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What Important Period in Art History Did Leonardo Da Vinci Paint the Mona Lisa

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Painting by Leonardo da Vinci

Mona Lisa
Italian: Gioconda , Monna Lisa
See adjacent text.

The Mona Lisa digitally retouched to reduce the effects of aging. The unretouched image is darker.[i] [2] [3]

Artist Leonardo da Vinci
Year c.  1503–1506, perhaps continuing until c.  1517
Medium Oil on poplar panel
Discipline Lisa Gherardini
Dimensions 77 cm × 53 cm (30 in × 21 in)
Location Louvre, Paris

The Mona Lisa (; Italian: Gioconda [dʒoˈkonda] or Monna Lisa [ˈmɔnna ˈliːza]; French: Joconde [ʒɔkɔ̃d]) is a half-length portrait painting past Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance,[iv] [5] it has been described every bit "the all-time known, the most visited, the most written well-nigh, the most sung near, the almost parodied work of art in the world".[half dozen] The painting's novel qualities include the subject's enigmatic expression,[7] the monumentality of the limerick, the subtle modelling of forms, and the atmospheric illusionism.[8]

The painting is probably of the Italian noblewoman Lisa Gherardini,[ix] the wife of Francesco del Giocondo. It is painted in oil on a white Lombardy poplar panel. Leonardo never gave the painting to the Giocondo family unit, and subsequently it is believed he left it in his will to his favored amateur Salaì.[10] It had been believed to have been painted betwixt 1503 and 1506; even so, Leonardo may have connected working on information technology equally belatedly as 1517. Information technology was caused past King Francis I of France and is now the property of the French republic. It has been on permanent display at the Louvre in Paris since 1797.[xi]

The Mona Lisa is 1 of the near valuable paintings in the earth. It holds the Guinness Earth Tape for the highest known painting insurance valuation in history at US$100 million in 1962[12] (equivalent to $870 million in 2021).

Title and subject field

The title of the painting, which is known in English as Mona Lisa, comes from a clarification by Renaissance art historian Giorgio Vasari, who wrote "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife."[13] [14] [15] [16] Monna in Italian is a polite form of address originating as ma donna – similar to Ma'am, Madam, or my lady in English language. This became madonna , and its contraction monna . The title of the painting, though traditionally spelled Mona in English language, is spelled in Italian as Monna Lisa (mona being a vulgarity in Italian), but this is rare in English.[17] [xviii]

Vasari'south business relationship of the Mona Lisa comes from his biography of Leonardo published in 1550, 31 years later the creative person'south expiry. Information technology has long been the best-known source of information on the provenance of the work and identity of the sitter. Leonardo's assistant Salaì, at his death in 1524, owned a portrait which in his personal papers was named la Gioconda, a painting bequeathed to him by Leonardo.

That Leonardo painted such a work, and its engagement, were confirmed in 2005 when a scholar at Heidelberg University discovered a marginal annotation in a 1477 printing of a book by ancient Roman philosopher Cicero. Dated October 1503, the note was written by Leonardo'due south contemporary Agostino Vespucci. This annotation likens Leonardo to renowned Greek painter Apelles, who is mentioned in the text, and states that Leonardo was at that time working on a painting of Lisa del Giocondo.[19]

In response to the declaration of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated "Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the proper noun of Lisa del Giocondo. Almost this nosotros are at present certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre."[20]

The likely model, Lisa del Giocondo,[21] [22] was a member of the Gherardini family of Florence and Tuscany, and the married woman of wealthy Florentine silk merchant Francesco del Giocondo.[23] The painting is idea to have been commissioned for their new home, and to celebrate the birth of their 2nd son, Andrea.[24] The Italian proper name for the painting, La Gioconda , ways 'jocund' ('happy' or 'jovial') or, literally, 'the jocund one', a pun on the feminine form of Lisa's married name, Giocondo.[23] [25] In French, the championship La Joconde has the same meaning.

