Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

 

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

detail background left

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Mona Lisa detail background right.

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

The Mona Lisa on display in the Uffizi Gallery, in Florence, 1913. Museum director Giovanni Poggi (right) inspects the painting.

The Mona Lisa on display in the Uffizi Gallery, in Florence (Italy). Museum director Giovanni Poggi (right) inspects the painting. The masterpiece would be latter returned to Museum of Louvre where it had been stolen from.

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

The Mona Lisa‘s vacant place in the Salon Carré, Louvre Museum, after having been stolen in 1911. Above the vacant wall space is Veronese‘s The Feast at the House of Simon (now in the Museum of Château de Versailles), on one side, Titian‘s Allegory painted for Alfonso d’Avalos, and on the other Correggio‘s ‘Betrothal of St. Catharine [Catherine] of Alexandria

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Monna Lisa in Italia a Firenze nel 1913 dopo il furto

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Excelsior, La Joconde est Revenue (The Mona Lisa has returned), 1 January 1914

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Presumed self-portrait by Leonardo da Vinci, executed in red chalk sometime between 1512 and 1515

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Raffaello Sanzio – Portrait of a Woman

Raphael’s drawing, based on the portrait of Mona Lisa

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Raphael’s Young Woman with Unicorn, (c. 1506)

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

US President John F. Kennedy, Madeleine Malraux, André Malraux, Jacqueline Kennedy and Lyndon B. Johnson at the unveiling of the Mona Lisa at the National Gallery of Art during its visit to Washington D.C., 8 January 1963

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

 

Jean Metzinger, 1911, Le goûter (Tea Time), oil on canvas, 75.9 x 70.2 cm, Philadelphia Museum of Art

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Perspective Mona Lisa to the Prado museum

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Perspective Mona Lisa to the Louvre museum

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Copy of Mona Lisa commonly attributed to Salaì

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

The Prado Museum La Gioconda

 

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

 

The Isleworth Mona Lisa

 

 

Mona Lisa
Italian: La Gioconda, French: La Joconde Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA
Artist	Leonardo da Vinci
Year	c. 1503–06, perhaps continuing until c.1517
Medium	Oil on poplar panel
Subject	Lisa Gherardini
Dimensions	77 cm × 53 cm (30 in × 21 in)
Location	Musée du Louvre, Paris

The Mona Lisa(/ˌmoʊnə ˈliːsə/; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian Renaissanceartist Leonardo da Vinci that has been described as « the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world ».^[1] The Mona Lisa is also one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known insurance valuation in history at $100 million in 1962,^[2]which is worth nearly $820 million in 2018.^[3]

The painting is thought to be a portrait of Lisa Gherardini, the wife of Francesco del Giocondo, and is in oil on a white Lombardy poplarpanel. It had been believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. Recent academic work suggests that it would not have been started before 1513.^[4][5][6][7] It was acquired by King Francis I of France and is now the property of the French Republic, on permanent display at the Louvre Museum in Paris since 1797.^[8]

The subject’s expression, which is frequently described as enigmatic,^[9] the monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism were novel qualities that have contributed to the continuing fascination and study of the work.^[10]

Title and subject

Main article: Lisa del Giocondo

The title of the painting, which is known in English as Mona Lisa, comes from a description by Renaissance art historian Giorgio Vasari, who wrote « Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife. »^[11][12] Mona in Italian is a polite form of address originating as « ma donna » – similar to « Ma’am », « Madam », or « my lady » in English. This became « madonna« , and its contraction « mona ». The title of the painting, though traditionally spelled « Mona » (as used by Vasari^[11]), is also commonly spelled in modern Italian as Monna Lisa (« mona » being a vulgarity in some Italian dialects), but this is rare in English.^{[citation needed]}

Vasari’s account of the Mona Lisa comes from his biography of Leonardo published in 1550, 31 years after the artist’s death. It 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 date, were confirmed in 2005 when a scholar at Heidelberg University discovered a marginal note in a 1477 printing of a volume written by the ancient Romanphilosopher Cicero. Dated October 1503, the note was written by Leonardo’s contemporary Agostino Vespucci. This note 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.^[13]

In response to the announcement 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 name of Lisa del Giocondo. About this we are now certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre. »^[14]

A margin note by Agostino Vespucci (visible at right) discovered in a book at Heidelberg University. Dated 1503, it states that Leonardo was working on a portrait of Lisa del Giocondo.

The model, Lisa del Giocondo,^[15][16] was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo.^[17] The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea.^[18] The Italian name for the painting, La Gioconda, means « jocund » (« happy » or « jovial ») or, literally, « the jocund one », a pun on the feminine form of Lisa’s married name, « Giocondo ».^[17][19] In French, the title 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 different portrait, identifying at least four other paintings as the Mona Lisa referred to by Vasari.^[20][21] Several other women have been proposed as the subject of the painting.^[22]Isabella of Aragon,^[23] Cecilia Gallerani,^[24] Costanza d’Avalos, Duchess of Francavilla,^[22] Isabella d’Este, Pacifica Brandano or Brandino, Isabela Gualanda, Caterina Sforza—even Salaì and Leonardo himself—are all among the list of posited models portrayed in the painting.^[25][26] The consensus of art historians in the 21st century maintains the long-held traditional opinion, that the painting depicts Lisa del Giocondo.^[13]

History

 Leonardo da Vinci

Presumed self-portrait by Leonardo da Vinci, executed in red chalk sometime between 1512 and 1515

Leonardo da Vinci is thought by some to have begun painting the Mona Lisain 1503 or 1504 in Florence, Italy.^[27]Although the Louvre states that it was « doubtless painted between 1503 and 1506 »,^[10] the art historian Martin Kemp says there are some difficulties in confirming the actual dates with certainty.^[17] In addition, many Leonardo experts, such as Carlo Pedretti ^[4] and Alessandro Vezzosi,^[5]are of the opinion that the painting is characteristic of Leonardo’s style in the final years of his life, post-1513. Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513.^[7] According to Leonardo’s contemporary, Giorgio Vasari, « after he had lingered over it four years, [he] left it unfinished ».^[12] Leonardo, later in his life, is said to have regretted « never having completed a single work ».^[28]

Raphael’s drawing, based on the portrait of Mona Lisa

Circa 1504, Raphael executed a pen and ink sketch, today in the Louvre museum, in which the subject is flanked by large columns. Experts universally agree it is based on Leonardo’s portrait of Mona Lisa.^{[29][30][6][31]} Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design in Oslo and The Walters Art Museum in Baltimore, also display large flanking columns. As a result, it was originally thought that the Mona Lisa in the Louvre had side columns and had been cut.^{[32][33][4][34][35]} However, as early as 1993, Zöllner observed that the painting surface had never been trimmed.^[36] This was confirmed through a series of tests conducted in 2004.^[37] In view of this, Vincent Delieuvin, curator of 16th-century Italian painting at the Louvre museum states that the sketch and these other copies must have been inspired by another version,^[38] while Frank Zöllner states that the sketch brings up the possibility that Leonardo executed another work on the subject of Mona Lisa.^[36]

It is unclear as to who commissioned the painting. Vasari states that the work was painted for Francesco del Giocondo, the husband of Lisa del Giocondo.^[39] However, Antonio de Beatis, following a visit with Leonardo in 1517, records that the painting was executed at the instance of Giuliano di Lorenzo de’ Medici.^[40]

In 1516, Leonardo was invited by King François I to work at the Clos Lucé near the king’s castle in Amboise. It is believed that he took the Mona Lisa with him and continued to work after he moved to France.^[25] Art historian Carmen C. Bambach has concluded that Leonardo probably continued refining the work until 1516 or 1517.^[41]

