The Mona Lisa ( ; Italian: Monna Lisa ['m'nna' li: za] or La Gioconda [la d? odada] , French: La Joconde [la ?? k'd] ) is a half-long portrait painting by Renaissance artists Italy Leonardo da Vinci has been described as "the most famous, most visited, most written, sung, most monopolized work of art in the world". The Mona Lisa is also one of the most valuable paintings in the world. It holds the Guinness World Record for the most recognizable insurance rating in history at $ 100 million in 1962, which is worth nearly $ 800 million by 2017.
The painting is considered a portrait of Lisa Gherardini, wife of Francesco del Giocondo, and is in oil on the white panel of poplar Lombardy. It is believed to have been painted between 1503 and 1506; However, Leonardo may continue to work on it until the end of 1517. Recent academic work shows that it will not begin before 1513. It was acquired by King Francis I of France and now belongs to the French Republic, on a permanent display at the Louvre Museum in Paris since 1797.
The expressions of the subject, often described as puzzles, compositional monumentalities, subtle modeling of forms, and atmospheric illusionism are new qualities that have contributed to attractiveness and continuing study work.
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The title of the painting, known in English as Mona Lisa, comes from a description by the art historian Renaissance Giorgio Vasari, who wrote "Leonardo painting, for Francesco del Giocondo, portrait of Mona Lisa, his wife." Mona in Italian is a polite form of address that comes from "ma donna" - similar to "Ma'am", "Madam", or "my lady" in English. It becomes "madonna", and contraction "mona". The title of the painting, although traditionally spelled "Mona" (as used by Vasari), is also often spelled in modern Italian languages ​​such as Monna Lisa ("mona" to be vulgar in some Italian dialects) but this is rarely in English.
Vasari's account of Mona Lisa comes from Leonardo's biography published in 1550, 31 years after the artist's death. It has long been the most well-known source of information about workplace origin and caregiver identity. Leonardo's assistant, at the time of his death in 1524, had a portrait which in his personal letter was named la Gioconda , a painting inherited to him by Leonardo.
That Leonardo painted such a work, and the date, was confirmed in 2005 when a scholar at the University of Heidelberg found a marginal note in a 1477 volume print written by the ancient Roman philosopher Cicero. On October 1503, the letter was written by contemporary Leonardo Agostino Vespucci. This note equates Leonardo with the famous Greek painter Apelles, mentioned in the text, and declares that Leonardo was working on Lisa del Giocondo's painting.
In response to the announcement of this discovery, Vincent Delieuvin, Louvre's representative, declared "Leonardo da Vinci was painting, in 1503, a portrait of a Florentine woman by the name of Lisa del Giocondo.About this we are now sure Unfortunately, we can not be entirely convinced that portraits Lisa del Giocondo is a Louvre painting. "
His model, Lisa del Giocondo, was a member of the Gherardini family of Florence and Tuscany, and the wife of Florentine rich silk merchant Francesco del Giocondo. The painting was alleged to have been assigned to their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, La Gioconda , means "jocund" (or "jocund") or, literally, "jocund", a pun on the feminine form of the married name Lisa, "Giocondo ". In France, the title La Joconde has the same meaning.
Prior to the discovery, experts have developed several alternative views on the subject of the painting. Some argue that Lisa del Giocondo is a subject of different portraits, identifying at least four other paintings as the Mona Lisa referenced by Vasari. Several other women have been suggested as subjects of painting. Isabella of Aragon, Cecilia Gallerani, Costanza d'Avalos, Duke of Francavilla, Isabella d'Este, Pacifica Brandano or Brandino, Isabela Gualanda, Caterina Sforza - even SalaÃÆ'¬ and Leonardo himself - were all among the list of models represented in the painting. The consensus of art historians in the 21st century maintains a long-held traditional view, that the painting depicts Lisa del Giocondo.
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History
Leonardo da Vinci is considered by some to have started painting the Mona Lisa in 1503 or 1504 in Florence, Italy. Although the Louvre stated that it was "undoubtedly painted between 1503 and 1506", art historian Martin Kemp says there are some difficulties in confirming the exact date with certainty. In addition, many Leonardo scholars, such as Carlo Pedretti and Alessandro Vezzosi, argue that the painting is a hallmark of Leonardo's style in the last years of his life, post-1513. Other academics argue that, given the historical documentation, Leonardo will paint the work from 1513. According to Leonardo, Giorgio Vasari, "after he lasted for four years, [he] let him not finish". Leonardo, later in life, is said to have regretted "never finishing a job".