Before that discovery, scholars had developed several alternative views as to the subject of the painting. Some argued that Lisa del Giocondo was the subject of a dissimilar portrait, identifying at least four other paintings equally the Mona Lisa referred to past Vasari.[26] Several other women have been proposed as the subject of the painting.[27] Isabella d'Este,[28] Isabella of Aragon,[29] Cecilia Gallerani,[30] Costanza d'Avalos, Duchess of Francavilla,[27] Pacifica Brandano or Brandino, Isabela Gualanda, Caterina Sforza, Bianca Giovanna Sforza—even Salaì and Leonardo himself—are all among the list of posited models portrayed in the painting.[31] [32] [33] The catalogue raisonné Leonardo da Vinci (2019) documents the opinion that the painting likely depicts Lisa del Giocondo and that Isabella d'Este is the just plausible alternative.[28]

Clarification

Particular of the groundwork (right side)

The Mona Lisa bears a stiff resemblance to many Renaissance depictions of the Virgin Mary, who was at that time seen as an ideal for womanhood.[34] The woman sits markedly upright in a "pozzetto" armchair with her arms folded, a sign of her reserved posture. Her gaze is fixed on the observer. The woman appears alive to an unusual extent, which Leonardo achieved by his method of not drawing outlines (sfumato). The soft blending creates an ambiguous mood "mainly in two features: the corners of the rima oris, and the corners of the eyes".[35]

The depiction of the sitter in 3-quarter contour is similar to late 15th-century works by Lorenzo di Credi and Agnolo di Domenico del Mazziere.[34] Zöllner notes that the sitter's general position can be traced back to Flemish models and that "in particular the vertical slices of columns at both sides of the console had precedents in Flemish portraiture."[36] Woods-Marsden cites Hans Memling'south portrait of Benedetto Portinari (1487) or Italian imitations such as Sebastiano Mainardi'south pendant portraits for the use of a loggia, which has the effect of mediating between the sitter and the afar landscape, a characteristic missing from Leonardo's earlier portrait of Ginevra de' Benci.[37]

Detail of Lisa'southward easily, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa every bit a virtuous woman and faithful wife.[38]

The painting was i of the first portraits to depict the sitter in front of an imaginary landscape, and Leonardo was one of the first painters to utilize aeriform perspective.[39] The enigmatic woman is portrayed seated in what appears to be an open loggia with dark colonnade bases on either side. Backside her, a vast mural recedes to icy mountains. Winding paths and a distant bridge give only the slightest indications of human presence. Leonardo has called to place the horizon line non at the cervix, every bit he did with Ginevra de' Benci, only on a level with the eyes, thus linking the figure with the landscape and emphasizing the mysterious nature of the painting.[37]

Mona Lisa has no conspicuously visible eyebrows or eyelashes, although Vasari describes the eyebrows in detail.[40] [a] In 2007, French engineer Pascal Cotte appear that his ultra-high resolution scans of the painting provide testify that Mona Lisa was originally painted with eyelashes and eyebrows, but that these had gradually disappeared over time, perhaps as a result of overcleaning.[43] Cotte discovered the painting had been reworked several times, with changes fabricated to the size of the Mona Lisa's confront and the direction of her gaze. He also found that in one layer the subject was depicted wearing numerous hairpins and a headdress adorned with pearls which was later scrubbed out and overpainted.[44]

There has been much speculation regarding the painting'southward model and landscape. For instance, Leonardo probably painted his model faithfully since her beauty is not seen as beingness amid the best, "even when measured by belatedly quattrocento (15th century) or even twenty-outset century standards."[45] Some art historians in Eastern art, such as Yukio Yashiro, argue that the landscape in the background of the picture was influenced by Chinese paintings,[46] but this thesis has been contested for lack of clear evidence.[46]

Inquiry in 2003 past Professor Margaret Livingstone of Harvard University said that Mona Lisa's smile disappears when observed with direct vision, known every bit foveal. Because of the way the human heart processes visual information, it is less suited to pick up shadows directly; nonetheless, peripheral vision can pick upward shadows well.[47]

