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| {{Painting| image_file=Mona Lisa.jpg | |||
| | title=Mona Lisa <br> La Gioconda <br> | |||
| | artist=] | |||
| | year=circa ]–] | |||
| | type=] | |||
| | height=77 | |||
| | width=53 | |||
| | height_inch=30 | |||
| | width_inch=21 | |||
| | city=] | |||
| | museum=] | |||
| }} | |||
| '''''Mona Lisa''''', or '''''La Gioconda.''''' '''''(La Joconde)''''', is a ] ] on ] wood by ], and is one of the most famous paintings in the world. Few works of art have been subject to as much scrutiny, study, mythologizing and parody. It is owned by the ] and hangs in the ] in ]. The painting, a half-length portrait, depicts a woman whose gaze meets the viewer's with an expression often described as enigmatic. | |||
| ==Title of the painting== | |||
| <!-- section name referenced below --> | |||
| The title ''Mona Lisa'' stems from the ] biography of Leonardo da Vinci, published 31 years after Leonardo's death. In it, he identified the sitter as Lisa Gherardini, the wife of wealthy ] businessman ]. ''Mona'' was a common ] contraction of '']'', meaning ''my lady'', the equivalent of the English ''Madam'', so the title means ''Madam Lisa''. | |||
| In modern Italian, the short form of ''madonna'' is usually spelled ''Monna'', so the title is sometimes given as ''Monna Lisa''. This is rare in English, but more common in ]. | |||
| The alternative title, ''La Gioconda'', is the feminine form of Giocondo. In ], ''giocondo'' also means ''light-hearted'' (''jocund'' in English), so ''gioconda'' means ''light-hearted woman''. Because of her smile, this version of the title plays on this double meaning, as does the French ''La Joconde''. | |||
| Both ''Mona Lisa'' and ''La Gioconda'' became established as titles for this painting in the 19th century. Before these names became established, the painting had been referred to by various descriptive phrases, such as "a certain Florentine lady" and "a courtesan in a gauze veil" | |||
| ==History== | |||
| ===16th century=== | |||
| ] | |||
| ] began painting the Mona Lisa in ](During the Italian Renaissance) and, according to Vasari, completed it in four years. | |||
| Leonardo took the painting from ] to ] in ] when King ] invited the painter to work at the ] near the king's castle in ]. The King bought the painting for 4,000 '']'' and kept it at ], where it remained until moved by Louis XIV. | |||
| It has for a long time been argued that after Leonardo's death the painting was cut down by having part of the panel at both sides removed. Early copies depict columns on both sides of the figure. Only the edges of the bases can be seen in the original.<ref>; </ref> However, some art historians, such as ], now argue that the painting has not been altered, and that the columns depicted in the copies were added by the copyists. The latter view was bolstered during 2004 and 2005 when an international team of 39 specialists undertook the most thorough scientific examination of the Mona Lisa yet undertaken. Beneath the frame (the current one was fitted to the Mona Lisa in 2004) there was discovered a "reserve" around all 4 edges of the panel. A reserve is an area of bare wood surrounding the gessoed and painted portion of the panel. That this is a genuine reserve, and not the result of removal of the gesso or paint is demonstrated by a raised edge still existing around the gesso, the result of build up from the edge of brush strokes at the edge of the gesso area. | |||
| The reserve area, which was likely to have been as much as 20 mm originally appears to have been trimmed at some point probably to fit a frame (we know that in the 1906 framing it was the frame itself which was trimmed, not the picture, so it must have been earlier), however at no point has any of Leonardo's actual paint been trimmed. Therefore the columns in early copies must be inventions of those artists, or copies of another (unknown) studio version of Mona Lisa. The round objects each side of the sill remain as mysterious as so much of this painting. | |||
| ===Other versions=== | |||