Around 1504, Raphael sketched a pen and ink, today at the Louvre museum, where the subject is flanked by a large column. The experts universally agree it is based on Leonardo's portrait of the Mona Lisa . Further copies of Mona Lisa, such as those at the National Art Museum, Architecture and Design in Oslo and The Walters Art Museum in Baltimore, also feature large flank columns. Consequently, it was originally assumed that the Mona Lisa in the Louvre had a side column and had been cut off. However, in early 1993, ZÃÆ'¶llner observed that the surface of the painting had never been pruned. This is confirmed through a series of tests conducted in 2004. In this view, Vincent Delieuvin, curator of 16th century Italian painting at the Louvre museum stated that these sketches and other copies must have been inspired by other versions, while Frank ZÃÆ' cur ¶llner that the sketch led to the possibility that Leonardo did another work on the subject of the Mona Lisa.
It is not clear who assigned the painting. Vasari stated that the work was painted for Francesco del Giocondo, the husband of Lisa del Giocondo. However, Antonio de Beatis, after a visit with Leonardo in 1517, noted that the painting was executed at the time of Giuliano di Lorenzo de 'Medici.
In 1516 Leonardo was invited by King FranÃÆ'§ois I to work in Clos Lucà © near the king's castle in Amboise. It is believed that she brought the Mona Lisa with her and continued to work after she moved to France. Art historian Carmen C. Bambach concludes that Leonardo may continue to perfect his work until 1516 or 1517.
The fate of the painting around Leonardo's death and soon afterwards split his academic opinion. Some, like the Kemp, believe that after Leonardo's death, the painting was inherited with other works by his disciple and assistant SalaÃÆ'¬ and still in its last possession in 1525. Others believe that the painting was sold to Francis I by SalaÃÆ'¬, together -the same as the Virgin and the Child with St. Anne and John the Baptist in 1518. The Louvre Museum listed the painting as having entered the Kingdom collection in 1518.
Given the issues surrounding dating paintings, the presence of columns flanking on Raphael's sketches, uncertainty about the person who commissioned him and his fate around the time of Leonardo's death, some scholars argue that Leonardo painted two versions. from Mona Lisa. The first one will be commissioned by Francesco del Giocondo circa 1503, has flanking columns, has been left unfinished and has been in Salai in 1525. The second one, commissioned by Giuliano de Medici circa 1513, without flanking columns, will be sold by Salai to Francis I in 1518 and became one in the Louvre today.
The painting was kept at the Fontainebleau Palace, where it remained until Louis XIV transferred the painting to the Palace of Versailles. After the French Revolution, he was transferred to the Louvre, but spent a short time in Napoleon's bedroom at the Tuileries Palace.
During the Franco-Prussian War (1870-71) was moved from the Louvre to Brest Arsenal. During World War II, the Mona Lisa was again removed from the Louvre and taken safely, first to ChÃÆ' Â ¢ teau d'Amboise, then to Loc-Dieu Monastery and ChÃÆ'Â ¢ teau de Chambord, then finally to Ingres Museum di Montauban.
In December 2015, it was reported that French scientist Pascal Cotte had discovered a portrait hidden beneath the surface of the painting using reflective light technology. Portrait is the image that underlies the model looking sideways. After being granted access to paintings by the Louvre in 2004, Cotte spent ten years using a layer amplification method to study the painting. According to Cotte, the underlying image is the original Leonardo Mona Lisa.
However, this portrait does not match the description of the painting in the historical record: Both Vasari and Gian Paolo Lomazzo describe the subject as smiling; the subject in Cotte's portrait does not feature a smile. In addition, the portrait does not have flanking columns drawn by Raphael in sketch c.1504 Mona Lisa . In addition, Cotte acknowledges that his reconstitution has been done only to support his hypothesis and should not be regarded as a real painting; he stressed that the image never existed. Kemp also insisted that Cotte's image in no way establishes the existence of a separate underlying portrait.