The fate of the painting around Leonardo’s death and just after it has divided academic opinion. Some, such as Kemp, believe that upon Leonardo’s death, the painting was inherited with other works by his pupil and assistant Salaì and was still in the latter’s possession in 1525.^[17][42] Others believe that the painting was sold to Francis I by Salaì, together with The Virgin and Child with St. Anne and the St. John the Baptist in 1518.^[43] The Louvre Museum lists the painting as having entered the Royal collection in 1518.^[44]

Given the issue surrounding the dating of the painting, the presence of the flanking columns in the Raphael sketch, the uncertainty concerning the person who commissioned it and its fate around the time of Leonardo’s death, a number of experts have argued that Leonardo painted two versions of the Mona Lisa.^[31][6][45] The first would have been commissioned by Francesco del Giocondo circa 1503, had flanking columns, have been left unfinished and have been in Salaì’s possession in 1525. The second, commissioned by Giuliano de’ Medici circa 1513, without the flanking columns, would have been sold by Salaì to Francis I in 1518 and be the one in the Louvre today.^[31][6][45]

The painting was kept at the Palace of Fontainebleau, where it remained until Louis XIV moved the painting to the Palace of Versailles. After the French Revolution, it was moved to the Louvre, but spent a brief period in the bedroom of Napoleon in the Tuileries Palace.

During the Franco-Prussian War (1870–71) it was moved from the Louvre to the Brest Arsenal.^[46] During World War II, Mona Lisa was again removed from the Louvre and taken safely, first to Château d’Amboise, then to the Loc-Dieu Abbey and Château de Chambord, then finally to the Ingres Museum in Montauban.

In December 2015, it was reported that French scientist Pascal Cotte had found a hidden portrait underneath the surface of the painting using reflective light technology.^[47] The portrait is an underlying image of a model looking off to the side.^[48] Having been given access to the painting by Louvre in 2004, Cotte spent ten years using layer amplification methods to study the painting.^[47] According to Cotte, the underlying image is Leonardo’s original Mona Lisa.^[47][49]

However, this portrait does not fit with the description of the painting in the historical records: Both Vasari^[11] and Gian Paolo Lomazzo^[50]describe the subject as smiling; the subject in Cotte’s portrait displays no smile. In addition, the portrait lacks the flanking columns drawn by Raphael in his c.1504 sketch of Mona Lisa. Moreover, Cotte admits that his reconstitution had been carried out only in support of his hypotheses and should not be considered a real painting; he stresses that the images never existed.^[51] Kemp is also adamant that Cotte’s images in no way establish the existence of a separate underlying portrait.^[42]

Theft and vandalism

« La Joconde est Retrouvée » (« Mona Lisa is Found »), Le Petit Parisien, 13 December 1913

Vacant wall in the Salon Carré, Louvre after the painting was stolen in 1911

On 21 August 1911, the painting was stolen from the Louvre.^[52] The theft was first noticed the next day, by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation.

The Mona Lisa on display in the Uffizi Gallery, in Florence, 1913. Museum director Giovanni Poggi (right) inspects the painting.

Excelsior, La Joconde est Revenue(The Mona Lisa has returned), 1 January 1914

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.^[53][54] Two years later the thief revealed himself. Louvre employee Vincenzo Peruggia had stolen the Mona Lisa by entering the building during regular hours, hiding in a broom closet, and walking out with it hidden under his coat after the museum had closed.^[19]Peruggia was an Italian patriot who believed Leonardo’s painting should have been returned for display in an Italian museum.

Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting’s theft. A later account suggested Eduardo de Valfierno had been the mastermind of the theft and had commissioned forger Yves Chaudron to create six copies of the painting to sell in the U.S.while the location of the original was unclear.^[55]However, the original painting remained in Europe. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to directors of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914.^[56]Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.^[54]

Before its 1911 theft, the Mona Lisa was not widely known outside the art world. It was not until the 1860s that some critics, a thin slice of the French intelligentsia, began to hail it as a masterwork of Renaissance painting.^[57]Even in 1911, it was not popular among the lay public before the theft.^[58]

In 1956, part of the painting was damaged when a vandal threw acid at it.^[59] On 30 December of that year, a rock was thrown at the painting, dislodging a speck of pigment near the left elbow, later restored.^[60]

The use of bulletproof glass has shielded the Mona Lisa from subsequent attacks. In April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum’s failure to provide access for disabled people.^[61] On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure.^[62][63] In both cases, the painting was undamaged.

Aesthetics

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Detail of the background (right side)

The Mona Lisa bears a strong resemblance to many Renaissance depictions of the Virgin Mary, who was at that time seen as an ideal for womanhood.^[64]

The depiction of the sitter in three-quarter profile is similar to late 15th-century works by Lorenzo di Credi and Agnolo di Domenico del Mazziere.^[64]Zöllner notes that the sitter’s general position can be traced back to Flemishmodels and that « in particular the vertical slices of columns at both sides of the panel had precedents in Flemish portraiture. »^[65] Woods-Marsden cites Hans Memling’s portrait of Benedetto Portinari (1487) or Italian imitations such as Sebastiano Mainardi’s pendant portraits for the use of a loggia, which has the effect of mediating between the sitter and the distant landscape, a feature missing from Leonardo’s earlier portrait of Ginevra de’ Benci.^[66]

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 mouth, and the corners of the eyes ».^[67]

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Detail of Lisa’s hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.^[68]

The painting was one of the first portraits to depict the sitter in front of an imaginary landscape, and Leonardo was one of the first painters to use aerial perspective.^[69] The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her, a vast landscape recedes to icy mountains. Winding paths and a distant bridge give only the slightest indications of human presence. Leonardo has chosen to place the horizon line not at the neck, as he did with Ginevra de’ Benci, but on a level with the eyes, thus linking the figure with the landscape and emphasizing the mysterious nature of the painting.^[66]

Mona Lisa has no clearly visible eyebrows or eyelashes. Some researchers claim that it was common at this time for genteel women to pluck these hairs, as they were considered unsightly.^[70][71] In 2007, French engineer Pascal Cotte announced that his ultra-high resolution scans of the painting provide evidence that Mona Lisa was originally painted with eyelashes and with visible eyebrows, but that these had gradually disappeared over time, perhaps as a result of overcleaning.^[72] Cotte discovered the painting had been reworked several times, with changes made to the size of the Mona Lisa’s face 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.^[73]

There has been much speculation regarding the painting’s model and landscape. For example, Leonardo probably painted his model faithfully since her beauty is not seen as being among the best, « even when measured by late quattrocento (15th century) or even twenty-first century standards. »^[74] 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,^[75] but this thesis has been contested for lack of clear evidence.^[75]

Research in 2003 by Professor Margaret Livingstone of Harvard University said that Mona Lisa’s smile disappears when observed with direct vision, known as foveal. Because of the way the human eye processes visual information, it is less suited to pick up shadows directly; however, peripheral vision can pick up shadows well.^[76]

Research in 2008 by a geomorphology professor at Urbino Universityand 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.^[77][78]

Conservation

The Mona Lisa has survived for more than 500 years, and an international commission convened in 1952 noted that « the picture is in a remarkable state of preservation. »^[37] This is partly due to a variety 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. »^[37] Nevertheless, applications of varnish made to the painting had darkened even by the end of the 16th century, and an aggressive 1809 cleaning and revarnishing removed some of the uppermost portion of the paint layer, resulting in a washed-out appearance to the face of the figure. Despite the treatments, the Mona Lisa has been well cared for throughout its history, and although the panel’s warping caused the curators « some worry »,^[79] the 2004–05 conservation team was optimistic about the future of the work.^[37]

