MONA LIZA
Leonardo da Vinci
c. 1503–1506
OIL ON POPLAR PANEL
MONA LIZA
Leonardo da Vinci
c. 1503–1506
OIL ON POPLAR PANEL
The title of the painting, which is known in English as Mona Lisa, is based on the presumption that it depicts Lisa del Giocondo, although her likeness is uncertain.
Renaissance art historian Giorgio Vasari wrote that "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife." Monna 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 monna. The title of the painting, though traditionally spelled Mona in English, is spelled in Italian as Monna Lisa (mona being a vulgarity in Italian), but this is rare in English
The title of the painting, which is known in English as Mona Lisa, is based on the presumption that it depicts Lisa del Giocondo, although her likeness is uncertain.
Renaissance art historian Giorgio Vasari wrote that "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife." Monna 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 monna. The title of the painting, though traditionally spelled Mona in English, is spelled in Italian as Monna Lisa (mona being a vulgarity in Italian), but this is rare in English
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. 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".
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. 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".
Detail of the background (right side)
Detail of the background (right side)
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. Zöllner notes that the sitter's general position can be traced back to Flemish models and that "in particular the vertical slices of columns at both sides of the panel had precedents in Flemish portraiture.
"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.
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. Zöllner notes that the sitter's general position can be traced back to Flemish models and that "in particular the vertical slices of columns at both sides of the panel had precedents in Flemish portraiture.
"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.
Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works – the others being Saint Jerome in the Wilderness, Adoration of the Magi and The Last Supper – whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. It is believed by some that the Mona Lisa was begun in 1503 or 1504 in Florence.
Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works – the others being Saint Jerome in the Wilderness, Adoration of the Magi and The Last Supper – whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. It is believed by some that the Mona Lisa was begun in 1503 or 1504 in Florence.
Raphael's drawing (c. 1505), after Leonardo; today in the Louvre along with the Mona Lisa
Raphael's drawing (c. 1505), after Leonardo; today in the Louvre along with the Mona Lisa
Although the Louvre states that it was "doubtless painted between 1503 and 1506", art historian Martin Kemp says that there are some difficulties in confirming the dates with certainty. Alessandro Vezzosi believes 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.
Although the Louvre states that it was "doubtless painted between 1503 and 1506", art historian Martin Kemp says that there are some difficulties in confirming the dates with certainty. Alessandro Vezzosi believes 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.
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"La Joconde est Retrouvée"
13 December 1913
"La Joconde est Retrouvée"
13 December 1913
According to Vasari, "after he had lingered over it four years, [he] left it unfinished". In 1516, Leonardo was invited by King Francis I to work at the Clos Lucé near the Château d'Amboise; it is believed that he took the Mona Lisa with him and continued to work on it after he moved to France. Art historian Carmen C. Bambach has concluded that Leonardo probably continued refining the work until 1516 or 1517. Leonardo's right hand was paralytic circa 1517, which may indicate why he left the Mona Lisa unfinished.
According to Vasari, "after he had lingered over it four years, [he] left it unfinished". In 1516, Leonardo was invited by King Francis I to work at the Clos Lucé near the Château d'Amboise; it is believed that he took the Mona Lisa with him and continued to work on it after he moved to France. Art historian Carmen C. Bambach has concluded that Leonardo probably continued refining the work until 1516 or 1517. Leonardo's right hand was paralytic circa 1517, which may indicate why he left the Mona Lisa unfinished.