Theft and vandalism
On August 21, 1911, the painting was stolen from the Louvre. The theft was not discovered until the next day, when painter Louis BÃÆ' © loudly walked into the museum and went to the Carrà © Salon where Mona Lisa had been on display for five years, only to find four iron pegs on the wall. BÃÆ'  © roud contacted the head guard, who thought the painting was being photographed for promotional purposes. A few hours later, BÃÆ'  © roud checked back with the Louvre Section Head who confirmed that Mona Lisa was not shared with the photographer. The Louvre was closed for a full week during the investigation.
French poet Guillaume Apollinaire, who once asked the Louvre to be "burned", was suspected and arrested and imprisoned. Apollinaire involved his friend Pablo Picasso, who was brought in for questioning. Both were later released. 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 beneath his coat after the museum closed. Peruggia is an Italian patriot who believes Leonardo's painting should be returned for display in an Italian museum.
Peruggia may be motivated by a colleague whose original copy will increase in value after the theft of the painting. A report later claimed that Eduardo de Valfierno had been the mastermind of the theft and had ordered the forger Yves Chaudron to make six copies of the painting for sale in the US while his original location was unclear. However, the original painting remains in Europe. After storing the Mona Lisa in her apartment for two years, Peruggia became impatient and was caught when she tried to sell it to the director of the Uffizi Gallery in Florence. It was showcased at the Uffizi Gallery for over two weeks and returned to the Louvre on January 4, 1914. Peruggia served a six-month sentence for the crime and was praised for patriotism in Italy. Before the theft, Mona Lisa was not widely known outside the art world. It was not until the 1860s that some critics, a small piece of French intellectual, began to call it the Renaissance artwork.
In 1956, some of the paintings were damaged when a destroyer threw acid into them. On December 30 of that year, a stone was thrown into the painting, pulled a speck of pigment near the left elbow, then restored.
The use of bulletproof glass has protected the Mona Lisa from the next attack. In April 1974, when the painting was on display at Tokyo National Museum, a woman sprayed it with red paint in protest at the failure of the museum to provide access for the disabled. On August 2, 2009, a Russian woman, desperate for being denied French citizenship, threw a ceramic tea cup purchased at the Louvre; the ship was broken into pieces of glass. In both cases, the painting was not damaged.
Aesthetics
The Mona Lisa has a strong resemblance to many of the Renaissance portrayals of the Virgin Mary, which at that time was seen as ideal for women.
The depiction of a caregiver in a three-quarters profile is similar to that of the late fifteenth century by Lorenzo di Credi and Agnolo di Domenico del Mazziere. ZÃÆ'¶llner notes that the nanny's general position can be traced back to the Flemish model and that "in particular the vertical slices of the columns on both sides of the panel have precedents in the Flemish portrait." Woods-Marsden quotes portraits of Hans Memling on Benededetto Portinari (1487) or Italian imitations such as portrait pendant Sebastiano Mainardi for the use of loggia , which has a mediating effect between caregivers and a distant landscape, a feature missing from Leonardo's portrait previous Ginevra de 'Benci .
The woman sits upright in an armchair "pozzetto" with her arms folded, a sign of her protected posture. His gaze was on the observer. The woman seemed to live to an unusual level, which Leonardo achieved with his method of not drawing an outline ( sfumato ). Soft mixing creates an ambiguous atmosphere "especially in two features: the corners of the mouth, and the corners of the eye".
The painting was one of the first portraits to depict a nanny in front of an imaginary landscape, and Leonardo was one of the first painters to use an aerial perspective. This enigmatic woman is pictured sitting in what appears to be an open loggia with a dark pillar on either side. Behind him, the vast landscape receded into the icy mountains. The winding paths and distant bridges give only the slightest indication of human existence. Leonardo has chosen to place the horizon line not on the neck, as he did with Ginevra de 'Benci , but parallel to the eye, thus connecting the figure with the landscape and emphasizing the mysterious nature of the painting.
Mona Lisa has no obvious eyebrows or eyelashes. Some researchers claim that it is common at this time for the polite woman to pick this hair, as it is considered unsightly. In 2007, French engineer Pascal Cotte announced that his ultra-resolute scan of the paintings provided evidence that the Mona Lisa was originally painted with eyelashes and with visible eyebrows, but this gradually disappeared over time, possibly as a result of overcleaning. Cotte found the painting has been reworked several times, with changes made to the size of the Mona Lisa's face and the direction of his gaze. He also found that in one layer the subject was depicted wearing a lot of hairpin and headdress adorned with pearls which were then rubbed and exaggerated.