Inquiry in 2008 by a geomorphology professor at Urbino University and an artist-photographer revealed likenesses of Mona Lisa 's landscapes to some views in the Montefeltro region in the Italian provinces of Pesaro and Urbino, and Rimini.[48] [49]

History

Creation and date

Of Leonardo da Vinci'south works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned,[50] and 1 of iv works – the others existence Saint Jerome in the Wilderness, Adoration of the Magi and The Last Supper – whose attribution has avoided controversy.[51] He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503.[nineteen] [xx] It is believed past some that the Mona Lisa was begun in 1503 or 1504 in Florence.[52] Although the Louvre states that it was "doubtless painted between 1503 and 1506",[viii] art historian Martin Kemp says that there are some difficulties in confirming the dates with certainty.[23] Alessandro Vezzosi believes that the painting is feature of Leonardo'due south style in the terminal years of his life, post-1513.[53] Other academics argue that, given the historical documentation, Leonardo would have painted the piece of work from 1513.[54] Co-ordinate to Vasari, "later on he had lingered over information technology 4 years, [he] left information technology unfinished".[14] In 1516, Leonardo was invited by King Francis I to work at the Clos Lucé nearly the Château d'Amboise; it is believed that he took the Mona Lisa with him and connected to piece of work on information technology after he moved to France.[31] Art historian Carmen C. Bambach has concluded that Leonardo probably connected refining the work until 1516 or 1517.[55] Leonardo's right hand was paralytic circa 1517,[56] which may indicate why he left the Mona Lisa unfinished.[57] [58] [59] [b]

Raphael'south drawing (c. 1505), subsequently Leonardo; today in the Louvre along with the Mona Lisa [61]

Circa 1505,[61] Raphael executed a pen-and-ink sketch, in which the columns flanking the subject are more apparent. Experts universally agree that information technology is based on Leonardo's portrait.[62] [63] [64] Other afterward copies of the Mona Lisa, such as those in the National Museum of Fine art, Architecture and Design and The Walters Fine art Museum, also brandish big flanking columns. Equally a consequence, information technology was thought that the Mona Lisa had been trimmed.[65] [66] [67] [68] Even so, by 1993, Frank Zöllner observed that the painting surface had never been trimmed;[69] this was confirmed through a serial of tests in 2004.[70] In view of this, Vincent Delieuvin, curator of 16th-century Italian painting at the Louvre, states that the sketch and these other copies must have been inspired by another version,[71] while Zöllner states that the sketch may exist after another Leonardo portrait of the aforementioned subject.[69]

The tape of an Oct 1517 visit by Louis d'Aragon states that the Mona Lisa was executed for the deceased Giuliano de' Medici, Leonardo'southward steward at the Belvedere Palace between 1513 and 1516[72] [73] [c]—just this was probable an error.[74] [d] According to Vasari, the painting was created for the model'south husband, Francesco del Giocondo.[75] A number of experts have argued that Leonardo made two versions (because of the uncertainty concerning its dating and commissioner, as well as its fate following Leonardo'southward expiry in 1519, and the difference of details in Raphael's sketch—which may be explained past the possibility that he made the sketch from memory).[61] [64] [63] [76] The hypothetical first portrait, displaying prominent columns, would have been deputed by Giocondo circa 1503, and left unfinished in Leonardo's educatee and assistant Salaì's possession until his death in 1524. The second, commissioned past Giuliano de' Medici circa 1513, would take been sold by Salaì to Francis I in 1518[east] and is the ane in the Louvre today.[64] [63] [76] [77] Others believe that there was but 1 true Mona Lisa, simply are divided as to the two aforementioned fates.[23] [78] [79] At some betoken in the 16th century, a varnish was practical to the painting.[3] Information technology was kept at the Palace of Fontainebleau until Louis 14 moved it to the Palace of Versailles, where it remained until the French Revolution.[80] In 1797, information technology went on permanent display at the Louvre.[11]

Refuge, theft and vandalism

Louis Béroud's 1911 painting depicting Mona Lisa displayed in the Louvre before the theft, which Béroud discovered and reported to the guards.

