Mona Lisa by Leonardo da Vinci.Sketch Art and Drawing BD.
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Mona Lisa
Artist : Leonardo da Vinci
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Artist : Leonardo da Vinci
Year : 1503-1506, continuing until 1517
Medium : oil on poplar panel
Location : Louvre Museum in France
The Mona Lisa is a half-length picture painting by the Italian craftsman Leonardo da Vinci. It is
viewed as an original magnum opus of the Italian Renaissance, and has been portrayed as "the most
popular, the most visited, the most expounded on, the most sung about, the most caricatured gem in
the world." The work of art's novel characteristics incorporate the subject's appearance, which is
every now and again depicted as enigmatic, the monumentality of the creation, the unpretentious
displaying of structures, and the barometrical illusionism.
viewed as an original magnum opus of the Italian Renaissance, and has been portrayed as "the most
popular, the most visited, the most expounded on, the most sung about, the most caricatured gem in
the world." The work of art's novel characteristics incorporate the subject's appearance, which is
every now and again depicted as enigmatic, the monumentality of the creation, the unpretentious
displaying of structures, and the barometrical illusionism.
The artistic creation is likely of the Italian aristocrat Lisa Gherardini, the spouse of Francesco del
Gioconda, and is in oil on a white Lombardy poplar board. It had been accepted to have been painted
somewhere in the range of 1503 and 1506; be that as it may, Leonardo may have kept taking a shot
at it as late as 1517. Late scholarly work proposes that it would not have begun before 1513. It was
procured by King Francis I of France and is presently the property of the French Republic itself, on
lasting presentation at the Louver Museum in Paris since 1797.
Gioconda, and is in oil on a white Lombardy poplar board. It had been accepted to have been painted
somewhere in the range of 1503 and 1506; be that as it may, Leonardo may have kept taking a shot
at it as late as 1517. Late scholarly work proposes that it would not have begun before 1513. It was
procured by King Francis I of France and is presently the property of the French Republic itself, on
lasting presentation at the Louver Museum in Paris since 1797.
The Mona Lisa is one of the most important works of art on the planet. It holds the Guinness World
Record for the most elevated known protection valuation in history at US$100 million in 1962.
Record for the most elevated known protection valuation in history at US$100 million in 1962.
The title of the canvas, which is referred to in English as Mona Lisa, originates from a portrayal by
Renaissance workmanship antiquarian Giorgio Vasari, who expressed "Leonardo attempted to paint,
for Francesco del Giocondo, the picture of Mona Lisa, his wife." Mona in Italian is an affable type of
address starting as mama donna – like Ma'am, Madam, or my woman in English. This became
madonna, and its constriction mona. The title of the composition, however generally spelled Mona, is
additionally usually spelled in current Italian as Monna Lisa, yet this is uncommon in English.
Renaissance workmanship antiquarian Giorgio Vasari, who expressed "Leonardo attempted to paint,
for Francesco del Giocondo, the picture of Mona Lisa, his wife." Mona in Italian is an affable type of
address starting as mama donna – like Ma'am, Madam, or my woman in English. This became
madonna, and its constriction mona. The title of the composition, however generally spelled Mona, is
additionally usually spelled in current Italian as Monna Lisa, yet this is uncommon in English.
Vasari's record of the Mona Lisa originates from his history of Leonardo distributed in 1550, 31
years after the craftsman's demise. It has for quite some time been the most popular wellspring of
data on the provenance of the work and character of the sitter. Leonardo's right hand Salaì, at his
passing in 1524, possessed a picture which in his own papers was named la Gioconda, an artistic
creation granted to him by Leonardo.
years after the craftsman's demise. It has for quite some time been the most popular wellspring of
data on the provenance of the work and character of the sitter. Leonardo's right hand Salaì, at his
passing in 1524, possessed a picture which in his own papers was named la Gioconda, an artistic
creation granted to him by Leonardo.
That Leonardo painted such a work, and its date, were affirmed in 2005 when a researcher at
Heidelberg University found a negligible note in a 1477 printing of a volume by old Roman logician
Cicero. Dated October 1503, the note was composed by Leonardo's contemporary Agostino
Vespucci. This note compares Leonardo to eminent Greek painter Apelles, who is referenced in the
content, and expresses that Leonardo was around then chipping away at a work of art of Lisa del
Giocondo.
Heidelberg University found a negligible note in a 1477 printing of a volume by old Roman logician
Cicero. Dated October 1503, the note was composed by Leonardo's contemporary Agostino
Vespucci. This note compares Leonardo to eminent Greek painter Apelles, who is referenced in the
content, and expresses that Leonardo was around then chipping away at a work of art of Lisa del
Giocondo.