Poplar panel

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 crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture’s theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.^{[citation needed]}

The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50% ±10%, and the temperature is maintained between 18 and 21 °C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.^[37]

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 World War II, and to prepare the picture 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 after it 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’s 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 Comtesse de Béhague gave the portrait its current frame,^[80] a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.^[37]

Cleaning and touch-up

The first and most extensive recorded cleaning, revarnishing, and touch-up 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-up 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 also retouched the edges of the picture 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 up the damage to Mona Lisa‘s left elbow with watercolour.^[37]

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 treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.^[37]

Display

Mona Lisa behind bulletproof glassat the Louvre Museum

On 6 April 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.^[81] 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 up to 98, and minimizes infrared and ultravioletradiation which could otherwise degrade the painting.^[82] The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television.^[83] About 6 million people view the painting at the Louvre each year.^[25]

Fame

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

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

Today the Mona Lisa is considered the most famous painting in the world, but until the 20th century it was simply one among many highly regarded artworks.^[84]Once part of King Francis I of France‘s collection, the Mona Lisa was among the first artworks to be exhibited in Louvre, which became a national museum after the French Revolution. From the 19th century Leonardo began to be revered as a genius and the painting’s popularity grew from the mid-19th century when French intelligentsia developed a theme that it was mysterious and a representation of the femme fatale.^[85] The Baedeker guide in 1878 called it « the most celebrated work of Leonardo in the Louvre »,^[86] but the painting was known more by the intelligentsia than the general public.^{[citation needed]}

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

US President John F. Kennedy, Madeleine Malraux, André Malraux, Jacqueline Kennedy and Lyndon B. Johnson at the unveiling of the Mona Lisa at the National Gallery of Artduring its visit to Washington D.C., 8 January 1963

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 ».^[86]It has been said that 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 it over several years. »^[87]

From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C.^[88][89] It was shipped on the new liner SS France.^[90] In New York an estimated 1.7 million people queued « in order to cast a glance at the Mona Lisa for 20 seconds or so. »^[86] While exhibited in the Metropolitan Museum of Art, the painting was almost drenched in water because of a faulty sprinkler, but the bullet-proof glass case which encased the painting protected it.^[91]

In 1974, the painting was exhibited in Tokyo and Moscow.^[92]

In 2014, 9.3 million people visited the Louvre.^[93] Former director Henri Loyrette reckoned that « 80 percent of the people only want to see the Mona Lisa. »^[94]

Financial worth

Before the 1962–1963 tour, the painting was assessed for insurance at $100 million. The insurance was not bought. Instead, more was spent on security.^[95] Adjusted for inflation using the US Consumer Price Index, $100 million in 1962 is around $782 million in 2015^[96] making it, in practice, by far the most valued painting in the world.

In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was noted that the Mona Lisa and other such art works were prohibited from being sold due to French heritage law, which states that « Collections held in museums that belong to public bodies are considered public property and cannot be otherwise. »^[97]

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Raphael’s Young Woman with Unicorn, (c. 1506)

Raphael’s Portrait of Baldassare Castiglione (c. 1514–15)

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

Legacy

See also: Mona Lisa replicas and reinterpretations

Before its completion the Mona Lisa had already begun to influence contemporary Florentine painting. Raphael, who had been to Leonardo’s 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^[98]), and Portrait of Maddalena Doni (c. 1506). Celebrated later paintings by Raphael, La velata(1515–16) and Portrait of Baldassare Castiglione (c. 1514–15), continued to borrow from Leonardo’s 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 perhaps for this reason is seen not just as the likeness of a real person, but also as the embodiment of an ideal. »^[99]

Early commentators such as Vasari and André Félibien praised the picture 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 form expressed one feels a thought that is vague, infinite, inexpressible. One is moved, troubled … repressed desires, hopes that drive 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 about her. »^[100] By the early 20th century some critics started to feel the painting had become a repository for subjective exegeses and theories,^[101] and upon the painting’s theft in 1911, Renaissance historian Bernard Berenson admitted that it had « simply become an incubus, and I was glad to be rid of her. »^[101][102]

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Jean Metzinger, 1911, Le goûter (Tea Time), oil on canvas, 75.9 x 70.2 cm, Philadelphia Museum of Art

In 1911 Jean Metzinger‘s Le goûter (Tea Time) was exhibited at the 1911 Salon d’Automne and was described by art critic Louis Vauxcelles—on the front page of Gil Blas, 30 September 1911—sarcastically as « la Joconde à la cuiller » (Mona Lisa with a spoon).^[103] André Salmonsubsequently described the painting as « The Mona Lisa of Cubism ».^{[104][105][106]}

The avant-garde art world has made note of the undeniable fact of the Mona Lisa‘s popularity. Because of the painting’s overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. Already in 1883, Le rire, an image of a Mona Lisa smoking a pipe, by Sapeck (Eugène Bataille), was shown at the « Incoherents » show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created L.H.O.O.Q., a Mona Lisaparody made 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 state of sexual excitement and intended as a Freudian joke.^[107] According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp’s own face.^[108]

Salvador Dalí, famous for his surrealist work, painted Self portrait as Mona Lisa in 1954.^[109] In 1963 following the painting’s visit to the United States, Andy Warhol created serigraph prints of multiple Mona Lisas called Thirty are Better than One, like his works of Marilyn Monroe (Twenty-five Coloured Marilyns, 1962), Elvis Presley (1964) and Campbell’s soup (1961–62).^[110] The Mona Lisa continues to inspire artists. A French urban artist known pseudonymously as Invader has created versions on city walls in Paris and Tokyo using a mosaic style.^[111] A collection of Mona Lisa parodies may be found on YouTube.^[112] A 2014 New Yorker magazine cartoon parodies the supposed enigma of the Mona Lisa smile in an animation showing progressively maniacal smiles.

Early versions and copies

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Perspective Mona Lisa to the Prado museum

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

Perspective Mona Lisa to the Louvre museum

Prado Museum La Gioconda

Main article: Mona Lisa (Prado’s version)

A version of Mona Lisaknown as Mujer de mano de Leonardo Abince (« Woman by Leonardo da Vinci’s hand ») held in Madrid’s Museo del Prado was for centuries considered to be a work by Leonardo. However, since its restoration in 2012 it is considered to have been executed by one of Leonardo’s pupils in his studio at the same time as Mona Lisa was being painted.^[113] Their conclusion, based on analysis obtained after the picture underwent extensive restoration, that the painting is probably by Salaì (1480–1524) or by Melzi (1493–1572). This has been called into question by others.^[114]

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.^{[115][116][117]} However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.^[118]

Isleworth Mona Lisa

Main article: Isleworth Mona Lisa

A version of the Mona Lisa known as the Isleworth Mona Lisa and also known as the Earlier Mona Lisa was first bought by 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 by the Mona Lisa Foundation.^[119] It is a painting of the same subject as Leonardo da Vinci’s Mona Lisa. The painting is claimed by a majority of experts to be mostly an original work of Leonardo dating from the early 16th century.^{[120][29][121][122][123][124][125][31][126][6][7][45]} Other experts, including Zöllner and Kemp, deny the attribution.^[127][124]

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

• 

  Copy of Mona Lisa commonly attributed to Salaì

   

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

• 

  The Prado Museum La Gioconda

   

