He spent considerable time on it and, leaving Italy in adulthood, took it with him to France, among some other selected paintings. Da Vinci had a special affection for this portrait, and also thought a lot during the process of its creation; in the “Treatise on Painting” and in those notes on painting techniques that were not included in it, one can find many indications that undoubtedly relate to “La Gioconda” ".

Vasari's message

"Leonardo da Vinci's Studio" in an 1845 engraving: Gioconda is entertained by jesters and musicians

This drawing from the Hyde Collection in New York may be by Leonardo da Vinci and is a preliminary sketch for a portrait of the Mona Lisa. In this case, it is curious that at first he intended to place a magnificent branch in her hands.

Most likely, Vasari simply added a story about jesters to entertain readers. Vasari's text also contains an accurate description of the eyebrows missing from the painting. This inaccuracy could only arise if the author described the picture from memory or from the stories of others. Alexey Dzhivelegov writes that Vasari’s indication that “the work on the portrait lasted four years is clearly exaggerated: Leonardo did not stay in Florence for so long after returning from Caesar Borgia, and if he had started painting the portrait before leaving for Caesar, Vasari would probably , I would say that he wrote it for five years." The scientist also writes about the erroneous indication of the unfinished nature of the portrait - “the portrait undoubtedly took a long time to paint and was completed, no matter what Vasari said, who in his biography of Leonardo stylized him as an artist who, in principle, could not finish any major work. And not only was it finished, but it is one of Leonardo’s most carefully finished works.”

An interesting fact is that in his description Vasari admires Leonardo's talent for conveying physical phenomena, and not the similarity between the model and the painting. It seems that it was this “physical” feature of the masterpiece that left a deep impression on visitors to the artist’s studio and reached Vasari almost fifty years later.

The painting was well known among art lovers, although Leonardo left Italy for France in 1516, taking the painting with him. According to Italian sources, it has been in the collection ever since French king Francis I, however, it remains unclear when and how he acquired it and why Leonardo did not return it to the customer.

Other

Perhaps the artist really did not finish the painting in Florence, but took it with him when leaving in 1516 and applied the final stroke in the absence of witnesses who could tell Vasari about it. If so, he completed it shortly before his death in 1519. (In France, he lived in Clos Luce, not far from the royal castle of Amboise).

Although Vasari gives information about the woman’s identity, there is still for a long time uncertainty remained and many versions were expressed:

A note in the margin proved the correct identification of the model of the Mona Lisa.

According to one of the put forward versions, “Mona Lisa” is a self-portrait of the artist

However, the version about the correspondence of the generally accepted name of the picture to the personality of the model in 2005 is believed to have found final confirmation. Scientists from the University of Heidelberg studied the notes in the margins of the tome, the owner of which was a Florentine official, a personal acquaintance of the artist Agostino Vespucci. In notes in the margins of the book, he compares Leonardo with the famous ancient Greek painter Apelles and notes that “da Vinci is now working on three paintings, one of which is a portrait of Lisa Gherardini”. Thus, the Mona Lisa really turned out to be the wife of the Florentine merchant Francesco del Giocondo - Lisa Gherardini. The painting, as scholars prove in this case, was commissioned by Leonardo for the new home of the young family and to commemorate the birth of their second son, named Andrea.

Painting

Description

The copy of the Mona Lisa from the Wallace Collection (Baltimore) was made before the edges of the original were trimmed, and allows the lost columns to be seen

The rectangular painting depicts a woman in dark clothes, turning half-turned. She sits in a chair with her hands clasped together, one hand resting on its armrest and the other on top, turning in the chair almost to face the viewer. Parted, smoothly and flatly lying hair, visible through a transparent veil draped over it (according to some assumptions - an attribute of widowhood), falls on the shoulders in two thin, slightly wavy strands. A green dress in thin gathers, with yellow pleated sleeves, cut on a white low chest. The head is slightly turned.

Fragment of the Mona Lisa with the remains of the column base

The lower edge of the painting cuts off the second half of her body, so the portrait is almost half-length. The chair in which the model sits stands on a balcony or loggia, the parapet line of which is visible behind her elbows. It is believed that earlier picture could have been wider and accommodated two side columns of the loggia, from which this moment two column bases remain, fragments of which are visible along the edges of the parapet.

