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The technique in this portrait and in the "Mona Lisa" is called "sfumato," in which da Vinci blended colors and shades to get gradual transitions between different shapes in each painting.
Renaissance art historian Giorgio Vasari wrote that "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife." [18] [19] [20] Monna in Italian is a polite form of address originating as ma donna —similar to Ma'am, Madam, or my lady in English. This became madonna, and its contraction monna.
Konody observed of the Isleworth subject that "[t]he head is inclined at a different angle". [29] Physicist John F. Asmus, who had previously examined the Mona Lisa in the Louvre and investigated other works by Leonardo, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush ...
Mona Lisa, by Leonardo da Vinci, Louvre Museum The 16th-century portrait Mona Lisa, or La Gioconda (La Joconde), painted in oil on a poplar panel by Leonardo da Vinci, has been the subject of a considerable deal of speculation. Columns and trimming Early copy of the Mona Lisa at the Walters Art Gallery, Baltimore, showing columns on either side of the subject It has for a long time been argued ...
The use of this lead oxide powder to thicken and dry the Mona Lisa’s base layer was likely a fresh approach to painting in the early 1500s, but one that became common practice.
PARIS (AP) — The “Mona Lisa” has given up another secret. Using X-rays to peer into the chemical structure of a tiny speck of the celebrated work of art, scientists have gained new insight ...
An Italian historian believes he's solved one of the biggest mysteries of Leonardo's famous Mona Lisa painting: the location of the bridge in the backdrop.
The Prado Mona Lisa is a painting by the workshop of Leonardo da Vinci and depicts the same subject and composition as Leonardo's better known Mona Lisa at the Louvre, Paris. The Prado Mona Lisa has been in the collection of the Museo del Prado in Madrid, Spain since 1819, [1] but was considered for decades a relatively unimportant copy. [2]