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

• 

  The Isleworth Mona Lisa

   

Giacobbe Giusti, LEONARDO DA VINCI: MONA LISA

• 

  16th-century copy at the Hermitage by unknown artist

• Visual arts portal

• List of most expensive paintings
• List of stolen paintings

References

Notes

1. ^ Lichfield, John (1 April 2005). « The Moving of the Mona Lisa ». The Independent. Archived from the original on 9 November 2016.
2. ^ « Highest insurance valuation for a painting ». Guinness World Records. Retrieved 2017-07-25.
3. ^ « Inflation Calculator ». http://www.dollartimes.com. Retrieved 2019-01-02.
4. ^ Jump up to:^a b c Pedretti, Carlo (1982). Leonardo, a study in chronology and style. Johnson Reprint Corporation. ISBN 978-0384452800.
5. ^ Jump up to:^a b Vezzosi, Alessandro (2007). « The Gioconda mystery – Leonardo and the « common vice of painters« « . In Vezzosi; Schwarz; Manetti. Mona Lisa: Leonardo’s hidden face. Polistampa. ISBN 9788859602583.
6. ^ Jump up to:^{a b c d e} Lorusso, Salvatore; Natali, Andrea (2015). « Mona Lisa: A comparative evaluation of the different versions and copies ». Conservation Science. 15: 57–84. Retrieved July 26, 2017.
7. ^ Jump up to:^a b c Asmus, John F.; Parfenov, Vadim; Elford, Jessie (28 November 2016). « Seeing double: Leonardo’s Mona Lisa twin ». Optical and Quantum Electronics. 48 (12): 555. doi:10.1007/s11082-016-0799-0.
8. ^ Carrier, David (2006). Museum Skepticism: A History of the Display of Art in Public Galleries. Duke University Press. p. 35. ISBN 978-0822387572.
9. ^ Cohen, Philip (23 June 2004). « Noisy secret of Mona Lisa’s ». New Scientist. Archived from the original on 23 April 2008. Retrieved 27 April 2008.
10. ^ Jump up to:^a b « Mona Lisa – Portrait of Lisa Gherardini, wife of Francesco del Giocondo ». Musée du Louvre. Archived from the original on 30 July 2014. Retrieved 11 March 2012.
11. ^ Jump up to:^a b c Italian: Prese Lionardo a fare per Francesco del Giocondo il ritratto di mona Lisa sua moglieVasari 1879, p. 39
12. ^ Jump up to:^a b Clark, Kenneth (March 1973). « Mona Lisa ». The Burlington Magazine (vol 115 ed.). 115 (840): 144–151. ISSN 0007-6287. JSTOR 877242.
13. ^ Jump up to:^a b « Mona Lisa – Heidelberg discovery confirms identity ». University of Heidelberg. Archived from the original on 5 November 2013. Retrieved 4 July 2010.
14. ^ Delieuvin, Vincent (15 January 2008). « Télématin ». Journal Télévisé. France 2 Télévision.
15. ^ « German experts crack the ID of ‘Mona Lisa‘« . MSN. 14 January 2008. Archived from the original on 16 January 2008. Retrieved 15 January 2008.
16. ^ « Researchers Identify Model for Mona Lisa ». The New York Times. Retrieved 15 January 2008.^{[dead link]}
17. ^ Jump up to:^a b c d Kemp 2006, pp. 261–262
18. ^ Farago 1999, p. 123
19. ^ Jump up to:^a b Bartz 2001, p. 626
20. ^ Stites, Raymond S. (January 1936). « Mona Lisa—Monna Bella ». Parnassus (vol 8 ed.). 8 (1): 7–10, 22–23. doi:10.2307/771197. JSTOR 771197.
21. ^ Littlefield 1914, p. 525
22. ^ Jump up to:^a b Wilson 2000, pp. 364–366
23. ^ Debelle, Penelope (25 June 2004). « Behind that secret smile ». The Age. Melbourne. Archived from the original on 25 November 2013. Retrieved 6 October 2007.
24. ^ Johnston, Bruce (8 January 2004). « Riddle of Mona Lisa is finally solved: she was the mother of five ». The Daily Telegraph. UK. Archived from the original on 11 October 2007. Retrieved 6 October2007.
25. ^ Jump up to:^a b c Chaundy, Bob (29 September 2006). « Faces of the Week ». BBC. Archived from the original on 3 August 2014. Retrieved 5 October 2007.
26. ^ Nicholl, Charles (28 March 2002). « The myth of the Mona Lisa ». The Guardian. UK. Archived from the original on 5 September 2008. Retrieved 6 October 2007.
27. ^ Wiesner-Hanks, Merry E. (2005). An Age of Voyages, 1350–1600. New York: Oxford University Press. p. 26. ISBN 978-0-19-517672-8.
28. ^ Thomas, Henry; Lee Thomas, Dana (1940). Living biographies of great painters. Garden City Publishing Co., Inc. p. 49.
29. ^ Jump up to:^a b Konody, Paul G. (February 15, 1914). « Jump up ». The New York Times.
30. ^ Clark, Kenneth (March 1973). « Mona Lisa ». Burlington Magazine. Vol. 115.
31. ^ Jump up to:^a b c d Isbouts, Jean-Pierre; Heath-Brown, Christopher (2013). The Mona Lisa Myth. Santa Monica, California: Pantheon Press. ISBN 978-1492289494.
32. ^ Friedenthal, Richard (1959). Leonardo da Vinci: a pictorial biography. New York: Viking Press.
33. ^ Kemp, Martin (1981). Leonardo: The marvelous works of nature and man. Cambridge, Massachusetts: Harvard University Press. ISBN 978-0674524606.
34. ^ Bramly, Serge (1995). Leonardo: The artist and the man. London: Penguin books. ISBN 978-0140231755.
35. ^ Marani, Pietro (2003). Leonardo: The complete paintings. New York: Harry N. Abrams. ISBN 978-0810991590.
36. ^ Jump up to:^a b Zollner, Frank (1993). « Leonardo da Vinci’s portrait of Mona Lisa de Giocondo » (PDF). Gazette des Beaux Arts. 121: 115–138. Retrieved August 3, 2017.
37. ^ Jump up to:^{a b c d e f g h} Mohen, Jean-Pierre (2006). Mona Lisa: inside the Painting. Harry N. Abrams, Inc. p. 128. ISBN 978-0-8109-4315-5.
38. ^ Delieuvin, Vincent; Tallec, Olivier (2017). What’s so special about Mona Lisa. Paris: Editions du musée du Louvre. ISBN 978-2-35031-564-5.
39. ^ Vasari, Giorgio (1550). Le Vite de’ più eccellenti pittori, scultori, ed architettori. Florence, Italy: Lorenzo Torrentino.
40. ^ De Beatis, Antonio (1979) [1st pub.:1517]. Hale, J.R.; Lindon, J.M.A., eds. The travel journal of Antonio de Beatis: Germany, Switzerland, the Low Countries, France and Italy 1517–1518. London, England: Haklyut Society.
41. ^ Leonardo, Carmen Bambach, Rachel Stern, and Alison Manges (2003). Leonardo da Vinci, master draftsman. New York: Metropolitan Museum of Art. p. 234. ISBN 1588390330
42. ^ Jump up to:^a b Kemp, Martin; Pallanti, Giuseppe (2017). Mona Lisa: The people and the painting. Oxford: Oxford University Press. ISBN 9780198749905.
43. ^ Jestaz, Bertrand (1999). « Francois 1er, Salai, et les tableaux de Léonard ». Revue de l’Art. 76: 68–72. Retrieved August 3, 2017.