The loggia overlooks a desolate wilderness with meandering streams and a lake surrounded by snow-capped mountains that extends to a high skyline behind the figure. “Mona Lisa is represented sitting in a chair against the backdrop of a landscape, and the very juxtaposition of her figure, very close to the viewer, with the landscape visible from afar, like a huge mountain, imparts extraordinary grandeur to the image. The same impression is promoted by the contrast of the heightened plastic tactility of the figure and its smooth, generalized silhouette with a vision-like landscape stretching into the foggy distance with bizarre rocks and water channels winding among them.”

Composition

The portrait of Gioconda is one of the best examples of the portrait genre of the Italian High Renaissance.

Boris Vipper writes that, despite traces of the Quattrocento, “with her clothes with a small cutout on the chest and with sleeves in loose folds, just like her straight pose, slight turn of the body and soft gesture of the hands, Mona Lisa belongs entirely to the era classic style". Mikhail Alpatov points out that “Gioconda is perfectly inscribed in a strictly proportional rectangle, her half-figure forms something whole, her folded hands give her image completeness. Now, of course, there could be no question of the fanciful curls of the early “Annunciation.” However, no matter how softened all the contours are, the wavy strand of Mona Lisa’s hair is in tune with the transparent veil, and the hanging fabric thrown over her shoulder finds an echo in the smooth windings of the distant road. In all this, Leonardo demonstrates his ability to create according to the laws of rhythm and harmony.”

Current state

“Mona Lisa” became very dark, which is considered to be the result of its author’s inherent tendency to experiment with paints, because of which the “Last Supper” fresco practically died. The artist's contemporaries, however, managed to express their admiration not only for the composition, design and play of chiaroscuro - but also for the color of the work. It is assumed, for example, that the sleeves of her dress may have originally been red - as can be seen from the copy of the painting from the Prado.

The current condition of the painting is quite poor, which is why the Louvre staff announced that they would no longer give it to exhibitions: “Cracks have formed in the painting, and one of them stops a few millimeters above the head of the Mona Lisa.”

Analysis

Technique

As Dzhivelegov notes, by the time of the creation of the Mona Lisa, Leonardo’s mastery “had already entered a phase of such maturity, when all formal tasks of a compositional and other nature were posed and solved, when Leonardo began to think that only the last, most difficult tasks artistic technique deserve to be addressed. And when he found a model in the person of the Mona Lisa that satisfied his needs, he tried to solve some of the highest and difficult tasks painting technique, which have not yet been resolved by them. He wanted, with the help of techniques that he had already developed and tried before, especially with the help of his famous sfumato, which had previously given extraordinary effects, to do more than he had done before: to create a living face of a living person and so reproduce the features and expression of this face so that they would reveal to the end inner world person."

Landscape behind the Mona Lisa

Boris Vipper asks the question “by what means was this spirituality achieved, this undying spark of consciousness in the image of the Mona Lisa, then two main means should be named. One is Leonard's wonderful sfumato. No wonder Leonardo liked to say that “modeling is the soul of painting.” It is sfumato that creates Gioconda’s moist gaze, her smile as light as the wind, and the incomparable caressing softness of the touch of her hands.” Sfumato is a subtle haze that envelops the face and figure, softening contours and shadows. For this purpose, Leonardo recommended placing, as he puts it, “a kind of fog” between the light source and the bodies.

Rothenberg writes that “Leonardo managed to introduce into his creation that degree of generalization that allows him to be considered as an image of the Renaissance man as a whole. This high degree of generalization is reflected in all elements of the pictorial language of the painting, in its individual motifs - in the way the light, transparent veil, covering the head and shoulders of Mona Lisa, unites the carefully drawn strands of hair and small folds of the dress into an overall smooth outline; it is palpable in the incomparable softness of the modeling of the face (from which, according to the fashion of that time, eyebrows were removed) and beautiful, sleek hands.”

Alpatov adds that “in the softly melting haze enveloping the face and figure, Leonardo managed to make one feel the limitless variability of human facial expressions. Although Gioconda's eyes look attentively and calmly at the viewer, thanks to the shading of her eye sockets, one might think that they are frowning slightly; her lips are compressed, but near their corners there are subtle shadows that make you believe that every minute they will open, smile, and speak. The very contrast between her gaze and the half-smile on her lips gives an idea of ​​the inconsistency of her experiences. (...) Leonardo worked on it for several years, ensuring that not a single sharp stroke, not a single angular outline remained in the picture; and although the edges of objects in it are clearly perceptible, they all dissolve in the subtlest transitions from half-shadows to half-lights.”

