicate flushing of her throat. What she is truly like she conceals; what Leonardo reveals to us is precisely this concealment, a self-absorption that spares no outward glance.
INTERIOR DEPTH
"We can always tell a Leonardo work by his treatment of hair, angelic in its fineness, and by the lack of any rigidity of contour. One form glides imperceptibly into another (the Italian term is sfumato), a wonder of glazes creating the most subtle of transitions between tones and shapes. The angel's face in the painting known as the Virgin of the Rocks in the National Gallery, London, or the Virgin's face in the Paris version of the same picture, have an interior wisdom, an artistic wisdom that has no pictorial rival.
"This unrivaled quality meant that few artists actually show Leonardo's influence: it is as if he seemed to be in a world apart from them. Indeed he did move apart, accepting the French King Francis I's summons to live in France. Those who did imitate him, like Bernardini Luini of Milan (c. 1485-1532), caught only the outer manner, the half-smile, the mistiness.
"The shadow of a great genius is a peculiar thing. Under Rembrandt's shadow, painters flourished to the extent that we can no longer distinguish their work from his own. But Leonardo's was a chilling shadow, too deep, too dark, too overpowering."
J. 達芬奇的簡介
個人簡介：達·芬奇是列奧納多·迪·皮耶羅·達·芬奇(義大利文原名:Leonardo di ser Piero da Vinci)的簡稱，出生於儒略歷1452年4月15日(公歷4月23日)，畢業於義大利理工學院，1519年5月2日逝世，是義大利學者、藝術家。歐洲文藝復興時期的天才科學家、發明家、畫家。現代學者稱他為"文藝復興時期最完美的代表"，是人類歷史上絕無僅有的全才，他最大的成就是繪畫，他的傑作《蒙娜麗莎》、《最後的晚餐》、《岩間聖母》等作品，體現了他精湛的藝術造詣。他認為自然中最美的研究對象是人體，人體是大自然的奇妙之作品，畫家應以人為繪畫對象的核心。
拓展資料：
人物生平：1452年的4月15日(儒略歷)，達·芬奇出生在夜幕降臨三個小時後"在芬奇的托斯卡納小山鎮，阿爾諾河流過的山谷附近，當時這個地方是美第奇家族統治下的佛羅倫薩共和國的領地。達·芬奇的父親叫瑟·皮耶羅·達芬奇，是佛羅倫薩的法律公證員，因此十分富有。他的母親卡泰麗娜是農婦。達·芬奇是他們的私生子。達·芬奇並沒有一個真正意義的姓，他的全名"Lionardo di ser Piero da Vinci"意思是:"芬奇鎮梅瑟·皮耶羅之子--列奧納多"。他名字中的"ser"只表明他的父親是一個紳士。
創作：當他在作坊學藝時 ，就表現出非凡的繪畫天才。約1470年他在協助韋羅基奧繪制《基督受洗》時，雖然只畫了一位跪在基督身旁的天使，但其神態、表情和柔和的色調，已明顯地超過了韋羅基奧。據傳，韋羅基奧為此不再作畫。現存他最早的作品《受胎告知》是達·芬奇在沒有老師的指導下，獨立完成的一件作品。除了有一點自由構思外，這幅畫的場景都是達·芬奇遵循一般的透視畫法來構思的。
成就：最初，人們學習科學知識也只是學習像《聖經》一樣的亞里士多德理論，只相信文字記載。達·芬奇反對經院哲學家們把過去的教義和言論作為知識基礎，他鼓勵人們向大自然學習，到自然界中尋求知識和真理。他認為知識起源於實踐，應該從實踐出發，通過實踐去探索科學的奧秘。