There is much speculation about the model and landscape of the painting. For example, Leonardo may paint his model faithfully because his beauty does not look the best, "even when measured by the end of quattrocento (15th century) or even the twenty-first century standard." Some art historians in Eastern art, such as Yukio Yashiro, argue that the landscape in the background image is influenced by Chinese paintings, but this thesis has been contested for lack of clear evidence.
A 2003 study by Professor Margaret Livingstone of Harvard University said that the Mona Lisa smile disappears when observed with direct vision, known as the foveal. Because the way the human eye processes visual information, it is less suited to taking shadows directly; however, edge vision can capture the shadow well.
A 2008 study by a professor of geomorphology at Urbino University and a photographer revealed the similarities of the Mona Lisa scene to views in the Montefeltro region of Italy's Pesaro, Urbino and Rimini.
Preservation
The Mona Lisa has lasted for more than 500 years, and an international commission held in 1952 notes that "this picture is in great preservation." This is partly due to the various conservation treatments painted by the painting. Detailed analysis in 1933 by Madame de Gironde reveals that previous restorations had "acted with a lot of restraint." Nevertheless, the varnish application made for the painting has become dark even at the end of the 16th century, and the aggressive 1809 purge and rejuvenation remove some of the outermost layers of the paint layer, producing a face-washed display of the numbers. Although the treatment, Mona Lisa has been well maintained throughout its history, and although the warping panel caused the curators to "worry," the 2004-05 conservation team is optimistic about the future of work..
Poplar panel
At some point, Mona Lisa has been removed from the original frame. Unlimited poplar panels curve freely with moisture changes, and as a result, cracks develop near the top of the panel, extending to the hairline of the figure. In the mid-18th century until the beginning of the 19th century, two butterfly walnut braces were inserted into the rear of the panel to a depth of about one-third of the thickness of the panel. These interventions are executed skillfully, and successfully stabilize the cracks. Sometimes between 1888 and 1905, or perhaps during an image theft, the top brace falls. A restorer that then nails and coats the resulting socket and breaks it with a cloth.
This image is stored under tightly controlled climate conditions in a bulletproof glass box. Humidity is maintained at 50% Ã, Â ± 10%, and the temperature is maintained between 18 and 21Ã, Â ° C. To compensate for relative humidity fluctuations, the casing is fitted with a silica gel coating that is treated to provide a relative humidity of 55%.
Frame
Since popuary Mona Lisa poplars pop and contracts with moisture changes, the image undergoes some warping. In response to the warping and swelling experienced during storage during World War II, and to prepare a drawing for an exhibition in honor of Leonardo's 500th anniversary, the Mona Lisa was installed in 1951 with an oak tree flexible. frame with cross beech. This flexible frame, used in addition to the decorative frame described below, puts pressure on the panel so as not to warp farther. In 1970, the beech cross was diverted to maple after it was discovered that the beechwood was full of insects. In 2004-05, the conservation and study team replaced maple crosses with sycamore, and additional metal crosspiece was added for scientific measurements of the warp panel.
The Mona Lisa has had many different decorative frames in its history, due to flavor changes over the centuries. In 1909, Comtesse de BÃÆ' hague gave a portrait of the current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been pruned at least once in its history to fit the images into various frames, but no part of the original paint layer has been trimmed.
Cleanup and refinement
The first and most complete cleaning and rejuvenation and cleaning of the Mona Lisa was the 1809 washing and polishing done by Jean-Marie Hooghstoel, who was responsible for the restoration of the paintings for MusÃÆ'  © e Napolà gal  © on. The work involves cleaning with spirits, touching colors, and rejuvenating paintings. In 1906, the restorer of Louvre Eugà © ne Denizard did the watercolor retur in the paint coating area disturbed by cracks in the panel. Denizard also alters the edges of images with varnish, to cover areas originally covered by longer frames. In 1913, when the painting was discovered after the theft, Denizard was once again called to work on the Mona Lisa. Denizard is directed to clean the drawing without solvent, and touch a few scratches on the painting with watercolors. In 1952, a layer of varnish on the background of the painting was likened. After the second attack in 1956, Jean-Gabriel Goulinat's restorer was directed to touch the damage to the Mona Lisa's left elbow with a right elbow.
In 1977, a new insect infestation was found on the rear of the panel as a result of crosspieces fitted to keep the painting from warping. It is treated in place with carbon tetrachloride, and then with the treatment of ethylene oxide. In 1985, the place was again treated with carbon tetrachloride as a precautionary measure.