Scenery

Art critics emphasize the organic nature with which the artist combined portrait characteristic personality with a landscape full of special mood, and how much this increased the dignity of the portrait.

An early copy of the Mona Lisa from the Prado shows how much a portrait image loses when placed against a dark, neutral background

In 2012, a copy of the “Mona Lisa” from the Prado was cleared, and under the later recordings there was a landscape background - the feeling of the canvas immediately changes.

Whipper considers landscape to be the second medium that creates the spirituality of a painting: “The second medium is the relationship between figure and background. The fantastic, rocky landscape, as if seen through sea water, in the portrait of Mona Lisa has some other reality than her figure itself. The Mona Lisa has the reality of life, the landscape has the reality of a dream. Thanks to this contrast, Mona Lisa seems so incredibly close and tangible, and we perceive the landscape as the radiation of her own dreams.”

Renaissance art researcher Viktor Grashchenkov writes that Leonardo, also thanks to the landscape, managed to create not a portrait of a specific person, but a universal image: “In this mysterious picture, he created something more than a portrait image of the unknown Florentine Mona Lisa, the third wife of Francesco del Giocondo. The appearance and mental structure of a particular person are conveyed by him with unprecedented syntheticity. This impersonal psychologism corresponds to the cosmic abstraction of the landscape, almost completely devoid of any signs of human presence. In smoky chiaroscuro, not only all the outlines of the figure and landscape and all the color tones are softened. In the subtle transitions from light to shadow, almost imperceptible to the eye, in the vibration of Leonard’s “sfumato”, any definiteness of individuality and its psychological state. (…) “La Gioconda” is not a portrait. This is a visible symbol of the very life of man and nature, united into one whole and presented abstractly from its individual concrete form. But behind the barely noticeable movement, which, like light ripples, runs across the motionless surface of this harmonious world, one can discern all the richness of the possibilities of physical and spiritual existence.”

“Mona Lisa” is designed in golden brown and reddish tones in the foreground and emerald green tones in the background. “Transparent, like glass, colors form an alloy, as if created not by a human hand, but by that inner strength matter, which from a solution gives birth to crystals of perfect shape." Like many of Leonardo's works, this work has darkened over time, and its color relationships have changed somewhat, but even now one can clearly perceive the thoughtful juxtapositions in the tones of carnation and clothing and their general contrast with the bluish-green, "underwater" tone of the landscape .

The place of the painting in the development of the portrait genre

"Mona Lisa" is considered one of the best works in the genre of portraiture that influenced the works of High Renaissance and indirectly through them - on all subsequent development of the genre, which “must always return to La Gioconda as an unattainable, but obligatory example.”

Art historians note that the portrait of Mona Lisa was a decisive step in the development of Renaissance portraiture. Rotenberg writes: “although the Quattrocento painters left a number of significant works of this genre, their achievements in portraiture were, so to speak, disproportionate to the achievements in the main pictorial genres- in compositions on religious and mythological themes. The inequality of the portrait genre was already reflected in the very “iconography” of portrait images. The actual portrait works of the 15th century, with all their undeniable physiognomic similarity and the feeling they emit inner strength They were also distinguished by external and internal constraint. All that wealth human feelings and experiences that characterize the biblical and mythological images of 15th-century painters were usually not the property of their portrait works. Echoes of this can be seen in more early portraits Leonardo himself, created by him in the first years of his stay in Milan. (...) In comparison, the portrait of Mona Lisa is perceived as the result of a gigantic qualitative shift. For the first time, the portrait image in its importance became on par with the most bright images other pictorial genres".

“Donna Nuda” (that is, “Naked Donna”). Unknown artist, end XVI century, Hermitage

In his innovative work, Leonardo transferred the main center of gravity to the face of the portrait. At the same time he used his hands as a powerful tool psychological characteristics. By making the portrait generational in format, the artist was able to demonstrate a wider range of artistic techniques. And the most important thing in the figurative structure of a portrait is the subordination of all details to the guiding idea. “The head and hands are the undoubted center of the picture, to which the rest of its elements are sacrificed. The fabulous landscape seems to shine through sea ​​waters, it seems so distant and intangible. Its main goal is not to distract the viewer's attention from the face. And the same role is intended to be performed by the garment, which falls into the smallest folds. Leonardo deliberately avoids heavy draperies, which could obscure the expressiveness of his hands and face. Thus, he forces the latter to perform with special force, the greater the more modest and neutral the landscape and attire, likened to a quiet, barely noticeable accompaniment.”