Afterwards the French Revolution, the painting was moved to the Louvre, but spent a cursory period in the sleeping accommodation of Napoleon (d. 1821) in the Tuileries Palace.[80] The Mona Lisa was not widely known outside the fine art world, but in the 1860s, a portion of the French intelligentsia began to hail it equally a masterwork of Renaissance painting.[81] During the Franco-Prussian State of war (1870–1871), the painting was moved from the Louvre to the Brest Arsenal.[82]

In 1911, the painting was however not pop amid the lay-public.[83] On 21 August 1911, the painting was stolen from the Louvre.[84] The painting was kickoff missed the next day past painter Louis Béroud. Subsequently some confusion equally to whether the painting was being photographed somewhere, the Louvre was closed for a calendar week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated.[85] [86] The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case.[87] He carried out the theft past inbound the building during regular hours, hiding in a broom cupboard, and walking out with the painting hidden under his coat after the museum had closed.[25]

Vacant wall in the Louvre's Salon Carré later on the painting was stolen in 1911

"La Joconde est Retrouvée" ("Mona Lisa is Constitute"), Le Petit Parisien, 13 December 1913

The Mona Lisa in the Uffizi Gallery, in Florence, 1913. Museum manager Giovanni Poggi (correct) inspects the painting.

Excelsior, "La Joconde est Revenue" ("The Mona Lisa has returned"), ane January 1914

Peruggia was an Italian patriot who believed that Leonardo'due south painting should have been returned to an Italian museum.[88] Peruggia may have been motivated past an acquaintance whose copies of the original would significantly rising in value after the painting's theft.[89] Later having kept the Mona Lisa in his flat for 2 years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on four January 1914.[xc] Peruggia served half dozen months in prison house for the crime and was hailed for his patriotism in Italy.[86] A twelvemonth afterwards the theft, Saturday Evening Post journalist Karl Decker wrote that he met an alleged accomplice named Eduardo de Valfierno, who claimed to have masterminded the theft. Forger Yves Chaudron was to take created six copies of the painting to sell in the United states while concealing the location of the original.[89] Decker published this account of the theft in 1932.[91]

During World War II, it was again removed from the Louvre and taken outset to the Château d'Amboise, then to the Loc-Dieu Abbey and Château de Chambord, so finally to the Ingres Museum in Montauban.

On 30 Dec 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that information technology shattered the glass example and dislodged a speck of pigment near the left elbow.[92] The painting was protected by glass considering a few years before a man who claimed to exist in dearest with the painting had cut it with a razor blade and tried to steal it.[93] Since so, bulletproof glass has been used to shield the painting from whatsoever further attacks. Subsequently, on 21 Apr 1974, while the painting was on display at the Tokyo National Museum, a adult female sprayed it with cherry paint as a protest against that museum'southward failure to provide admission for disabled people.[94] On two August 2009, a Russian woman, distraught over beingness denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure.[95] [96] In both cases, the painting was undamaged.

In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019.[97] A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a grouping has about thirty seconds to see the painting.[98]

Modernistic assay

In the early on 21st century, French scientist Pascal Cotte hypothesized a subconscious portrait underneath the surface of the painting. He analyzed the painting in the Louvre with reflective low-cal technology starting time in 2004, and produced coexisting evidence for his theory.[99] [100] [101] Cotte admits that his investigation was just carried out only in back up of his hypotheses and should non be considered as definitive proof.[100] [78] The underlying portrait appears to be of a model looking to the side, and lacks flanking columns,[102] only does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo draw the subject as smiling,[thirteen] [103] dissimilar the subject in Cotte's supposed portrait.[100] [78] In 2020, Cotte published a report alleging that the painting has an underdrawing, transferred from a preparatory drawing via the spolvero technique.[104]