Views
On April 6, 2005 - after a period of curatorial maintenance, recording, and analysis - the painting was moved to a new location within the museum Salle des ÃÆ'â € tats. It is featured in a cage built with purpose and climate control behind bullet proof glass. Since 2005 the painting has been illuminated by LED lights, and by 2013 new 20 watt LED lamps are installed, designed specifically for this painting. The lamp has a color rendering index of up to 98, and minimizes infrared and ultraviolet radiation that can lower painting. The renovation of the gallery where the painting is now is financed by Japanese television station Nippon. About 6 million people see paintings in the Louvre every year.
Fame
Today Mona Lisa is considered the most famous painting in the world, but until the 20th century it was just one of many highly respected works of art. After part of the collection of King Francis I of France, the Mona Lisa was one of the first works of art to be exhibited at the Louvre, which became a national museum after the French Revolution. From the 19th century Leonardo began to be respected as a genius and the popularity of the painting grew from the mid-nineteenth century when the French intellectuals developed a mysterious and somewhat mysterious theme of femme fatale. Baedeker's Guide in 1878 called it "Leonardo's most famous work in the Louvre", but the painting was better known to the intellectuals than to the general public.
The 1911 theft of the Mona Lisa and its subsequent comeback, however, were reported worldwide, leading to a major increase in public recognition of the painting. During the 20th century it was an object for mass reproduction, merchandising, lampooning and speculation, and claimed to have been reproduced in "300 paintings and 2,000 advertisements". It is said that the Mona Lisa was regarded as "just another Leonardo until the beginning of the last century, when the Louvre theft scandal and the subsequent return continued to be in the spotlight for several years."
From December 1962 to March 1963, the French government lent it to the United States for display in New York City and Washington, D.C. It was shipped on the new ship SS France . In New York, about 1.7 million people queued "to glance at the Mona Lisa for 20 seconds or more." When exhibited at the Metropolitan Art Museum, the painting was almost drenched with the wrong water spray, but the bulletproof glass that covered the painting protected it.
In 1974, the painting was exhibited in Tokyo and Moscow.
By 2014, 9.3 million people visit the Louvre. Former director Henri Loyrette reckons that "80 percent of people just want to see Mona Lisa ."
Financial value
Prior to the 1962-63 tour, the painting was valued for $ 100 million worth of insurance. Insurance not purchased. Instead, more is spent on security. Adapted to inflation using the US Consumer Price Index, $ 100 million in 1962 was about $ 782 million by 2015 making it, in practice, by far the most valuable painting in the world.
In 2014 a French article 24 stated that the painting could be sold to help alleviate the national debt, although it has been noted that the Mona Lisa and other works of art are prohibited from sale because of French heritage law, which states that "Collections held in museums owned by public bodies are considered public property and can not be otherwise. "
Legacy
Before it's done, Mona Lisa has started influencing Florentine's contemporary paintings. Raphael, who had been to Leonardo's workshop several times, immediately used elements of composition and portrait formats in some of his works, such as Young Women with Unicorn (about 1506), and Maddalena Doni Portrait > (about 1506). The paintings celebrated later by Raphael, La velata <1515-16> and Portrait of Baldassare Castiglione (c.Ã,1514-15), continue to borrow from Leonardo's paintings. Zollner states that "No work of Leonardo will exert any more influence on the genre evolution than the Mona Lisa This is the definitive example of the Renaissance portrait and perhaps for this reason is seen not only as real person likeness but also as the embodiment of an ideal. "
Early commentators such as Vasari and Andrà © © © libien praised the image for its realism, but by Victorian writers began to regard the Mona Lisa as imbued with a sense of mystery and romance. In 1859 ThÃÆ'  © ophile Gautier writes that the Mona Lisa is a "mysterious beauty sphinx that smiles so mysteriously" and that "Under the form that a person expresses feels a vague, infinite, unspeakable thought. "The famous essay of Walter Pater in 1869 depicts the nanny as" older than the rocks in which he sits: like a vampire, he has died many times over and over, times, and learn the secrets of the grave, and have become a diver in the deep sea, and make their day fall about him. "At the beginning of the 20th century some critics began to feel that the painting has become a shelter for exegesis and subjective theory, and after the theft of painting in 1911, the Renaissance historian Bern Berenson admitted that it "only became an incubus, and I was glad to be rid of it."