Leonardo's students and followers created numerous replicas of the Mona Lisa. Some of them (from the Vernon collection, USA; from the Walter collection, Baltimore, USA; and also for some time the Isleworth Mona Lisa, Switzerland) are considered authentic by their owners, and the painting in the Louvre is considered a copy. There is also the “nude Mona Lisa” iconography, presented in several versions (“Beautiful Gabrielle”, “Monna Vanna”, the Hermitage “Donna Nuda”), apparently made by the artist’s own students. A large number of them gave rise to an unprovable version that there was a version of the nude Mona Lisa, painted by the master himself.

Reputation of the painting

"Mona Lisa" behind bulletproof glass in the Louvre and museum visitors crowding nearby

Despite the fact that the Mona Lisa was highly appreciated by the artist’s contemporaries, its fame later faded. The picture was not particularly remembered until mid-19th century, when artists close to the Symbolist movement began to praise her, associating her with their ideas regarding female mystique. Critic Walter Pater expressed his opinion in his 1867 essay on da Vinci, describing the figure in the painting as a kind of mythical embodiment of the eternal feminine, who is "older than the rocks between which she sits" and who has "died many times and learned the secrets of the afterlife." .

The further rise of the painting’s fame is associated with its mysterious disappearance at the beginning of the 20th century and a happy return to the museum several years later (see below, section Theft), thanks to which she did not leave the pages of newspapers.

A contemporary of her adventure, critic Abram Efros wrote: “... the museum guard, who now does not leave a single step from the painting, since its return to the Louvre after the abduction in 1911, is guarding not a portrait of Francesca del Giocondo’s wife, but an image of some half-human, half-snake a creature, either smiling or gloomy, dominating the cold, bare, rocky space spread out behind him.”

The Mona Lisa is one of the most famous paintings in Western European art today. Her loud reputation is associated not only with her high artistic merit, but also with an atmosphere of mystery surrounding this work.

Everyone knows what an unsolvable riddle the Mona Lisa has been asking for fans who crowd in front of her image for almost four hundred years now. Never before has an artist expressed the essence of femininity (I quote lines written by a sophisticated writer hiding behind the pseudonym Pierre Corlet): “Tenderness and bestiality, modesty and hidden voluptuousness, great secret a heart that restrains itself, a reasoning mind, a personality closed in on itself, leaving others to contemplate only its brilliance.” (Eugene Muntz).

One of the mysteries is related to the deep affection that the author felt for this work. Various explanations were offered, for example, a romantic one: Leonardo fell in love with Mona Lisa and deliberately delayed work in order to stay longer with her, and she teased him with her mysterious smile and brought him to the greatest creative ecstasies. This version is considered simply speculation. Dzhivelegov believes that this attachment is due to the fact that he found in her the point of application for many of his creative quests(see Technique section).

Smile of Gioconda

The Mona Lisa's smile is one of the most famous mysteries of the painting. This slight wandering smile is found in many works by both the master himself and the Leonardesques, but it was in the Mona Lisa that it reached its perfection.

The viewer is especially fascinated by the demonic charm of this smile. Hundreds of poets and writers have written about this woman, who seems to be either smiling seductively or frozen, looking coldly and soullessly into space, and no one unraveled her smile, no one interpreted her thoughts. Everything, even the landscape, is mysterious, like a dream, tremulous, like a pre-storm haze of sensuality (Muter).

Grashchenkov writes: “The endless variety of human feelings and desires, opposing passions and thoughts, smoothed out and fused together, resonates in the harmoniously dispassionate appearance of Gioconda only with the uncertainty of her smile, barely emerging and disappearing. This meaningless fleeting movement of the corners of her mouth, like a distant echo merged into one sound, brings to us from the boundless distance the colorful polyphony of a person’s spiritual life.”