| It has been suggested that Leonardo created more than one version of the painting. The owners of the version known as the ] claim that it is an original, though the great majority of art historians reject its authenticity. The same claim has been made for a version in the Vernon collection.<ref>http://www.lairweb.org.nz/leonardo/mona.html Leonardo da Vinci</ref> Another version, dating from c.1616 was given in c.] to ] by the ] in exchange for a Reynolds self-portrait. Reynolds thought it to be the real painting and the French one a copy, which has now been disproved. It is, however, useful in that it was copied when the original's colours were far brighter than they are now, and so it gives some sense of the original's appearance 'as new'. It is held in the stores of the ].<ref>Charlotte Higgins, , ], ] ] (accessed on 23rd September 2006)</ref> There are also copies of the image in which the figure appears nude. These have also led to speculation that they were copied from a lost Leonardo original depicting Lisa naked.<ref>http://www.nigel-cawthorne.com/projects.htm</ref> | |||
| ===17th to 19th century=== | |||
| ] moved the painting to the ]. After the ], it was moved to the Louvre. ] had it moved to his bedroom in the ]; later it was returned to the Louvre. During the ] of ]–], it was moved from the Louvre to a hiding place elsewhere in France. | |||
| The painting was not well-known until the mid-19th century, when artists of the emerging ] movement began to appreciate it, and associated it with their ideas about feminine mystique. Critic ], in his ] essay on Leonardo, expressed this view by describing the figure in the painting as a kind of mythic embodiment of eternal femininity, who is "older than the rocks among which she sits" and who "has been dead many times and learned the secrets of the grave". | |||
| ===20th century to present=== | |||
| ====Theft==== | |||
| The painting's increasing fame was further emphasized when it was ] on ], ]. The next day, ], a painter, walked into the Louvre and went to the Salon Carré where the Mona Lisa had been on display for five years. However, where the Mona Lisa should have stood, he found four iron pegs. | |||
| Béroud contacted the section head of the guards, who thought the painting was being photographed. A few hours later, Béroud checked back with the section head of the museum, and it was confirmed that the Mona Lisa was not with the photographers. The Louvre was closed for an entire week to aid in the investigation of the theft. | |||
| On ], avant-garde French poet ], who had once called for the Louvre to be "burned down", was arrested and put in jail on suspicion of the theft. His friend ] was brought in for questioning, but both were later released.<ref>; </ref> At the time, the painting was believed to be lost forever. It turned out that Louvre employee ] stole it 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. Con-man ] master-minded the theft, and had commissioned the French ] ] to make copies of the painting so he could sell them as the missing original. Because he did not need the original for his con, he never contacted Peruggia again after the crime. After keeping the painting in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to a ] art dealer; it was exhibited all over Italy and returned to the Louvre in ]. | |||
| ====Second World War==== | |||
| During ], the painting was again removed from the Louvre and taken to safety, first in ], then in the ] and finally in the Ingres Museum in ]. | |||
| ] | |||
| ====Post-war==== | |||
| In ], the lower part of the painting was severely damaged when someone doused it with acid. On ] of that same year, Ugo Ungaza Villegas, a young ], damaged the painting by throwing a rock at it. The result was a speck of pigment near Mona Lisa's left elbow. The painting is now covered with bulletproof security glass. | |||
| From ] ] to March of ], the French government lent it to the ] to be displayed in ] and ] In ], the painting exhibited in ] and ] before being returned to the Louvre. | |||
| Prior to the 1962-63 tour, the painting was assessed for insurance purposes at $100 million. According to the '']'', this makes the ''Mona Lisa'' the most valuable painting ever insured. As an ], it has only recently been surpassed (in terms of actual dollar price) by three other paintings, the '']'' by ], which was sold for $135 Million (£73 million), | |||
| the '']'' by ] sold for $137.5 Million in November of 2006, and most recently '']'' by ] sold for a record $140 Million on ], ]. Although these figures are greater than that which the Mona Lisa was insured for, the comparison does not account for the change in prices due to inflation -- $100 million in 1962 is approximately $670 million in 2006 when adjusted for inflation using the US Consumer Price Index.<ref>E.H. Net. Accessed on June 20, 2006.</ref> | |||