Conservation

The tourist'southward view in 2015

The Mona Lisa has survived for more than 500 years, and an international committee convened in 1952 noted that "the movie is in a remarkable state of preservation."[seventy] It has never been fully restored,[105] and so the current condition is partly due to a diverseness of conservation treatments the painting has undergone. A detailed analysis in 1933 by Madame de Gironde revealed that earlier restorers had "acted with a great deal of restraint."[70] Yet, applications of varnish made to the painting had darkened even past the end of the 16th century, and an aggressive 1809 cleaning and revarnishing removed some of the uppermost portion of the pigment layer, resulting in a washed-out advent to the confront of the figure. Despite the treatments, the Mona Lisa has been well cared for throughout its history, and although the console's warping caused the curators "some worry",[106] the 2004–05 conservation team was optimistic about the future of the work.[70]

Poplar console

At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crevice developed near the elevation of the panel, extending down to the hairline of the effigy. In the mid-18th century to early on 19th century, two butterfly-shaped walnut braces were inserted into the back of the console to a depth of about one 3rd the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Old between 1888 and 1905, or perhaps during the picture show's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and fissure with fabric.[107] [108]

The flick is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50% ±10%, and the temperature is maintained betwixt eighteen and 21 °C. To compensate for fluctuations in relative humidity, the instance is supplemented with a bed of silica gel treated to provide 55% relative humidity.[70]

Frame

Because the Mona Lisa 's poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during Earth War Two, and to set the flick for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame described below, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple later information technology was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel'due south warp.[ citation needed ]

The Mona Lisa has had many different decorative frames in its history, owing to changes in taste over the centuries. In 1909, the fine art collector Comtesse de Béhague gave the portrait its current frame,[109] a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting take been trimmed at least one time in its history to fit the picture into various frames, simply no part of the original paint layer has been trimmed.[seventy]

Cleaning and touch-up

The first and most extensive recorded cleaning, revarnishing, and touch-upwards of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-upward of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard too retouched the edges of the movie with varnish, to mask areas that had been covered initially by an older frame. In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent, and to lightly touch up several scratches to the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch upwardly the damage to Mona Lisa 's left elbow with watercolour.[70]

In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide handling. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure out.[seventy]

Display

On 6 Apr 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass.[110] Since 2005 the painting has been illuminated by an LED lamp, and in 2013 a new 20 watt LED lamp was installed, specially designed for this painting. The lamp has a Colour Rendering Index upwardly to 98, and minimizes infrared and ultraviolet radiations which could otherwise degrade the painting.[111] The renovation of the gallery where the painting now resides was financed past the Japanese broadcaster Nippon Television.[112] As of 2019, about x.2 million people view the painting at the Louvre each twelvemonth.[113]

On the 500th anniversary of the master'south death, the Louvre held the largest ever single exhibit of Leonardo works, from 24 October 2019 to 24 Feb 2020. The Mona Lisa was not included because it is in such slap-up demand amid visitors to the museum; the painting remained on brandish in its gallery.[114] [115]

Legacy

The Mona Lisa began influencing contemporary Florentine painting even before its completion. Raphael, who had been to Leonardo'due south workshop several times, promptly used elements of the portrait's composition and format in several of his works, such as Young Woman with Unicorn (c. 1506),[116] and Portrait of Maddalena Doni (c. 1506).[61] Later paintings past Raphael, such as La velata (1515–16) and Portrait of Baldassare Castiglione (c. 1514–15), continued to borrow from Leonardo'south painting. Zollner states that "None of Leonardo's works would exert more influence upon the evolution of the genre than the Mona Lisa. It became the definitive example of the Renaissance portrait and possibly for this reason is seen non but as the likeness of a real person, merely also as the apotheosis of an ideal."[117]