Art critic Rotenberg believes that “there are few portraits in all of world art that are equal to the Mona Lisa in terms of the power of expression of the human personality, embodied in the unity of character and intellect. It is the extraordinary intellectual charge of Leonardo's portrait that distinguishes it from the portrait images of the Quattrocento. This feature of his is perceived all the more acutely because it relates to a female portrait, in which the character of the model was previously revealed in a completely different, predominantly lyrical, figurative tonality. The feeling of strength emanating from the “Mona Lisa” is an organic combination of internal composure and a sense of personal freedom, the spiritual harmony of a person based on his consciousness of his own significance. And her smile itself does not at all express superiority or disdain; it is perceived as the result of calm self-confidence and complete self-control."

Boris Vipper points out that the above-mentioned lack of eyebrows and shaved forehead perhaps involuntarily enhances the strange mystery in her facial expression. He further writes about the power of the painting: “If we ask ourselves what is the great attractive power of the Mona Lisa, its truly incomparable hypnotic effect, then there can only be one answer - in its spirituality. The most ingenious and the most opposite interpretations were put into the smile of “La Gioconda”. They wanted to read pride and tenderness, sensuality and coquetry, cruelty and modesty in it. The mistake was, firstly, in the fact that they were looking for individual, subjective spiritual properties at all costs in the image of the Mona Lisa, while there is no doubt that Leonardo was striving for typical spirituality. Secondly, and this is perhaps even more important, they tried to attribute emotional content to the spirituality of Mona Lisa, whereas in fact it has intellectual roots. The miracle of the Mona Lisa lies precisely in the fact that she thinks; that, standing in front of a yellowed, cracked board, we irresistibly feel the presence of a being endowed with intelligence, a being with whom we can talk and from whom we can expect an answer.”

Lazarev analyzed it like an art scientist: “This smile is not so much individual trait The Mona Lisa is a typical formula for psychological revitalization, a formula that runs like a red thread through all of Leonardo’s youthful images, a formula that later turned, in the hands of his students and followers, into a traditional stamp. Like the proportions of Leonardo's figures, it is built on the finest mathematical measurements, on strict consideration of expressive values individual parts faces. And for all that, this smile is absolutely natural, and this is precisely the power of its charm. It takes away everything hard, tense, and frozen from the face; it turns it into a mirror of vague, indefinite emotional experiences; in its elusive lightness it can only be compared to a ripple running through water.”

Her analysis attracted the attention of not only art historians, but also psychologists. Sigmund Freud writes: “Whoever imagines Leonardo’s paintings is reminded of a strange, captivating and mysterious smile hidden on his lips female images. The smile frozen on his elongated, tremulous lips became characteristic of him and is most often called “Leonardian.” In the peculiarly beautiful appearance of the Florentine Mona Lisa del Gioconda, she most captivates and plunges the viewer into confusion. This smile required one interpretation, but found a variety of interpretations, none of which satisfied. (...) The guess that two different elements were combined in Mona Lisa’s smile was born among many critics. Therefore, in the expression on the face of the beautiful Florentine, they saw the most perfect image of the antagonism that governs love life women, restraint and seduction, sacrificial tenderness and recklessly demanding sensuality, absorbing a man as something extraneous. (...) Leonardo, in the person of Mona Lisa, managed to reproduce the double meaning of her smile, the promise of boundless tenderness and ominous threat.”

16th century copy located in the Hermitage, St. Petersburg

The viewer is especially fascinated by the demonic charm of this smile. Hundreds of poets and writers have written about this woman, who seems to be either smiling seductively or frozen, looking coldly and soullessly into space, and no one unraveled her smile, no one interpreted her thoughts. Everything, even the landscape, is mysterious, like a dream, tremulous, like a pre-storm haze of sensuality (Muter).

History of the painting in modern times

At the time of his death in 1525, Leonardo's assistant (and possibly lover) named Salai was in possession, according to references in his personal papers, of a portrait of a woman named "La Gioconda" ( quadro de una dona aretata), which was bequeathed to him by his teacher. Salai left the painting to his sisters who lived in Milan. It remains a mystery how, in this case, the portrait got from Milan back to France. It is also unknown who and when exactly trimmed the edges of the painting with columns, which, according to most researchers, based on comparison with other portraits, existed in original version. Unlike another cropped work by Leonardo - "Portrait of Ginevra Benci", the lower part of which was cropped because it was damaged by water or fire, in in this case The reasons were most likely of a compositional nature. There is a version that Leonardo da Vinci himself did this.