| In 2004 experts from the ] conducted a three-dimensional ] scan. Because of the aging of the varnish on the painting it has been difficult to discern details. Data from the scan and infrared ] were later used by Bruno Mottin of the French Museums' "Center for Research and Restoration" to argue that the transparent gauze veil worn by the sitter is a ], typically used by women while pregnant or just after giving birth. A similar guarnello was painted by ] in his ''Portrait of Smeralda Brandini'' (1470), depicting a pregnant woman (] in London]). Furthermore, this reflectography revealed that Mona Lisa's hair is not loosely hanging down, but seems attached at the back of the head to a bonnet or pinned back into a ] and covered with a veil, bordered with a sombre rolled hem. In the 16th century, hair hanging loosely down on the shoulders was the customary ] of unmarried young women or prostitutes. This apparent contradiction with her status as a married woman has now been resolved. | |||
| Researchers also used the data to reveal details about the technique used and to predict that the painting will degrade very little if current conservation techniques are continued.<ref>CBC. (2006, September 26) Retrieved on September 27, 2006. </ref><ref>CNN. (2006, September 26). Retrieved on September 25, 2006.</ref><ref>Edmonton Journal (September 23) Retrieved on September 27, 2006</ref> | |||
| On ], ] — following a period of curatorial maintenance, recording, and analysis — the painting was moved, within the Louvre, to a new home in the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bullet proof glass.<ref>BBC News. (2005, April 6). Retrieved on June 20, 2006.</ref> The Mona Lisa has since undergone a major scientific observation, and it has been proved through infrared cameras she is wearing a bonnet and clenching her chair (something that da Vinci decided to change as an afterthought).<ref>{{cite news |first= Ian|last= Austen|authorlink= Ian Austen|title= New Look at ‘Mona Lisa’ Yields Some New Secrets |url= http://www.nytimes.com/2006/09/27/arts/design/27mona.html?ex=1317009600&en=9b5bc3405c3c4c03&ei=5090&partner=rssuserland&emc=rss |work=] |publisher=] |date=2006-09-27 |accessdate=2007-05-13 }}</ref> | |||
| == The identity of the model == | |||
| ===Lisa Gherardini=== | |||
| Vasari identified the subject to be the wife of socially prominent Francesco del Giocondo, who was a ] merchant of ]. Until recently, little was known about his third wife, Lisa Gherardini, except that she was born in ], raised at her family's Villa Vignamaggio in ] and that she married del Giocondo in ]. | |||
| In 2004, the Italian scholar Giuseppe Pallanti published ''Monna Lisa, Mulier Ingenua'' (literally '"Mona Lisa: Real Woman", published in English under the title ''Mona Lisa Revealed: The True Identity of Leonardo's Model''<ref>Pallanti, G. (2006). Mona Lisa revealed: The true identity of Leonardo's model. Milan: Skira. ISBN 88-7624-659-2</ref>). The book gathered archival evidence in support of the traditional identification of the model as '''Lisa Gherardini'''. According to Pallanti, the evidence suggests that Leonardo's father was a friend of del Giocondo. "The portrait of Mona Lisa, done when Lisa Gherardini was aged about 24, was probably commissioned by Leonardo's father himself for his friends as he is known to have done on at least one other occasion."<ref>Johnston, B. (2004, August 1). ''Telegraph.co.uk.'' Retrieved on June 20, 2006.</ref> Pallanti discovered that Lisa and Francesco had five children and that she outlived her husband. In early ], Pallanti found a death notice in the archives of a Florence church that referred to "the wife of Francesco del Giocondo, deceased ], ], and buried at ]." Sant'Orsola is a convent in Florence. Pallanti ascertains with certainty that this refers to Gherardini. This would make her age at her death to be 63 years.<ref>Associated Press, 19 January 2007., ''Yahoo! News.'' Retrieved January 19, 2007.</ref> Also in January 2007, Italian geneologist Domenico Savini identified the princesses Natalia and Irina Strozzi as living descendants of Lisa Gherardini.<ref>''The Independent'', 28 January 2007. . Retrieved February 6, 2007.</ref> | |||