Early commentators such equally Vasari and André Félibien praised the movie for its realism, but by the Victorian era, writers began to regard the Mona Lisa as imbued with a sense of mystery and romance. In 1859, Théophile Gautier wrote that the Mona Lisa was a "sphinx of beauty who smiles so mysteriously" and that "Beneath the class expressed one feels a thought that is vague, infinite, inexpressible. One is moved, troubled ... repressed desires, hopes that bulldoze one to despair, stir painfully." Walter Pater's famous essay of 1869 described the sitter as "older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in the deep seas, and keeps their fallen day most her."[118]

By the early 20th century, some critics started to feel the painting had become a repository for subjective exegeses and theories.[119] Upon the painting's theft in 1911, Renaissance historian Bernard Berenson admitted that it had "simply become an incubus, and [he] was glad to be rid of her."[119] [120] Jean Metzinger'due south Le goûter (Tea Fourth dimension) was exhibited at the 1911 Salon d'Automne and was sarcastically described every bit "la Joconde à la cuiller" (Mona Lisa with a spoon) past art critic Louis Vauxcelles on the front end page of Gil Blas.[121] André Salmon later on described the painting as "The Mona Lisa of Cubism".[122] [123]

The advanced art world has made annotation of the Mona Lisa 's undeniable popularity. Because of the painting'due south overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, Le rire, an epitome of a Mona Lisa smoking a pipe, past Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, 1 of the most influential modern artists, created L.H.O.O.Q., a Mona Lisa parody fabricated by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a land of sexual excitement and intended as a Freudian joke.[124] According to Rhonda R. Shearer, the credible reproduction is in fact a copy partly modelled on Duchamp's own confront.[125]

Salvador Dalí, famous for his surrealist work, painted Self portrait as Mona Lisa in 1954.[126] Andy Warhol created serigraph prints of multiple Mona Lisas, called Thirty Are Better than One, following the painting's visit to the Usa in 1963.[127] The French urban artist known pseudonymously as Invader has created versions of the Mona Lisa on city walls in Paris and Tokyo using a mosaic manner.[128] A 2014 New Yorker magazine cartoon parodies the supposed enigma of the Mona Lisa grinning in an animation showing progressively more maniacal smiles.

  • Le rire (The Laugh) by Eugène Bataille, or Sapeck (1883)

Fame

2014: Mona Lisa is among the greatest attractions in the Louvre.

Today the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century it was simply one among many highly regarded artworks.[129] One time office of King Francis I of France's collection, the Mona Lisa was amid the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to exist revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale.[130] The Baedeker guide in 1878 called it "the most historic piece of work of Leonardo in the Louvre",[131] but the painting was known more by the intelligentsia than the general public.[132]

The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century it was an object for mass reproduction, merchandising, lampooning and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements".[131] The Mona Lisa was regarded as "just another Leonardo until early last century, when the scandal of the painting's theft from the Louvre and subsequent return kept a spotlight on information technology over several years."[133]

From December 1962 to March 1963, the French regime lent information technology to the United States to be displayed in New York City and Washington, D.C.[134] [135] Information technology was shipped on the new sea liner SS France.[136] In New York, an estimated 1.7 million people queued "in guild to cast a glance at the Mona Lisa for 20 seconds or then."[131] While exhibited in the Metropolitan Museum of Art, the painting was nearly drenched in h2o considering of a faulty sprinkler, only the painting's bullet-proof glass case protected it.[137]

In 1974, the painting was exhibited in Tokyo and Moscow.[138]

In 2014, ix.three 1000000 people visited the Louvre.[139] Former managing director Henri Loyrette reckoned that "80 per centum of the people only want to come across the Mona Lisa."[140]

Fiscal worth

Before the 1962–1963 tour, the painting was assessed for insurance at $100 million (equivalent to $670 million in 2020), making it, in practise, the most highly-valued painting in the earth. The insurance was not purchased; instead, more than was spent on security.[141]