Crowd in the Louvre near the painting, our days

King Francis I is believed to have bought the painting from Salai's heirs (for 4,000 ecus) and kept it in his castle of Fontainebleau, where it remained until the time of Louis XIV. The latter transported her to the Palace of Versailles, and then French Revolution she ended up in the Louvre. Napoleon hung the portrait in his bedroom at the Tuileries Palace, then it returned to the museum.

During World War II, for safety reasons, the painting was transported from the Louvre to the Castle of Amboise (the place of Leonardo's death and burial), then to Loc-Dieu Abbey, and finally to the Ingres Museum in Montauban, from where it was safely returned to its place after the victory.

Vandalism

In 1956, the lower part of the painting was damaged when a visitor threw acid on it. On December 30 of the same year, a young Bolivian, Hugo Ungaza Villegas, threw a stone at her and damaged the paint layer at her elbow (the loss was later recorded). After this, the Mona Lisa was protected with bulletproof glass, which protected it from further serious attacks. Still, in April 1974, a woman, upset by the museum’s policy towards the disabled, tried to spray red paint from a can while the painting was on display in Tokyo, and on April 2, 2009, a Russian woman, who had not received French citizenship, threw a clay cup at the glass. Both of these cases did not harm the picture.

In art

Kazimir Malevich. "Composition with the Mona Lisa."

painting:

• Kazimir Malevich made “Composition with the Mona Lisa” in 1914.
• In 1919, Dadaist Marcel Duchamp created the work “L.H.O.O.Q.”, a landmark for subsequent works by artists. , which was a reproduction famous painting with a drawn mustache.
• Fernand Léger painted "Mona Lisa with Keys" in 1930.
• Rene Magritte in 1960 created the painting “La Gioconda”, where there is no Mona Lisa, but there is a window.
• Andy Warhol in 1963 and 1978 made the composition “Four Mona Lisas” and “Thirty Are Better Than One Andy Warhol” (1963), “Mona Lisa (Two Times)” ().
• Salvador Dali painted Self-Portrait as the Mona Lisa in 1964.
• Representative of figurative art Fernando Botero wrote “Mona Lisa, Age Twelve” in 1959, and in 1963 he created an image of Mona Lisa in his characteristic manner,

Leonardo da Vinci's painting "Mona Lisa" is the first thing tourists from any country associate with the Louvre. This is the most famous and mysterious work of painting in the history of world art. Her mysterious smile still makes people think and charm people who do not like or are not interested in painting. And the story of her abduction at the beginning of the 20th century turned the picture into living legend. But first things first.

The history of the painting

“Mona Lisa” is just an abbreviated name for the painting. In the original it sounds like “Portrait of Mrs. Lisa Giocondo” (Ritratto di Monna Lisa del Giocondo). From Italian the word ma donna translates as “my lady.” Over time, it turned into simply mona, and from it the well-known name of the painting came.

Contemporary biographers of the artist wrote that he rarely took orders, but with the Mona Lisa there was initially a special story. He devoted himself to the work with particular passion, spent almost all his time painting it and took it with him to France (Leonardo was leaving Italy forever) along with other selected paintings.

It is known that the artist began the painting in 1503-1505 and only applied the last stroke in 1516, shortly before his death. According to the will, the painting was given to Leonardo's student, Salai. It remains unknown how the painting migrated back to France (most likely Francis I acquired it from the heirs of Salai). During the time of Louis XIV, the painting migrated to Palace of Versailles, and after the French Revolution the Louvre became her permanent home.

There is nothing special in the creation story; the lady with the mysterious smile in the picture is of greater interest. Who is she?

According to the official version, this is a portrait of Lisa del Giocondo, the young wife of the prominent Florentine silk merchant Francesco del Giocondo. Very little is known about Lisa: she was born in Florence into a family of nobility. She got married early and led a calm, measured life. Francesco del Giocondo was a great admirer of art and painting and patronized artists. It was his idea to order a portrait of his wife in honor of the birth of their first child. There is a hypothesis that Leonardo was in love with Lisa. This can explain his special attachment to the painting and long time work on it.

This is surprising, practically nothing is known about the life of Lisa herself, and her portrait is the main work of world painting.