In light of the declaration of the revelation of this report, Vincent Delieuvin, the Louver agent,
expressed "Leonardo da Vinci was painting, in 1503, the representation of a Florentine woman by
the name of Lisa del Giocondo. About this we are presently sure. Shockingly, we can't be sure
beyond a shadow of a doubt that this picture of Lisa del Giocondo is the painting of the Louvre.
expressed "Leonardo da Vinci was painting, in 1503, the representation of a Florentine woman by
the name of Lisa del Giocondo. About this we are presently sure. Shockingly, we can't be sure
beyond a shadow of a doubt that this picture of Lisa del Giocondo is the painting of the Louvre.
The model, Lisa del Giocondo, was an individual from the Gherardini group of Florence and
Tuscany, and the spouse of well off Florentine silk shipper Francesco del Giocondo. The work of art
is thought to have been charged for their new home, and to commend the introduction of their
subsequent child, Andrea. The Italian name for the composition, La Gioconda, signifies 'jocund' or,
truly, 'the jocund one', a play on words on the female type of Lisa's hitched name, Giocondo. In
French, the title La Joconde has a comparable noteworthiness
Tuscany, and the spouse of well off Florentine silk shipper Francesco del Giocondo. The work of art
is thought to have been charged for their new home, and to commend the introduction of their
subsequent child, Andrea. The Italian name for the composition, La Gioconda, signifies 'jocund' or,
truly, 'the jocund one', a play on words on the female type of Lisa's hitched name, Giocondo. In
French, the title La Joconde has a comparable noteworthiness
Prior to that disclosure, researchers had built up a few elective perspectives with regards to the
subject of the work of art. Some contended that Lisa del Giocondo was the subject of an alternate
representation, recognizing in any event four different works of art as the Mona Lisa alluded to by
Vasari. Several different women have been proposed as the subject of the painting. Isabella of
Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Isabella d'Este, Pacifica
Brandano or Brandino, Isabela Gualanda, Caterina Sforza, Bianca Giovanna Sforza—even Salaì
and Leonardo himself—are all among the rundown of set models depicted in the painting. The accord
of craftsmanship students of history in the 21st century keeps up the since quite a while ago held
customary sentiment that the artistic creation delineates Lisa del Giocondo.
subject of the work of art. Some contended that Lisa del Giocondo was the subject of an alternate
representation, recognizing in any event four different works of art as the Mona Lisa alluded to by
Vasari. Several different women have been proposed as the subject of the painting. Isabella of
Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Isabella d'Este, Pacifica
Brandano or Brandino, Isabela Gualanda, Caterina Sforza, Bianca Giovanna Sforza—even Salaì
and Leonardo himself—are all among the rundown of set models depicted in the painting. The accord
of craftsmanship students of history in the 21st century keeps up the since quite a while ago held
customary sentiment that the artistic creation delineates Lisa del Giocondo.
Leonardo da Vinci had started taking a shot at a picture of Lisa del Giocondo, the model of the
Mona Lisa, by October 1503. It is accepted by some that the Mona Lisa was started in 1503 or 1504
in Florence. Although the Louver expresses that it was "without a doubt painted somewhere in the
range of 1503 and 1506", craftsmanship history specialist Martin Kemp says that there are a few
troubles in affirming the dates with certainty. Furthermore, numerous Leonardo specialists, for
example, Carlo Pedretti and Alessandro Vezzosi, are of the sentiment that the artistic creation is
normal for Leonardo's style in the last long periods of his life, post-1513. Other scholastics contend
that, given the verifiable documentation, Leonardo would have painted the work from 1513.
Mona Lisa, by October 1503. It is accepted by some that the Mona Lisa was started in 1503 or 1504
in Florence. Although the Louver expresses that it was "without a doubt painted somewhere in the
range of 1503 and 1506", craftsmanship history specialist Martin Kemp says that there are a few
troubles in affirming the dates with certainty. Furthermore, numerous Leonardo specialists, for
example, Carlo Pedretti and Alessandro Vezzosi, are of the sentiment that the artistic creation is
normal for Leonardo's style in the last long periods of his life, post-1513. Other scholastics contend
that, given the verifiable documentation, Leonardo would have painted the work from 1513.
According to Vasari, "after he had waited over it four years, left it unfinished". In 1516, Leonardo
was welcomed by King Francis I to work at the Clos Lucé close to the Château d'Amboise; it is
accepted that he took the Mona Lisa with him and kept on taking a shot at it after he moved to
France. Art antiquarian Carmen C. Bambach has presumed that Leonardo most likely kept refining
the work until 1516 or 1517. Leonardo's correct hand was immobile around 1517, which may show
why he left the Mona Lisa incomplete.
was welcomed by King Francis I to work at the Clos Lucé close to the Château d'Amboise; it is
accepted that he took the Mona Lisa with him and kept on taking a shot at it after he moved to
France. Art antiquarian Carmen C. Bambach has presumed that Leonardo most likely kept refining
the work until 1516 or 1517. Leonardo's correct hand was immobile around 1517, which may show
why he left the Mona Lisa incomplete.