44. ^ Louvre Museum. « Mona Lisa ». http://www.louvre.fr. Retrieved August 3,2017.
45. ^ Jump up to:^a b c Boudin de l’Arche, Gerard (2017). A la recherche de Monna Lisa. Cannes, France: Edition de l’Omnibus. ISBN 9791095833017.
46. ^ Bohm-Duchen, Monica (2001). The private life of a masterpiece. University of California Press. p. 53. ISBN 978-0-520-23378-2. Archived from the original on 5 October 2012. Retrieved 10 October2010.
47. ^ Jump up to:^a b c « Hidden portrait ‘found under Mona Lisa’, says French scientist ». BBC. 8 December 2015. Archived from the original on 8 December 2015. Retrieved 8 December 2015.
48. ^ « Secret Portrait Hidden Under Mona Lisa, Claims French Scientist ». Newsweek. 8 December 2015. Archived from the original on 8 December 2015. Retrieved 8 December 2015.
49. ^ McAloon, Jonathan. « The Missing Mona Lisa ». Apollo. Archivedfrom the original on 15 December 2015.
50. ^ Lomazzo, Gian Paolo (1584). Treatise on the art of painting. Milan.
51. ^ Cotte, Pascal (2015). Lumiere on the Mona Lisa: Hidden portraits. Paris: Vinci Editions. ISBN 9782954825847.
52. ^ « Theft of the Mona Lisa ». Stoner Productions via Public Broadcasting Service (PBS). Archived from the original on 29 October 2009. Retrieved 24 October 2009.
53. ^ R. A. Scotti (April 2010). Vanished Smile: The Mysterious Theft of the Mona Lisa. Vintage Books. ISBN 978-0-307-27838-8. Archivedfrom the original on 2 January 2016.
54. ^ Jump up to:^a b « Top 25 Crimes of the Century: Stealing the Mona Lisa, 1911 ». TIME. 2 December 2007. Archived from the original on 14 July 2007. Retrieved 15 September 2007.
55. ^ The Lost Mona Lisa Archived 2 January 2016 at the Wayback Machine by R. A. Scotti (Random House, 2010)
56. ^ « Noah Charney, Chronology of the Mona Lisa: History and Thefts, The Secret History of Art, Blouin Artinfo Blogs ». Archived from the original on 27 October 2015. Retrieved 25 October 2015.
57. ^ « The Theft That Made The ‘Mona Lisa’ A Masterpiece ». NPR. 30 July 2011. Archived from the original on 27 August 2014. Retrieved 26 August 2014.
58. ^ Halpern, Jack (9 January 2019). « The French Burglar Who Pulled Off His Generation’s Biggest Art Heist ». The New Yorker. Retrieved 9 January 2019.
59. ^ « Faces of the week ». BBC. 29 September 2006. Archived from the original on 3 August 2014. Retrieved 27 April 2008.
60. ^ « Mona FAQ ». Mona Lisa Mania. Archived from the original on 1 June 2009. Retrieved 7 January 2010.
61. ^ « ‘Mona Lisa’ Still Smiling, Undamaged After Woman’s Spray Attack in Tokyo ». Sarasota Herald-Tribune. 21 April 1974. Retrieved 9 October 2012.
62. ^ « Mona Lisa attacked by Russian woman ». Xinhua News Agency. 12 August 2009. Archived from the original on 2 March 2012. Retrieved 12 August 2009.
63. ^ « Russian tourist hurls mug at Mona Lisa in Louvre ». Associated Press. 11 August 2009. Retrieved 11 August 2009.^{[dead link]}
64. ^ Jump up to:^a b Zöllner, Frank (2000). Leonardo Da Vinci, 1452–1519. ISBN 9783822859797.
65. ^ Zöllner, Frank. « Leonardo’s Portrait of Mona Lisa del Giocondo »(PDF). p. 16. Archived (PDF) from the original on 1 October 2014.
66. ^ Jump up to:^a b Woods-Marsden p. 77 n. 100
67. ^ « E.H. Gombrich, The Story of Art« . Artchive.com. Archived from the original on 3 June 2013. Retrieved 3 June 2013.
68. ^ Farago 1999, p. 372
69. ^ « The Mona Lisa (La Gioconda) ». BBC. 25 October 2009. Archived from the original on 26 June 2010. Retrieved 24 October2009.
70. ^ Turudich 2003, p. 198
71. ^ McMullen, Roy (1976). Mona Lisa: The Picture and the Myth. Macmillan Publishers. ISBN 978-0-333-19169-9.
72. ^ Holt, Richard (22 October 2007). « Solved: Why Mona Lisa doesn’t have eyebrows ». The Daily Telegraph. UK. Archived from the original on 4 April 2010. Retrieved 11 March 2010.
73. ^ Ghose, Tia (9 December 2015). « Lurking Beneath the ‘Mona Lisa’ May Be the Real One ». Livescience.com. Archived from the original on 11 December 2015.
74. ^ Irene Earls, Artists of the Renaissance, Greenwood Press, 2004, p.113. ISBN 0-313-31937-5
75. ^ Jump up to:^a b Salgueiro, Heliana Angotti (2000). Paisaje y art. University of São Paulo. p. 74. ISBN 978-85-901430-1-7.
76. ^ « BBC NEWS – Entertainment – Mona Lisa smile secrets revealed ». Archived from the original on 31 August 2007.
77. ^ Rosetta Borchia and Olivia Nesci, Codice P. Atlante illustrato del reale paesaggio della Gioconda, Mondadori Electa, 2012, ISBN 978-88-370-9277-1
78. ^ « Researchers identify landscape behind the Mona Lisa ». The Times. Retrieved 22 January 2014.
79. ^ « Ageing Mona Lisa worries Louvre ». BBC News. 26 April 2004. Archived from the original on 16 August 2009. Retrieved 24 October2009.
80. ^ « Biographical index of collectors of pastels ». Pastellists.com. Archived from the original on 15 June 2013. Retrieved 3 June 2013.
81. ^ « Mona Lisa gains new Louvre home ». BBC. 6 April 2005. Archived from the original on 1 February 2008. Retrieved 27 April2008.
82. ^ Fontoynont, Marc et al. « Lighting Mona Lisa with LEDsArchived 8 March 2014 at the Wayback Machine » NoteArchived 29 August 2014 at the Wayback Machine. SBI / Aalborg University, June 2013.
83. ^ « Nippon Television Network Corporation ». Ntv.co.jp. 6 April 2005. Archived from the original on 8 October 2010. Retrieved 21 November 2010.
84. ^ Riding, Alan (6 April 2005). « In Louvre, New Room With View of ‘Mona Lisa‘« . The New York Times. Archived from the original on 25 June 2011. Retrieved 7 October 2007.
85. ^ Sassoon, Donald. « Why is the Mona Lisa Famous? ». La Trobe University Podcast. Archived from the original on 4 July 2015. Retrieved 20 January 2014.
86. ^ Jump up to:^a b c Sassoon, Donald (2001). « Mona Lisa: the Best-Known Girl in the Whole Wide World ». History Workshop Journal (vol 2001 ed.). 2001(51): 1. doi:10.1093/hwj/2001.51.1. ISSN 1477-4569.
87. ^ Gopnik, Blake (7 May 2004). « A Record Picasso and the Hype Price of Status Objects ». The Washington Post. Archived from the original on 29 November 2016. Retrieved 28 November 2016.