| In September 2006, Bruno Mottin argued that the guarnelo he studied using the 2004 scan data suggested that the painting dated from around 1503 and commemorated the birth of Lisa Gherardini's second son.<ref>CNN. (2006, September 26). Retrieved on September 25, 2006.</ref><ref>Edmonton Journal (September 23) Retrieved on September 27, 2006</ref> | |||
| ===Other suggestions=== | |||
| ]''.]] | |||
| Vasari, however, wrote about the portrait, and described it, without ever having seen it; the painting was already in France in Vasari's era. So various alternatives to the traditional sitter have been proposed. During the last years of his life, Leonardo spoke of a portrait "of a certain Florentine lady done from life at the request of the magnificent ]." No evidence has been found that indicates a link between Lisa Gherardini and Giuliano de' Medici, but then the comment could instead refer to one of the two other portraits of women executed by da Vinci. A later anonymous statement created confusion when it linked the ''Mona Lisa'' to a portrait of Francesco del Giocondo himself – perhaps the origin of the controversial idea that it is the portrait of a man. | |||
| Dr. ] of ] suggests that the ''Mona Lisa'' is actually a self-portrait. She supports this theory with the results of a digital analysis of the facial features of Leonardo's face and that of the famous painting. When flipping a self-portrait drawing by Leonardo and then merging that with an image of the ''Mona Lisa'' using a computer, the features of the faces align perfectly.<ref></ref> Critics of this theory suggest that the similarities are due to both portraits being painted by the same person using the same style. Additionally, the drawing on which she based the comparison may not be a self-portrait. | |||
| ], in his biography of Leonardo, discusses the possibility that the portrait depicts the artist's mother Caterina. This would account for the resemblance between artist and subject observed by Dr. Schwartz, and would explain why Leonardo kept the portrait with him wherever he travelled, until his death. | |||
| ] ]] | |||
| Art historians have also suggested the possibility that the ''Mona Lisa'' may only resemble Leonardo by accident: as an artist with a great interest in the human form, Leonardo would have spent a great deal of time studying and drawing the human face, and the face most often accessible to him was his own, making it likely that he would have the most experience with drawing his own features. The similarity in the features of the people depicted in paintings such as the ''Mona Lisa'' and '']'' may thus result from Leonardo's familiarity with his own facial features, causing him to draw other, less familiar faces in a similar light. | |||
| The art expert Dr. Henry Pulitzer suggested that the portrait was possibly that of ], duchess of ], a patroness of Da Vinci, and mistress of Giuliano de Medici. D'Avalos, coincidentally, was also nicknamed 'La Gioconda'. | |||
| Maike Vogt-Lüerssen argues that the woman behind the famous smile is ], the ]. Leonardo was the court painter for the Duke of Milan for 11 years. The pattern on ''Mona Lisa's'' dark green dress, Vogt-Lüerssen believes, indicates that she was a member of the ]. Her theory is that the ''Mona Lisa'' was the first official portrait of the new Duchess of Milan, which requires that it was painted in spring or summer ] (and not ]). This theory is allegedly supported by another portrait of ], painted by ], (], ]). | |||
| == Aesthetics == | |||
| ] | |||
| Leonardo used a pyramid design to place the woman simply and calmly in the space of the painting. Her folded hands form the front corner of the pyramid. Her breast, neck and face glow in the same light that softly models her hands. The light gives the variety of living surfaces an underlying geometry of spheres and circles. Leonardo referred to a seemingly simple formula for seated female figure: the images of seated Madonna, which were widely spread at the time. He effectively modified this formula in order to create the visual impression of distance between the sitter and the observer. The armrest of the chair functions as a dividing element between Mona Lisa and us. The woman sits markedly upright with her arms folded, which is also a sign of