The 16th-century Portrait of Mona Lisa, or La Gioconda ( La Joconde ), was painted with oil on a poplar panel by Leonardo da Vinci, the subject of much speculation.
Video Speculations about Mona Lisa
Columns and cropping
It has long been held that after Leonardo died, the painting was cut down by having part of the panel on both sides removed. The initial copy describes the columns on both sides of the image. Only the ends of the base can be seen in the original. However, some art historians, such as Martin Kemp, now argue that the painting has not been altered, and that the columns depicted in the copies are added by the copyists. The last view was supported during 2004 and 2005 when an international team of 39 specialists undertook the most comprehensive scientific examination of the Mona Lisa. Below the frame (currently installed to Mona Lisa in 2004) there is found "backup" around the four edges of the panel. Backup is an empty wooden area surrounding the gesso section and painted panels. That this is the original backup, and not the result of the removal of gesso or paints, is indicated by the edges that still exist around the gesso, the result of the brushstrokes on the edge of the gesso area.
The reserve area, which is probably 20 mm (0.79 inches) initially seems to have been trimmed at some point that might fit the frame (we know that in 1906 the framing was the frame itself trimmed, not the drawing, so it must have been earlier) , but there is no point in Leonardo's paint being trimmed. Therefore, the columns in the original copy should be the discoveries of the artists, or copies of another unknown studio version of Mona Lisa.
Maps Speculations about Mona Lisa
Landscape
The people of Arezzo in Val di Chiana, a valley in Tuscany, have traditionally claimed the Mona Lisa landscape as their own. An article published in the journal Cartographica shows that the landscape consists of two parts which, when placed together in accordance with Leonardo's topography map, Val di Chiana .
Other versions
He has argued that Leonardo created more than one version of the painting. Another competitor is the Isleworth Mona Lisa , which has been hidden in Swiss bank vaults for 40 years before being introduced to the public on September 27, 2012. The Swiss Federal Institute of Technology in Zurich has set the date part of Leonardo's life, and a experts in sacred geometry say it corresponds to the artist's basic structure.
The same claim has been made for the version in the Vernon collection. The Vernon Mona Lisa is very interesting because it was originally part of the Louvre collection. Another version, comes from c. 1616, given in c. 1790 for Joshua Reynolds by Duke of Leeds in exchange for Reynolds self portrait. Reynolds regarded it as the original painting and French script, which has now been disputed. However, this is useful because it is copied when its original color is much brighter than it is now, and hence gives the impression that its original appearance is 'new'. This is a private collection, but exhibited in 2006 at the Dulwich Picture Gallery.
In January 2012, the Museo del Prado in Madrid announced that it had found and almost completely restored a copy of the painting by a disciple of Leonardo, most likely painted with his master. This copy gives a better indication of what the portrait looks like at the time, as the varnish on the original has become cracked and yellowing with age.
German imaging researcher Claus-Christian Carbon from the University of Bamberg and Vera Hesslinger of Mainz University undertook a further analysis of the Museo del Prado version, comparing it to Da Vinci's Mona Lisa, and in May 2014 speculated that, perspective of the main features in the picture, the two pictures were painted at the same time from a slightly different angle. They further suggested that two images can therefore form a stereoscopic pair, creating the illusion of 3-dimensional depth, when viewed side by side. However, a study published in 2017 has shown that these stereoscopic pairs in fact do not provide a reliable stereoscopic depth.
Nude versions
Mona Lisa smile has repeatedly been the subject of many - very varied - interpretations. Many researchers have tried to explain why the smile looks very different from people. His explanations range from the scientific theories of human vision to the strange conjecture of Mona Lisa's identity and feelings.
Professor Margaret Livingstone of Harvard University has stated that the smile is mostly drawn in low spatial frequency, so it can be viewed from a distance or with a peripheral vision of a person. So, for example, the smile looks more conspicuous when looking into the eyes of the portrait than when viewing the mouth itself. Christopher Tyler and Leonid Kontsevich of the Smith-Kettlewell Institute in San Francisco believe that this change in the nature of the smile is due to the varying random noise levels in the human visual system. Dina Goldin, Adjunct Professor at Brown University, has argued that her secret is in a dynamic position of the facial muscles of the Mona Lisa, where our mind's eye unconsciously extends her smile; The result is an unusual dynamic on the face that gives rise to subtle but powerful emotions in the painting viewer.
In late 2005, Dutch researchers from the University of Amsterdam carried a painting image through the computer software "emotion recognition" developed in collaboration with the University of Illinois at Urbana-Champaign. Technological demonstrations found smiles to be 83% happy, 9% disgusted, 6% fearful, 2% angry, less than 1% neutral, and 0% surprised.
Scan infrared
In 2004, experts from the National Research Council of Canada scanned three-dimensional infrared. Because varnish aging on painting is difficult to see the details. Data from scanning and infrared are used by Bruno Mottin of the French Museum's "Research and Recovery Center" to declare that the transparent screen veil worn by a nanny is a guarnello, usually used by women during pregnancy or just after childbirth. A similar Guarnello was painted by Sandro Botticelli in his book
The researchers also used the data to reveal details about the techniques used and to predict that the paintings will be very little decreased if current conservation techniques are continued. During 2006, Mona Lisa experienced major scientific observations proven through infrared cameras, he initially wore a hat and grasped his chair, something da Vinci decided to change as an afterthought.