88. ^ « The Mona Lisa » (PDF). Metropolitan Museum of Art. Retrieved 2018-01-08.
89. ^ Stolow, Nathan (1987). Conservation and exhibitions: packing, transport, storage, and environmental consideration. Butterworths. p. 188. ISBN 978-0-408-01434-2. Archived from the original on 5 October 2012. Retrieved 10 October 2010.
90. ^ « Today in Met History: February 4 ». Metropolitan Museum of Art. 2013-02-04. Retrieved 2018-01-08.
91. ^ « Another art anniversary: Mona Lisa comes to New York! And she’s almost drowned in a sprinkler malfunction ». boweryboyshistory.com. 2013-01-13. Retrieved 2018-01-08.
92. ^ Bohm-Duchen, Monica (2001). The private life of a masterpiece. University of California Press. p. 65. ISBN 978-0-520-23378-2. Archived from the original on 5 October 2012. Retrieved 10 October2010.
93. ^ The French Ministry of Foreign affairs. « The Louvre, the most visited museum in the world (01.15) ». France Diplomatie :: Ministry of Foreign Affairs and International Development. Archived from the original on 22 December 2015.
94. ^ « On a Mission to Loosen Up the Louvre ». The New York Times. 11 October 2009. Archived from the original on 24 December 2016.
95. ^ Young, Mark, ed. (1999). The Guinness Book of World Records 1999. Bantam Books. p. 381. ISBN 978-0-553-58075-4.
96. ^ « Six Ways to Compute the Relative Value of a U.S. Dollar Amount, 1790 to Present ». Measuring Worth. Archived from the original on 8 August 2008. Retrieved 9 August 2013.
97. ^ « Culture – Could France sell the Mona Lisa to pay off its debts? ». France 24. Archived from the original on 30 November 2015.
98. ^ Zollner gives a date of c. 1504, most others say c. 1506
99. ^ Zöllner, Frank. Leonardo Da Vinci, 1452–1519. p. 161.
100. ^ Clark, Kenneth (1999). « Mona Lisa ». In Farago, Claire J. Leonardo Da Vinci, Selected Scholarship: Leonardo’s projects, c. 1500–1519. p. 214. ISBN 9780815329350.
101. ^ Jump up to:^a b « The myth of the Mona Lisa ». The Guardian. Archived from the original on 10 July 2017.
102. ^ Samuels, Ernest; Samuels, Jayne (1987). Bernard Berenson, the Making of a Legend. p. 215. ISBN 9780674067790.
103. ^ Louis Vauxcelles, Le Salon d’Automne, Les Cubiste, Gil Blas, Paris, 30 September 1911, front page
104. ^ André Salmon, L’Art Vivant, Paris, 1920
105. ^ André Salmon, Artistes d’hier et d’aujourd’hui, L’Art Vivant, 6th edition, Paris, 1920
106. ^ Philadelphia Museum of Art, Tea Time (Woman with a Teaspoon), Provenance
107. ^ Jones, Jonathan (26 May 2001). « L.H.O.O.Q., Marcel Duchamp (1919) ». The Guardian. UK. Archived from the original on 9 May 2014. Retrieved 12 June 2009.
108. ^ Marting, Marco De (2003). « Mona Lisa: Who is Hidden Behind the Woman with the Mustache? ». Art Science Research Laboratory. Archived from the original on 20 March 2008. Retrieved 27 April2008.
109. ^ Dalí, Salvador. « Self Portrait as Mona Lisa ». Mona Lisa Images for a Modern World by Robert A. Baron (from the catalog of an exhibition at the Museum of Modern Art and the Philadelphia Museum of Art, 1973, p. 195). Archived from the original on 28 October 2009. Retrieved 24 October 2009.
110. ^ Sassoon, Donald (2003). Becoming Mona Lisa. Harvest Books via Amazon Search Inside. p. 251. ISBN 978-0-15-602711-3.
111. ^ « The £20,000 Rubik’s Cube Mona Lisa ». metro.co.uk. 29 January 2009. Archived from the original on 26 July 2014. Retrieved 18 July2014.
112. ^ Best Funny Mona Lisa Parodies La Gioconda Painting NO Panic! at the Disco. YouTube. 18 September 2014. Archived from the original on 4 September 2015.
113. ^ « La Gioconda, Leonardo’s atelier ». Museo Nacional del Prado. Archived from the original on 8 December 2015. Retrieved 7 December 2015.
114. ^ « The ‘Prado Mona Lisa’ – The Mona Lisa Foundation ». The Mona Lisa Foundation. Archived from the original on 17 December 2015.
115. ^ Carbon, C. C.; Hesslinger, V. M. (August 2013). « Da Vinci’s Mona Lisa Entering the Next Dimension ». Perception. 42 (8): 887–893. doi:10.1068/p7524. PMID 24303752. Archived from the original on 2 January 2016. Retrieved 8 December 2015.
116. ^ Carbon, Claus-Christian; Hesslinger, Vera M. (2015). « Restoring Depth to Leonardo’s Mona Lisa ». American Scientist. 103 (6): 404–409. doi:10.1511/2015.117.1. Archived from the original on 10 December 2015. Retrieved 7 December 2015. (Subscription required (help)).
117. ^ Tweened animated gif of Mona Lisa and Prado version Archived7 February 2017 at the Wayback Machine by Carbon and Hesslinger
118. ^ Brooks, K. R. (1 January 2017). « Depth Perception and the History of Three-Dimensional Art: Who Produced the First Stereoscopic Images? ». I-Perception. 8 (1): 204166951668011. doi:10.1177/2041669516680114. PMC 5298491. PMID 28203349.
119. ^ Dutta, Kunal (15 December 2014). « ‘Early Mona Lisa’: Unveiling the one-in-a-million identical twin to Leonardo da Vinci painting ». Archived from the original on 16 December 2014.
120. ^ Eyre, John (1926). The two Mona Lisas: Which was Giocondo’s picture? Ten direct, distinct, and decisive data in favour of the Isleworth version and some recent Italian experts’ opinions on it. London: J.M. Ouseley & Son.
121. ^ Chappelow, AC (July 1, 1956). « The Isleworth Mona Lisa ». Apollo Magazine.
122. ^ Pulitzer, Henry E. (1960). Where is the Mona Lisa?. London: The Pulitzer Press. ASIN B0027MR0A2.
123. ^ Asmus, John F. (1 July 1989). « Computer Studies of the Isleworth and Louvre Mona Lisas ». Optical Engineering. 28 (7): 800–804. doi:10.1117/12.7977036. Retrieved July 26, 2017.
124. ^ Jump up to:^a b « New proof said found for « original » Mona Lisa – ». Reuters.com. 13 February 2013. Retrieved 26 July 2017.
125. ^ Soares, Atila (2013). A Jovem Mona Lisa. Rio de Janeiro, Brasil: Multifoco. ISBN 9788582733882.
126. ^ Sauteur, Albert (April 22, 2014). « Albert Sauteur réinvente la perspective ». Migros Magazine. Vol. 17. pp. 14–17.
127. ^ Alastair Sooke. « The Isleworth Mona Lisa: A second Leonardo masterpiece? ». BBC. Archived from the original on 2 January 2016.

