Leonardo da Vinci. Mona Lisa or La Gioconda.(1503 -1507).
The portrait of Mona Lisa, known as the gioconda, carried out by Leonardo da Vinci between 1503 and 1507,
is that of Lisa del
Giocondo. It is the wife of a merchant Florentin, Francesco del Giocondo.
When the picture is begun the age of Mona Lisa is 24 years, that of
Léonard 51 years. It is in Florence that the picture was carried out.
It puts in scene an young
woman, represented with half-length, in a loggia. Dressed with a great
simplicity, it adopts an installation of three quarters, directs its
glance towards the spectator and outlines a light smile. Its silhouette is
detached on a bottom from misty landscape, carried out with a great
meticulousness, with the background its character is unreal, in the
foreground one perceives rocks, a sinuous road and a small bridge. The
place occupied by the landscape is unusual for the time it shows the great
independence of mind and the capacity of innovation of the painter.
Modelled is equipped with a softness
and a great subtlety.
The model is presented of three quarter, its eyes are located on the horizon. Mona Lisa sat on a seat out of wooden.It is visible to the half-length, its bust is turned towards the spectator and its face is almost of face. It has the hands crossed, the right hand on the left wrist and the left hand along the balustrade of the armchair.
The prospect is central. The picture is divided naturally into 4 parts. In top the face dominates being detached from the landscape, in bottom the hands answer him. The expression of the face is humble, peaceful and expresses the harmony. The position of the hands still reinforces the feeling of humility and peace. From the 2 with dimensions the landscape dominates.
3 successive Plans:The model is with before plan. Downwards a landscape divided into 2 parts, a realistic landscape in the foreground then with the background an almost surrealist imaginary landscape.
The prospect is central, this form of fitting allows Léonard to locate the heart of Mona LISA at the geometrical center of work, its left eye and its fingers are also located at the center in top and bottom. This choice accentuates the presence of the character within the composition. The eye is naturally attracted by the center it is only then that the spectator becomes aware of balance between the landscape, nature, and the person, humanity.
One always does not distinguish it without close-up but the Mona Lisa wears a dark veil on the hair. It does not carry any jewel, its dress is sober, almost severe compared to the portraits painted at the same time. The eyes have glare and moisture.
The lashes were carried out with subtlety, the glance is drawn aside by a play of shade. The mouth seems of flesh and not of color, it raises a half smile in charge of reserve which makes the model even humbler. And it is well the humility which expresses the entire model.
In the landscape with the background on the back of character, one distinguishes from each with dimensions on the left a road and on the right a bridge which seems to connect the model, human being, with nature. It is exactly the matter of Leonardo da Vinci which illustrates that humanity can be integrated perfectly with harmony into nature.
The light comes the top and of the left, it concentrates on the model.
The picture is covered with a succession coloured glazes which vitrify the table. These layers of varnish obscured work. It is probable that the range of the colors consisted of a passage degraded of the blue of the sky to the yellow of the handles, via innumerable nuances of gray, brown, russet-red and ochers.
Here work with its colors supposed in the beginning.
The hot colors are reserved for the model, cold colors with nature.
Alessio Baldovinetti (1425 -1499). The Virgin and the Child.
The Virgin is detached in front of the landscape, her hands are united, its clothes are of red and blue. It looks at Christ.
Hans Memling (1430 -1494). Benedetto Portinari in Prayer. (1487).
The Character is also in a loggia, in front of the landscape, his hands are united. He does not look at the spectator.
Lorenzo di Credi (1460 - 1537). Supposed portrait of Caterina Sforza.
A red curtain hides the
landscape with the background, the
behavior is sober, the hands are occupied touching flowers.
Raphaël (1483 -1520). Maddalena Doni. (1505 - 1506).
Maddalena is detached and
contrasted of the landscape. It
looks at the spectator of face. Its
hands are crossed in the manner of the Mona Lisa.
Camile Corot. The Woman with the Pearl.(1869).
The posture is identical to that of Mona LISA. The hands are crossed in an identical way. The costume is sober. The model looks at the spectator of a manner melancholic person, it carries a pearl on the face and a ring to the right hand, its fingers are extremely long.