Eyebrow and eyelashes
One of the old mysteries of the painting is why Mona Lisa has very vague eyebrows and does not seem to have eyelashes. In October 2007, Pascal Cotte, an engineer and inventor of France, said that he discovered with a high-definition camera that Leonardo da Vinci originally painted eyebrows and eyelashes. Creating an enlarged, enlarged ultra-high resolution Mona Lisa 24 times, Cotte said she found a single stroke of a single hair over her left eye. "One day I said, if I could only find one hair, just one eyebrow, I would have proof that Leonardo da Vinci had originally painted eyelashes and eyebrows," Cotte said. The engineer claims that another eyebrow hair that could potentially appear on the painting may have faded or been accidentally erased by a poor attempt to clean the painting. In addition, Cotte said that his work found evidence that his hand was initially painted in a slightly different position than the final portrait.
Giorgio Vasari's
Subject
Although caregivers have traditionally been identified as Lisa del Giocondo, the lack of definitive evidence has long sparked alternative theories. During the last years of his life, Leonardo spoke of a portrait of "a Florentine woman done from life at the request of the magnificent Giuliano de 'Medici." No evidence was found that suggested a link between Lisa del Giocondo and Giuliano de 'Medici, but then the comment could refer to one of the other two portraits of women executed by Leonardo.
Artist Susan Dorothea White has interpreted the masculine proportions of the architecture of the Mona Lisa skull in his anatomical work. Anatomy Smile: Mona's Bones (2002) and Mona Masticating (2006). Lillian Schwartz of Bell Labs points out that the Mona Lisa is actually a self-portrait. He supports this theory with the results of digital analysis of the facial features of women in paintings and the famous Portraits of a Man in the Red Chalk . However, the image underlying Schwartz's comparison may not be a self-portrait.
For Sigmund Freud, the famous half-smile is the memory of Leonardo's mother. In 1994, Leonardo's biographer Serge Bramly wrote, "there are about a dozen possible identifications of caregivers, all more or less preserved... Some say there is no model at all, that Leonardo painted the ideal woman."
Maike Vogt-LÃÆ'¼erssen argues that the woman behind the famous smile is Isabella of Aragon, Duchess of Milan. Leonardo was the palace painter for the Duke of Milan for 11 years. The dark green dress pattern Mona Lisa , art critic Maike Vogt-LÃÆ'¼erssen believes, shows that she is a member of Sforza's house. The theory is that the Mona Lisa is the first official portrait of the new Duchess of Milan, which requires it to be painted in spring or summer 1489 (and not 1503).
In 2004, the historian Giuseppe Pallanti published Monna Lisa, the Ingenua Mulier (published in English as Mona Lisa Revealed: The True Identity of Leonardo's Model ). This book collects archived evidence to support the traditional identification of the model as Lisa. According to Pallanti, the evidence shows that Leonardo's father was a friend of del Giocondo: "Portrait of the Mona Lisa , performed when Lisa del Giocondo was about 24 years old, possibly commissioned by Leonardo's own father because friends as known have been practiced at least one another chance. "In 2007, genealogist Domenico Savini identified Natalia's daughter and Irina Strozzi as descendants of Lisa del Giocondo. The scanning data obtained in 2004 shows that the painting dates from around 1503 and commemorates the birth of Giocondo's second son.
In 2011, the art historian Silvano Vinceti claimed a long-time (and possibly male) apprentice for Leonardo, SalaÃÆ'¬, was the inspiration and figure for the painting.
In 2005, University of Heidelberg scholars found records written into the margins of a book by their owners in October 1503. This note states that Leonardo worked "in the head of Lisa del Giocondo". This is seen by some as confirmation that a certain Lisa del Giocondo has been a nanny for Mona Lisa. However, this record does not provide a picture of the painting or drawing and can be attributed to the portrait of the woman at that time.
In 2011, after the discovery of old documents indicating that Lisa del Giocondo was buried beneath the monastery in Firenze, the excavation was performed. On May 20, 2011, female skull and bone speculate to be found Lisa.
In 2014, Angelo Paratico suggests that Leonardo's mother (probably Mona Lisa) is a Chinese slave. He has also suggested that he is a Middle Eastern slave.
Metabolic Disorders
In January 2010, Dr. Vito Franco, professor of pathological anatomy at the University of Palermo, published the research in an article in the La Stampa newspaper and at a medical conference in Florence stating that the subject showed a clear xanthelasma sign, a small accumulation of cholesterol-rich ingredients below skin, may be caused by problems in the channel of the gall, due to hyperlipidemia, impaired metabolic disorder. Dr Franco also suggested that he show signs of having lipoma behind his right eye.
Mail and model identity
Source of the article : Wikipedia
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