Bibliography

• Bartz, Gabriele (2001). Art and architecture, Louvre. Barnes & Noble Books. ISBN 978-0-7607-2577-1. Retrieved 10 October 2010.
• Bohm-Duchen, Monica (2001). The private life of a masterpiece. University of California Press. ISBN 978-0-520-23378-2. Retrieved 10 October 2010.
• Farago, Claire J. (1999). Leonardo’s projects, c. 1500–1519. Taylor & Francis. ISBN 978-0-8153-2935-0. Retrieved 10 October 2010.
• Kemp, Martin (2006). Leonardo da Vinci: the marvellous works of nature and man. Oxford University Press. ISBN 978-0-19-280725-0. Retrieved 10 October 2010.
• Littlefield, Walter (1914). « The Two « Mona Lisas« « . The Century: A Popular Quarterly. 87.
• Turudich, Daniela (2003). Plucked, Shaved & Braided: Medieval and Renaissance Beauty and Grooming Practices 1000–1600. Streamline Press. ISBN 978-1-930064-08-9.^{[dead link]}
• Vasari, Giorgio (1879) [1550]. « Le vite de’ più eccellenti pittori, scultori ed architettori » (vol 4 ed.). Florence: G.C. Sansoni.
• Wilson, Colin (2000). The Mammoth Encyclopedia of the Unsolved. Carroll & Graf Publishers. ISBN 978-0-7867-0793-5.
• Woods-Marsden, Joanna (2001), « Portrait of the Lady, 1430 – 1520 », in Brown, David Alan, Virtue & Beauty, London: Priceton University Press, pp. 64–87, ISBN 978-0691090573

• Sassoon, Donald, Prof. (21 January 2014). #26: Why is the Mona LisaFamous?. La Trobe University podcast blog. Archived from the original on 4 July 2015. of the podcast audio.
• Kobbé, Gustav « The Smile of the Mona Lisa«  The Lotus Magazine Vol. 8, No. 2 (Nov. 1916), pp. 67–74
• « Mona Lisa, Leonardo’s Earlier Version ». Zürich, Switzerland: The Mona Lisa Foundation. Archived from the original on 26 June 2015. Retrieved 5 November 2015.
• « True Colors of the Mona Lisa Revealed » (Press release). Paris: Lumiere Technology. 19 October 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 x-radiography, infrared reflectographya and ultraviolet fluorescence
• « Stealing Mona Lisa« . Dorothy & Thomas Hoobler. May 2009. excerpt of book. Vanity Fair
• Discussion 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

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

http://www.giacobbegiusti.com

 

 

Giacobbe Giusti, GHERARDO STARNINA: Dormition de la Vierge, Philadelphia Museum of Art

Giacobbe Giusti, GHERARDO STARNINA: Dormition de la Vierge, Philadelphia Museum of Art

 

Gherardo Starnina (1360 – 1413)¹est un peintre italien de Florencependant la Renaissance.

Biographie

Cette section est vide, insuffisamment détaillée ou incomplète. Votre aide est la bienvenue ! Comment faire ?

Selon le biographe Giorgio Vasari, Starnina s’est formé auprès de Antonio Veneziano, puis avec Agnolo Gaddi et a participé à la peinture des fresques dans la chapelle Castellani de la basilique Santa Croce à Florence.

En 1380, il est parti en Espagne afin de travailler pour Juan I de Castille, il lui est attribuée une peinture dans la chapelle de San Blas de la cathédrale de Tolède.

Giacobbe Giusti, GHERARDO STARNINA

• 

  Retable de frère Bonifacio Ferrer
  musée des Beaux-arts de Valence

 

• 

  Dormition de la Vierge (vers 1404-1408), Philadelphia Museum of Art

Œuvres

• La Vierge d’humilité, vers 1410, Claire et Giovanni Sarti ²
• Dormition de la Vierge (vers 1404-1408), Philadelphia Museum of Art
• Deux Évangélistes (1407), Rijksmuseum, Amsterdam (deux pendants)

Notes et références

1. ↑ « Gherardo Starnina » [archive], The J. Paul Getty Trust (consulté le27 octobre 2008)
2. ↑ Nicolas Powell, « Salon des Beaux Arts de Paris », Muséart, vol. n°74,‎ septembre 1997

Bibliographie

• (it)Jeanne Van Waadenoyen, Starnina e il gotico internazionale a Firenze, Istituto Universitario Olandese di Storia dell’Arte, Florence,1983.
• (it)Lorenzo Monaco. (A. Tartuferi et D. Parenti) Dalla tradizione giottesca al Rinascimento, catalogue de l’exposition (Florence, 2006) , Giunti, Florence, 2006.
• (it)Intorno a Lorenzo Monaco. Nuovi studi sulla pittura tardogotica, actes d’études (Fabriano-Foligno-Florence, 2006) (D. Parenti et A. Tartuferi), Sillabe, Livourne, 2007.

Giacobbe Giusti, SANDRO BOTTICELLI: Noli me tangere, Philadelphia Museum of Art

 

Sandro Botticelli, Philadelphia Museum of Art.

Philadelphia Museum of Art

Giacobbe Giusti, Philadelphia Museum of Art

Informations générales

Ouverture	1876
Visiteurs par an	775 043 (2016)
Site web	www.philamuseum.org

Collections

Collections	objets d’art, peintures, sculptures de l’Antiquité au xxe siècle

Bâtiment

Architectes	Horace Trumbauer (en), Zantzinger, Borie & Medary (en)

Localisation

Pays	États-Unis
Commune	Philadelphie
Adresse	2600 Benjamin Franklin Parkway / 26th Street
Coordonnées	39° 57′ 57″ N, 75° 10′ 51″ O

Localisation sur la carte de Philadelphie

 

• voir sur la carte de Pennsylvanie

Le Philadelphia Museum of Art (« musée des beaux-arts de Philadelphie ») est le plus grand musée d’art de Philadelphie.

Le musée possède des objets d’époques diverses, en provenance d’Europe, d’Amérique et d’Asie, et il est fréquenté par 800 000 personnes par an environ. L’art du xx^e siècle est bien représenté, avec d’importantes œuvres de Marcel Duchamp, Constantin Brancusi et Pablo Picasso. Les collections d’art contemporain continuent de s’agrandir. Le premier bâtiment du musée, de style Greek Revival a ouvert en 1877 sur le Benjamin Franklin Parkway, une avenue célèbre du centre-ville. D’autres bâtiments ont ouvert depuis, tels que le Rodin Museum situé à proximité, qui abrite la deuxième collection de Rodin au monde, et le Perelman Building, qui a ouvert en 2007 en face du bâtiment original.

 

Quelques peintres et sculpteurs ayant traité ce sujet

• Le Maître de la Résurrection, un maître anonyme de l’école de Rimini.
• Giotto, Cappella Scrovegni à Padoue, et en 1320 à la basilique San Francesco à Assise.
• Tilman Riemenschneider (1490-1492), Staatliche Museum, Berlin.
• Duccio (1308-1311), Museo dell’Opera Metropolitana del Duomo de Sienne.
• Fra Angelico (1440-1441), musée du couvent San Marco à Florence.
• Guillaume Barbe (1468/1469), chapelle saint-Jean-de-la-Nef, cathédrale Notre-Dame de Rouen.
• Federico Barocci (1590), Alte Pinakothek à Munich, et à la Galerie des Offices à Florence (1590).
• Martin Schongauer, musée Unterlinden, Colmar.
• Gregorio de Ferrari, Galleria di Palazzo Bianco, Gênes.
• Titien (vers 1514, National Gallery, Londres.
• Lavinia Fontana (1581), Galerie des Offices, Florence.
• Nicolas Poussin (1653), musée du Prado, Madrid.
• Le Corrège (vers 1525), musée du Prado, Madrid.
• Bramantino (vers 1507), Pinacoteca del Castello Sforzesco, Milan.
• Battistello Caracciolo, Museo Civico, Prato.
• Hans Holbein (1524), Royal Collection, Hampton Court, Londres.
• Laurent de La Hyre (1656), musée de Grenoble.
• Bruegel le Jeune (1630), musée des beaux-arts de Nancy.
• Alonzo Cano (1640), musée de Budapest.
• William Etty (1834), Tate Britain, Londres.
• Lambert Sustris (entre 1548 et 1553), palais des beaux-arts de Lille.
• Hans Baldung (1539), Hessisches Landesmuseum, Darmstadt.
• Véronèse, musée de Grenoble.
• Jacob Cornelisz van Oostsanen (1507), Cassel.
• Bronzino (1531), Casa Buonarroti, Florence et Musée du Louvre, Paris.
• Hans Memling (1480), Alte Pinakothek, Munich.
• Giovanni Paolo Lomazzo, Pinacoteca Civica, Venise.
• Andrea del Sarto, San Salvi Museo, Florence.
• Eustache Le Sueur, musée de Grenoble.
• Le Bernin, église Santi Domenico e Sisto de Rome.
• Maurice Denis (1895-1896), musée départemental Maurice-Denis « Le Prieuré ».