But Leonardo’s contemporary historians are not so clear. According to Giorgio Vasari, the model could have been Caterina Sforza (a representative of the ruling dynasty Italian Renaissance, was considered main woman that era), Cecilia Gallerani (the beloved of Duke Louis Sforza, the model of another portrait of a genius - “Lady with an Ermine”), the artist’s mother, Leonardo himself, a young man in women’s clothing and simply a portrait of a woman who was the standard of beauty of the Renaissance.

Description of the picture

The small-sized canvas depicts a woman of average size, wearing a dark cape (according to historians, a sign of widowhood), sitting half-turned. Like other Italian Renaissance portraits, Mona Lisa has no eyebrows and the hair on the top of her forehead is shaved. Most likely, the model posed on the balcony, as the parapet line is visible. It is believed that the painting was slightly cropped; the columns visible behind were fully included in the original size.

It is believed that the composition of the painting is the standard of the portrait genre. It is painted according to all the laws of harmony and rhythm: the model is inscribed in a proportional rectangle, the wavy strand of hair is in tune with the translucent veil, and folded hands give the picture a special compositional completeness.

Mona Lisa Smile

This phrase has long lived separately from the picture, turning into literary stamp. This is the main mystery and charm of the canvas. It attracts the attention of not only ordinary viewers and art critics, but also psychologists. For example, Sigmund Freud calls her smile “flirting.” And the special look is “fleeting.”

Current state

Due to the fact that the artist loved to experiment with paints and painting techniques, the painting has become very dark by now. And strong cracks form on its surface. One of them is located a millimeter above Gioconda's head. In the middle of the last century, the canvas went on “tour” to museums in the USA and Japan. to the museum fine arts them. A.S. Pushkin was lucky enough to host the masterpiece during the exhibition.

Fame of Gioconda

The painting was very highly regarded among Leonardo's contemporaries, but over the decades it became forgotten. Until the 19th century, it was not remembered until the moment when the romantic writer Théophile Gautier spoke about the “Gioconda smile” in one of his literary works. It’s strange, but until that moment this feature of the picture was simply called “pleasant” and there was no secret in it.

The painting gained real popularity among the general public in connection with its mysterious abduction in 1911. The newspaper hype surrounding this story gained enormous popularity for the film. She was only found in 1914, where she was all this time remains a mystery. Her kidnapper was Vincezo Perugio, an employee of the Louvre, an Italian by nationality. The exact motives for the kidnapping are unknown; he probably wanted to display the canvas on his historical homeland Leonardo, Italy.

Mona Lisa today

“Mona Lisa” still “lives” in the Louvre; as the main artistic figure, she is given a separate room in the museum. She suffered from vandalism several times, after which in 1956 she was placed in bulletproof glass. Because of this, it glares a lot, so seeing it can sometimes be problematic. Nevertheless, it is she who attracts the majority of visitors to the Louvre with her smile and fleeting glance.

This version stuck, despite the fact that Vasari describes in his biography of Leonardo... a different portrait! With a half-open mouth (the lips are closed in the portrait), with eyebrows (there are none in the portrait)…

There are many different versions of who is actually depicted in the portrait; We offer you the simplest of them. Although a little shocking...

Look at these three faces. Similarity with the most famous portrait Leonardo's brushes are obvious, isn't it?

Let's add another face. The question is not for art connoisseurs: who is depicted here? Woman or man?

This is John the Baptist. Man.

And below you see a portrait of a man who served as the artist’s model for the image of John the Baptist. His name is Gian Giacomo Caprotti da Oreno. This is the model, apprentice and student of the great Leonardo.

By the way, it was he who was the first owner of the Mona Lisa after Leonardo’s death. Here is his portrait in adulthood...

How can it be that the model for a woman's image is a man? Very simple. The fact is that angels were the ideal of beauty, and since an angel is neither a man nor a woman, the artist does not care who is inspired when depicting an “angelic appearance.”

You and I often call little children “angels.” Have you ever wondered why? Not just because little children are beautiful. But also because we can’t always determine whether the person in front of us is a boy or a girl...

By the way, let us remember the painting “Unknown” by Ivan Nikolaevich Kramskoy. The artist was faced with the task of depicting beautiful woman. Such that there is no doubt left: an exemplary beauty! Do you know whose features he gave to the heroine? Your son Seryozha!