The avant-garde art world has noted the irrefutable fact of the popularity of Mona Lisa '. Because of its extraordinary stature, Dadais and Surrealists often produce modifications and caricatures. Already in 1883, the image of a Mona Lisa smoking pipe, by Sapeck (Eugène Bataille), was featured on the show "Incoherents" in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created L.H.O.O.Q. , a parody of Mona Lisa made with embellished cheap reproductions with whiskers and beard. Duchamp added an inscription, which when read aloud in a French voice like "Elle a chaud au cul" which means: "he has a hot donkey", implies the woman in the painting is in a state of sexual excitement and is intended as a Freudian joke. According to Rhonda R. Shearer, the visible reproduction is in fact a partially modeled copy on Duchamp's own face.
Salvador DalÃÆ', renowned for his surrealist work, painted a self-portrait as the Mona Lisa in 1954. In 1963 after a painting visit to the United States, Andy Warhol made a serigram print of some of the Mona Lisa called Thirty are Better Than One, like his works Marilyn Monroe ( Twenty-Five Colored Marilyns , 1962), Elvis Presley (1964) and Campbell's soup (1961) -62). The Mona Lisa continues to inspire artists around the world. A French urban artist known under the pseudonym as Invader has made a version of the city wall in Paris and Tokyo using his distinctive mosaic style. A collection of Mona Lisa parodies can be found on YouTube. A 2014 New Yorker magazine cartoon parodied the alleged puzzle of the Mona Lisa smile in an animation showing a progressive maniac smile.
Initial and copied versions
Prado La Gioconda Museum
The version of Mona Lisa known as Mujer de mano de Leonardo Abince ("Leonardo da Vinci's assistant lady") held at the Madrid Museo del Prado for centuries is considered work by Leonardo. However, since the restoration of 2012 it is considered to have been implemented by one of Leonardo's disciples in his studio at the same time when the Mona Lisa was being painted. Their conclusion, based on the analysis obtained after the image undergoes extensive restoration, that the painting was probably by SalaÃÆ'¬ (1480-1524) or by Melzi (1493-1572). This has been questioned by others.
The restored painting is from a slightly different perspective from the original Mona Lisa, leading to speculation that it is part of the world's first stereoscopic pair. However, more recent reports have shown that this stereoscopic pair in fact does not provide a reliable stereoscopic depth.
Isleworth Mona Lisa
The version of Mona Lisa known as Isleworth Mona Lisa and also known as Previous Mona Lisa was first purchased by the English nobleman in 1778 and rediscovered on in 1913 by Hugh Blaker, an art expert. The painting was presented to the media in 2012 by the Mona Lisa Foundation. This is the same subject painting as Leonardo da Vinci, Mona Lisa. This painting is claimed by the majority of experts for most of Leonardo's original work dating from the early 16th century. Other experts, including ZÃÆ'¶llner and Kemp, deny attribution.
See also
- List of the most expensive paintings
- List of paintings stolen
References
Note
Bibliography
External links
- Sassoon, Donald, Prof. (January 21, 2014). # 26: Why Mona Lisa Famous? . Blog podcast La Trobe University. Archived from the original on July 4, 2015. CS1 maint: BOT: unknown original-url (link) status of the audio podcast.
- KobbÃÆ'Ã… ©, Gustav "Smile of Mona Lisa " Lotus Magazine Vol. 8, No. 2 (November 1916), p. 67-74
- "Mona Lisa, Leonardo's Previous Version". ZÃÆ'¼rich, Switzerland: The Mona Lisa Foundation. Archived from original June 26, 2015 . Retrieved November 5 2015 .
- "True Colors of the Mona Lisa Revealed" (Press release). Paris: Lumiere Technology. October 19, 2006. Archived from the original June 26, 2015 . Retrieved November 5 2015 .
- Scientific analysis conducted by the French Museum's Research and Recovery Center (C2RMF) Comparing layers of painting as revealed by x-radiography, infrared reflectography and ultraviolet fluorescence
- "Steal the Mona Lisa". Dorothy & amp; Thomas Hoobler. May 2009. Excerpt from the book. Vanity Fair
- Discussions by Janina Ramirez and Martin Kemp: Art Detective Podcast, January 18, 2017
Source of the article : Wikipedia
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