In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although information technology was observed that the Mona Lisa and other such art works were prohibited from existence sold due to French heritage constabulary, which states that "Collections held in museums that belong to public bodies are considered public property and cannot be otherwise."[142]

Early versions and copies

Prado Museum La Gioconda

A version of Mona Lisa known as Mujer de mano de Leonardo Abince ("Adult female by Leonardo da Vinci's hand", Museo del Prado, Madrid) was for centuries considered to be a work by Leonardo. Yet, since its restoration in 2012, it is at present thought to have been executed past one of Leonardo's pupils in his studio at the same fourth dimension as Mona Lisa was being painted.[143] The Prado's conclusion that the painting is probably by Salaì (1480–1524) or by Melzi (1493–1572) has been called into question by others.[144]

The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair.[145] [146] [147] However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.[148]

Isleworth Mona Lisa

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought past an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 past the Mona Lisa Foundation.[149] It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The electric current scholarly consensus on attribution is unclear.[150] Some experts, including Frank Zöllner, Martin Kemp and Luke Syson denied the attribution to Leonardo;[151] [152] professors such as Salvatore Lorusso, Andrea Natali,[153] and John F Asmus supported it;[154] others like Alessandro Vezzosi and Carlo Pedretti were uncertain.[155]

Hermitage Mona Lisa

A version known as the Hermitage Mona Lisa is in the Hermitage Museum. It was made past an unknown 16th-century artist.[156]

  • Copy of Mona Lisa commonly attributed to Salaì

  • The Prado Museum La Gioconda

Run across besides

  • List of most expensive paintings
  • List of stolen paintings

References

Footnotes

  1. ^ Some researchers claim that it was common at this fourth dimension for genteel women to pluck these hairs, as they were considered unsightly.[41] [42]
  2. ^ Leonardo, later on in his life, is said to have regretted "never having completed a single work".[60]
  3. ^ "... Messer Lunardo Vinci [sic] ... showed His Excellency three pictures, i of a certain Florentine lady washed from life at the instance of the late Magnificent, Giuliano de' Medici."[74]
  4. ^ "Possibly information technology was another portrait of which no record and no copies exist—Giuliano de' Medici surely had nothing to do with the Mona Lisa—the probability is that the secretary, overwhelmed equally he must take been at the fourth dimension, inadvertently dropped the Medici name in the wrong identify."[74]
  5. ^ Along with The Virgin and Child with St. Anne and St. John the Baptist

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External links

  • Sassoon, Donald, Prof. (21 January 2014). #26: Why is the Mona Lisa Famous?. La Trobe University podcast blog. Archived from the original on 4 July 2015. {{cite AV media}}: CS1 maint: bot: original URL status unknown (link) of the podcast audio.
  • Kobbé, Gustav "The Grin of the Mona Lisa" The Lotus Magazine Vol. 8, No. ii (Nov. 1916), pp. 67–74
  • "Mona Lisa, Leonardo'south Earlier Version". Zürich, Switzerland: The Mona Lisa Foundation. Archived from the original on 26 June 2015. Retrieved 5 November 2015.
  • "Truthful Colors of the Mona Lisa Revealed" (Press release). Paris: Lumiere Technology. nineteen Oct 2006. Archived from the original on 26 June 2015. Retrieved 5 November 2015.
  • Scientific analyses conducted by the Center for Research and Restoration of the Museums of France (C2RMF) Compare layers of the painting as revealed by 10-radiography, infrared reflectographya and ultraviolet fluorescence
  • "Stealing Mona Lisa". Dorothy & Thomas Hoobler. May 2009. extract of book. Vanity Fair
  • Word by Janina Ramirez and Martin Kemp: Art Detective Podcast, 18 Jan 2017
  • Leonardo's Mona Lisa, Smarthistory (video)
  • Secrets of the Mona Lisa, Discovery Channel documentary on YouTube

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Source: https://en.wikipedia.org/wiki/Mona_Lisa

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