her reserved posture. Only her gaze is fixed on the observer and seems to welcome him to this silent communication. Since the brightly lit face is practically framed with various much darker elements (hair, veil, shadows), the observer's attraction to Mona Lisa's face is brought to even greater extent. Thus, the composition of the figure evokes an ambiguous effect: we are attracted to this mysterious woman but have to stay at a distance as if she were a divine creature. There is no indication of an intimate dialogue between the woman and the observer as is the case in the Portrait of Baldassare Castiglione (Louvre) painted by Raphael about ten years after Mona Lisa and undoubtedly influenced by Leonardo's portrait. | |||
| ]] | |||
| The painting was one of the first ]s to depict the sitter before an imaginary landscape. The enigmatic woman is portrayed seated in what appears to be an open ] 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. The sensuous curves of the woman's hair and clothing, created through ], are echoed in the undulating imaginary valleys and rivers behind her. The blurred outlines, graceful figure, dramatic contrasts of light and dark, and overall feeling of calm are characteristic of Leonardo's style. Due to the expressive synthesis that Leonardo achieved between sitter and the landscape it is arguable whether Mona Lisa should be considered as a portrait, for it represents rather an ideal than a real woman. The sense of overall harmony achieved in the painting—especially apparent in the sitter's faint smile— reflects Leonardo's idea of the cosmic link connecting humanity and nature, making this painting an enduring record of Leonardo's vision and genius. | |||
| ] | |||
| Mona Lisa's smile has repeatedly been a subject of many - greatly varying - interpretations. ] interpreted the 'smile' as signifying Leonardo's erotic attraction to his dear mother;<ref> Freud, S. Retrieved on June 20, 2006.</ref> others have described it as both innocent and inviting. | |||
| Many researchers have tried to explain why the smile is seen so differently by people. The explanations range from scientific theories about human vision to curious supposition about ''Mona Lisa's'' identity and feelings. Professor Margaret Livingstone of ] has argued that the smile is mostly drawn in low ], and so can best be seen from a distance or with one's ].<ref>BBC News. (2003, February 18). Retrieved on June 20, 2006.</ref> Thus, for example, the smile appears more striking when looking at the portrait's eyes than when looking at the mouth itself. Christopher Tyler and Leonid Kontsevich of the ] in ] believe that the changing nature of the smile is caused by variable levels of random noise in human ].<ref>Cohen, P. (2004, June 23). ''New Scientist''. Journal reference: Vision Research (vol 44, p 1493). Retrieved on June 20, 2006.</ref> Dina Goldin, Adjunct Professor at ], has argued that the secret is in the dynamic position of ''Mona Lisa's'' facial muscles, where our mind's eye unconsciously extends her smile; the result is an unusual dynamicity to the face that invokes subtle yet strong emotions in the viewer of the painting.<ref>Goldin, D. (2002, December). ''Brown University Faculty Bulletin''. Retrieved on June 20, 2006.</ref> | |||
| In late 2005, Dutch researchers from the University of Amsterdam ran the painting's image through an "emotion recognition" computer software developed in collaboration with the University of Illinois at Urbana-Champaign. The software found the smile to be 83% happy, 9% disgusted, 6% fearful, 2% angry, less than 1% neutral, and not surprised at all. Rather than being a thorough analysis, the experiment was more of a demonstration of the new technology. The faces of ten women of Mediterranean ancestry were used to create a composite image of a neutral expression. Researchers then compared the composite image to the face in the painting. They used a grid to break the smile into small divisions, then checked it for each of six emotions: happiness, surprise, anger, disgust, fear, and sadness. | |||
| ], particularly in the shadows around the eyes]]] | |||