IN scientific world there was a commotion: Italian scientists claim that they managed to find the remains of the woman who Leonardo da Vinci captured on famous painting "Mona Lisa". If the analysis confirms these facts, then it will be possible not only to restore appearance Lisa Gherardini, the wife of the Florentine merchant Francesco del Giocondo, but also to prove or disprove the version according to which it was she who posed for the portrait.

It is still not known for certain who exactly served as the prototype for the most famous portrait in the history of painting. Most historians and art critics are convinced that the model was Lisa Gherardini. The artist worked on the painting in 1503–1506, and at the same time the silk merchant Francesco del Giocondo commissioned a portrait of his wife. There are other versions, according to one of which Leonardo da Vinci portrayed himself in the image of Gioconda.

Archaeologists began searching for her remains in the monastery of Saint Ursula, where Lisa Gherardini spent the last days of her life. During the work, the researchers opened the family crypt of the Giocondo family and found that only one grave belongs to that historical period, where Lisa Gherardini lived. The remains were recovered for DNA analysis. They intended to compare them with the DNA of the children of the Florentine woman, whose remains were found earlier. But the bones were heavily damaged by floods, making research difficult.

Silvano Vinceti, head of the Italian National Committee for the Development of Historical and cultural heritage, I am confident that the documentation about the burial place of Lisa Gherardini confirms the scientists’ hypothesis. “If you asked me personally what I think, I would say that I am convinced that we have found it,” he told reporters.

It should be noted that not all scientists share the confidence and optimism of Silvano Vinceti. Only the leg bones are well preserved, and the condition of the remains does not yet allow for a full analysis and proof of this version. Scientists hoped to find the skull and use it to reconstruct the face, but this did not happen. However, they are pinning their hopes on modern technologies, which could help identify the deceased.

As happens every time you try to unravel the mysteries of da Vinci, who was ahead of his time, the mysteries become more and more numerous, as is the case with. It remains to wait in the near future for the results of the examination and the outcome of the grandiose art detective story.

In the Royal Castle of Amboise (France), Leonardo da Vinci completed the famous "La Gioconda" - "Mona Lisa". It is generally accepted that Leonardo is buried in the Chapel of St. Hubert at Amboise Castle.

Hidden in Mona Lisa's eyes are tiny numbers and letters that cannot be seen with the naked eye. Perhaps these are the initials of Leonardo da Vinci and the year the painting was created.

"Mona Lisa" is considered the most mysterious picture ever created. Art experts are still unraveling its secrets. At the same time, the Mona Lisa is one of the most disappointing attractions in Paris. The fact is that huge queues line up every day. Mona Lisa is protected by bulletproof glass.

On August 21, 1911, the Mona Lisa was stolen. She was kidnapped by Louvre employee Vincenzo Perugia. There is an assumption that Perugia wanted to return the painting to its historical homeland. The first attempts to find the painting led nowhere. The museum administration was fired. As part of this case, the poet Guillaume Apollinaire was arrested and later released. Pablo Picasso was also under suspicion. The painting was found two years later in Italy. January 4, 1914 painting (after exhibitions on Italian cities) returned to Paris. After these events, the picture gained unprecedented popularity.

In the DIDU cafe there is a large plasticine Mona Lisa. She was sculpted for a month regular visitors cafe. The process was led by artist Nikas Safronov. Mona Lisa, which was sculpted by 1,700 Muscovites and city guests, was included in the Guinness Book of Records. It became the largest plasticine reproduction of the Mona Lisa made by people.

During World War II, many works from the Louvre collection were hidden in the Chateau de Chambord. Among them was the Mona Lisa. The photographs show emergency preparations for sending the painting before the Nazis arrived in Paris. The location where the Mona Lisa was hidden was kept a closely guarded secret. The paintings were hidden for good reason: it would later turn out that Hitler planned to create “the world’s largest museum” in Linz. And he organized a whole campaign for this under the leadership of the German art connoisseur Hans Posse.

According to the History Channel movie Life After People, after 100 years without people, the Mona Lisa is eaten by bugs.

Most researchers believe that the landscape painted behind the Mona Lisa is fictitious. There are versions that this is the Valdarno Valley or the Montefeltro region, but there is no convincing evidence for these versions. It is known that Leonardo painted the painting in his Milan workshop.