Around 1505, Raphael executed a pen-and-ink sketch, in which the segments flanking the subject
are progressively evident. Specialists all around concur that it depends on Leonardo's portrait. Other
later duplicates of the Mona Lisa, for example, those in the National Museum of Art, Architecture and
Design and The Walters Art Museum, additionally show enormous flanking sections. Thus, it was
imagined that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner saw that the artistic
creation surface had never been trimmed; this was affirmed through a progression of tests in 2004. In
perspective on this, Vincent Delieuvin [fr], guardian of sixteenth century Italian work of art at the
Louver, expresses that the sketch and these different duplicates more likely than not been motivated
by another version, while Zöllner states that the sketch might be after another Leonardo representation
of the equivalent subject.
are progressively evident. Specialists all around concur that it depends on Leonardo's portrait. Other
later duplicates of the Mona Lisa, for example, those in the National Museum of Art, Architecture and
Design and The Walters Art Museum, additionally show enormous flanking sections. Thus, it was
imagined that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner saw that the artistic
creation surface had never been trimmed; this was affirmed through a progression of tests in 2004. In
perspective on this, Vincent Delieuvin [fr], guardian of sixteenth century Italian work of art at the
Louver, expresses that the sketch and these different duplicates more likely than not been motivated
by another version, while Zöllner states that the sketch might be after another Leonardo representation
of the equivalent subject.
The record of an October 1517 visit by Louis d'Aragon states that the Mona Lisa was executed for
the perished Giuliano de' Medici, Leonardo's steward at the Belvedere Palace somewhere in the
range of 1513 and 1516—however this was likely an error. According to Vasari, the artistic creation
was made for the model's better half, Francesco del Giocondo. various specialists have contended
that Leonardo made two adaptations (in view of the vulnerability concerning its dating and official,
just as its destiny following Leonardo's demise in 1519, and the distinction of subtleties in Raphael's
sketch—which might be clarified by the likelihood that he made the sketch from memory). The
theoretical first picture, showing conspicuous segments, would have been appointed by Giocondo
around 1503, and left incomplete in Leonardo's student and right hand Salaì's ownership until his
passing in 1524. The second, dispatched by Giuliano de' Medici around 1513, would have been sold
by Salaì to Francis I in 1518 and is the one in the Louver today. Others accept that there was just
one genuine Mona Lisa, however are partitioned with regards to the two previously mentioned fates.
The acclaimed painting was kept at the Palace of Fontainebleau, where it was kept until Louis XIV
moved it to the Palace of Versailles, where it stayed until the French Revolution. In 1797, it went on
to a lasting showcase at the Louvre.
the perished Giuliano de' Medici, Leonardo's steward at the Belvedere Palace somewhere in the
range of 1513 and 1516—however this was likely an error. According to Vasari, the artistic creation
was made for the model's better half, Francesco del Giocondo. various specialists have contended
that Leonardo made two adaptations (in view of the vulnerability concerning its dating and official,
just as its destiny following Leonardo's demise in 1519, and the distinction of subtleties in Raphael's
sketch—which might be clarified by the likelihood that he made the sketch from memory). The
theoretical first picture, showing conspicuous segments, would have been appointed by Giocondo
around 1503, and left incomplete in Leonardo's student and right hand Salaì's ownership until his
passing in 1524. The second, dispatched by Giuliano de' Medici around 1513, would have been sold
by Salaì to Francis I in 1518 and is the one in the Louver today. Others accept that there was just
one genuine Mona Lisa, however are partitioned with regards to the two previously mentioned fates.
The acclaimed painting was kept at the Palace of Fontainebleau, where it was kept until Louis XIV
moved it to the Palace of Versailles, where it stayed until the French Revolution. In 1797, it went on
to a lasting showcase at the Louvre.
In the mid 21st century, French researcher Pascal Cotte speculated a shrouded picture underneath
the outside of the artistic creation, fortuitous proof for which was delivered utilizing intelligent light
technology. The fundamental representation gives off an impression of being of a model looking to
the side, yet comes up short on the flanking segments drawn by Raphael. Having been offered
access to the composition by the Louver in 2004, Cotte went through ten years examining the work
of art with layer-enhancement methods. However, the supposed representation doesn't fit with
recorded depictions of the artwork: both Vasari and Gian Paolo Lomazzo portray the subject as
smiling, not at all like the subject in Cotte's representation. Cotte concedes that his reconstitution
had been done uniquely on the side of his theories and ought not be considered as target verification
of a basic picture.
the outside of the artistic creation, fortuitous proof for which was delivered utilizing intelligent light
technology. The fundamental representation gives off an impression of being of a model looking to
the side, yet comes up short on the flanking segments drawn by Raphael. Having been offered
access to the composition by the Louver in 2004, Cotte went through ten years examining the work
of art with layer-enhancement methods. However, the supposed representation doesn't fit with
recorded depictions of the artwork: both Vasari and Gian Paolo Lomazzo portray the subject as
smiling, not at all like the subject in Cotte's representation. Cotte concedes that his reconstitution
had been done uniquely on the side of his theories and ought not be considered as target verification
of a basic picture.
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