https://fr.wikipedia.org/wiki/Noli_me_tangere

www.philamuseum.org

http://www.giacobbegiusti.com

 

Giacobbe Giusti, GHERARDO STARNINA: Dormition de la Vierge

Giacobbe Giusti, GHERARDO STARNINA: Dormition de la Vierge

Giacobbe Giusti, GHERARDO STARNINA: Dormition de la Vierge

Dormition de la Vierge (vers 1404-1408), Philadelphia Museum of Art

https://fr.wikipedia.org/wiki/Gherardo_Starninawww.giacobbegiusti.com

Giacobbe Giusti, DOMENICO di BARTOLO

Giacobbe Giusti, DOMENICO di BARTOLO

Giacobbe Giusti, DOMENICO di BARTOLO

Giacobbe Giusti, DOMENICO di BARTOLO

Giacobbe Giusti, DOMENICO di BARTOLO

Giacobbe Giusti, DOMENICO di BARTOLO

Madonna dell’Umiltà (1433), Pinacoteca Nazionale, Siena

Giacobbe Giusti, DOMENICO di BARTOLO

Detail aus Madonna e bambino sul trono coi Santi Pietro e Paolo (1430), National Gallery of Art, Washington

Giacobbe Giusti, DOMENICO di BARTOLO

Cura e governo degli infermi, Santa Maria della Scala, Siena

Giacobbe Giusti, DOMENICO di BARTOLO

Distribuzione delle elemosine, Santa Maria della Scala, Siena

Giacobbe Giusti, DOMENICO di BARTOLO

Elemosina del vescovo e accrescimento dell’ospedale, Santa Maria della Scala, Siena

Domenico di Bartolo (eigentlich Domenico Ghezzi, * um 1400 in Asciano; † um 1445 in Siena) war ein italienischer Maler der Schule von Siena.

Leben

Domenico Ghezzi di Bartolo wurde in Asciano nahe Siena geboren und war laut Giorgio Vasaris Werk Le vite dei più eccellenti architetti, pittori et scultori italiani ein Neffe von Taddeo di Bartolo. Dieser war auch sein erster Lehrmeister^[1]. Später scheint er auch bei Vecchiettagelernt und ihm bei der Ausführung des Werkes La Cura del Malato im Pellegrinaio-Saal von Santa Maria della Scala in Siena geholfen zu haben. Erstmals aktiv als Maler scheint er 1420 im Dom von Sienagewesen zu sein, wahrscheinlich noch als Lehrling, da er als selbständiger Künstler in Siena erstmals 1428 in der Malerzunft gelistet wurde. Er erstellte im Dezember 1434 den Entwurf des Fußboden-Sgraffitos im ersten Querschiff des Doms von Siena, der den thronenden Kaiser Sigismund darstellt. Im März 1435 malte er in der Sakristei des Domes auf Initiative von Jacopo della Querciadie Fresken Storie dei quattro prottetti di Siena, die allerdings unvollendet blieben. Sein Nachname Ghezzi wird erstmals 1437 in einem von ihm unterschriebenen Vertrag in Siena erwähnt. Um 1438 arbeitete er in Perugia, wo er Domenico Venezianokennenlernte. Spätestens ab März 1439 war er wieder in Siena, wo er abermals in der Sakristei des Domes wirkte und diesmal sein Werk vollendete (Storia di San Savino, fertiggestellt im September 1439).

1440 heiratete er Antonia di Pace Pannilini. Im selben Jahr begann er, beauftragt vom Rektor Giovanni Buzzichelli, seine Arbeiten im Pellegrinaio-Saal von Santa Maria della Scala in Siena, wo er für den Hauptteil der Fresken verantwortlich war. Dort entstanden seine Hauptwerke, bei deren Ausführung ihm teilweise Priamo della Querciahalf. Um 1444/45 begann er im Palazzo Pubblico im Sala della Cancelleria di Biccherna in Siena mit der Neugestaltung des Werkes Incoronazione della Madonna, welches 1352 von Lippo Vannigemalt wurde. Dieses wurde, wahrscheinlich aufgrund seines Todes, nicht von ihm, sondern von Sano di Pietro fertiggestellt.

Werke

• Perugia, Convento di Santa Giuliana: Madonna e il Bambino fra i santissimi Benedetto, Giovanni Battista, Giuliana e Bernardo, (1438 entstanden), auch als Polittico di Santa Giuliana bezeichnet, heute in der Galleria nazionale dell’Umbriaaufbewahrt.
• Philadelphia, Philadelphia Museum of Art: Vergine e bambino (1437 entstanden)
• Siena, Dom: Sigismondo in trono tra i suoi consiglieri (Sgraffito, 1434 entstanden)
• Siena, Pinacoteca Nazionale:
  • La Madonna della Misericordia (Zwei Teilstücke des Freskos, der Hauptteil befindet sich noch in Santa Maria della Scala)
  • Madonna dell’Umiltà (Saal 9, 1433 entstanden)
  • San Matteo e San Galgano(Saal 10)
• Siena, Santa Maria della Scala, Pellegrinaio-Saal: (Fresken, 1440 bis 1444 entstanden)
  • Accoglimento e nozze dei trovatelli
  • Cura e governo degli Infermi
  • Distribuzione delle elemosine
  • Elemosina del vescovo e accrescimento dell’ospedale, auch La limosina del vescovooder Ampliamento dell’Ospedale della Scalagenannt
  • Il banchetto dei poveri
  • Papa Celestino III concede privilegi di autonomia all’ospedale
• Washington, D.C., National Gallery of Art: Madonna e bambino sul trono coi Santi Pietro e Paolo (1430 entstanden)

Literatur

• Domenico di Bartolo. In: Ulrich Thieme, Fred. C. Willis (Hrsg.): Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart. Begründet von Ulrich Thieme und Felix Becker. Band 14: Giddens–Gress. E. A. Seemann, Leipzig 1921, S. 535–537 (Textarchiv – Internet Archive).
• Maria Elena Massimi: Ghezzi, Domenico (Domenico di Bartolo). In: Mario Caravale (Hrsg.): Dizionario Biografico degli Italiani (DBI). Band 53 (Gelati–Ghisalberti), Istituto della Enciclopedia Italiana, Rom 1999, S. 673–677.
• Piero Torriti: Tutta Siena. Contrada per Contrada, Edizioni Bonechi, Florenz 2004, ISBN 88-7204-456-1.

https://de.wikipedia.org/wiki/Domenico_di_Bartolo

http://www.giacobbegiusti.com