| It is also notable that Mona Lisa has no visible facial hair at all - including eyebrows and eyelashes. Some researchers claim that it was common at this time for genteel women to pluck them off, since they were considered to be unsightly.<ref>Turudich, D. & Welch, L. (2003). Plucked, shaved and braided: Medieval and renaissance beauty and grooming practices 1000-1600. Leicester, England: Streamline Press. ISBN 1-930064-08-X</ref><ref>McMullen, R. (1975). Mona Lisa: The picture and the myth. Boston: Houghton Mifflin. ISBN 0-333-19169-2</ref> Yet it is more reasonable to assume that Leonardo did not finish the painting, for almost all of his paintings are unfinished. Being a perfectionist he always tried to go one step further in improving his technique. Furthermore, other women of the time were predominantly portrayed with eyebrows. For modern viewers the missing eyebrows add to the slightly semi-abstract quality of the face though it was not Leonardo's aim. | |||
| The painting has been restored numerous times; ] examinations have shown that there are three versions of the ''Mona Lisa'' hidden under the present one. The thin ] backing is beginning to show signs of deterioration at a higher rate than previously thought, causing concern from museum curators about the future of the painting. | |||
| <br style="clear:both" /> | |||
| == Role in popular culture and avant-garde art== | |||
| ] | |||
| The ''Mona Lisa'' has acquired an iconic status in ]. In ], ]ist ] started making colorful ] prints of the ''Mona Lisa''. Warhol thus consecrated her as a modern icon, similar to ] or ]. At the same time, his use of a stencil process and crude colors implies a criticism of the debasement of aesthetic values in a society of mass production and mass consumption. Today the ''Mona Lisa'' is frequently reproduced, finding its way on to everything from carpets to mouse pads. | |||
| As a ], the ''Mona Lisa'' has enjoyed countless references in both popular culture and avant-garde art. It has been a subject of many songs, including: | |||
| *"Mona Lisa", the first track on ] singer ]'s ] album, '']''. The album rose to#1 on the ] Top Country Albums chart.<ref>Vitous, P., Pikora, V., Frantik, F., & Gololobov, M. (completion). (1999-2006). Retrieved on June 20, 2006.</ref> | |||
| *"A Mona Lisa", an unreleased song by the ] ]. It was written by ] ] and recorded in ].<ref>Fuss, R. (compiler). (2002, June 16). Retrieved on June 20, 2006.</ref> | |||
| ], Mrs. ], ] French Minister of Culture, ], and ] at an unveiling of the Mona Lisa]] | |||
| *"Mona Lisa", a song by the ] ] band ] suggests her smile is the result of the singer's hand underneath her skirt.<ref>Unheilig. (2003). . Official website. Retrieved on June 21, 2006. (Choose "Das 2. Gebot" under "LYRICS"). An audio sample can be heard at ASIN B00008K4EL</ref><ref>Unheilig. (2003). . Retrieved on June 21, 2006.</ref> | |||
| The ] art world has also taken note of the undeniable fact of the ''Mona Lisa's'' popularity. Because of the painting's overwhelming stature, ] and ] often produce modifications and ]s. In ], ], one of the most influential ], made a ''Mona Lisa'' ] by adorning a cheap reproduction with a moustache and a goatee, as well as adding the rude inscription L.H.O.O.Q., when read out loud in ] sounds like "Elle a chaud au cul" (translating to "she has a hot arse" as a manner of implying the woman in the painting is in a state of sexual excitement and availability). This was intended as a ] joke, referring to Leonardo's alleged ]. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.<ref>de Martino, M. (2003). Retrieved on June 20, 2006.</ref> ], famous for his pioneering ] work, painted ''Self portrait as Mona Lisa'' in ]. More recently, Brazilian artist ] has twice reproduced the portrait in detail using jelly and ]. | |||
| The ], ] edition of '']'' ran for its cover Dean Rohrer's Mona Monica,<ref>Baron, R. (n.d.). Mona Lisa images for a modern world. Retrieved on June 20, 2006.</ref> an amalgamation of the ''Mona Lisa'' and ]. | |||
| A reproduction of the Mona Lisa was discovered painted onto a hillside near ] on August 15th, 2006. It was created by artist Samuel Clemens using a tarp stencil and water-based paint. | |||
| Parody and imitative versions of the Mona Lisa include a cow, gorilla, mouse, rabbit, and ] as Mona Lisa . | |||
| ==Notes== | |||
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| ==See also== | |||
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| == External links == | |||
| {{Commonscat|Mona Lisa}} | |||
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