This portrait was doubtless painted in Florence between 1503 and 1506. It is thought to be of Lisa Gherardini, wife of a Florentine cloth merchant named Francesco del Giocondo - hence the alternative title, La Gioconda. However, Leonardo seems to have taken the completed portrait to France rather than giving it to the person who commissioned it. It was eventually returned to Italy by Leonardo's student and heir Salai. It is not known how the painting came to be in François I's collection.
The history of the Mona Lisa is shrouded in mystery. Among the aspects which remain unclear are the exact identity of the sitter, who commissioned the portrait, how long Leonardo worked on the painting, how long he kept it, and how it came to be in the French royal collection.
The portrait may have been painted to mark one of two events - either when Francesco del Giocondo and his wife bought their own house in 1503, or when their second son, Andrea, was born in December 1502 after the death of a daughter in 1499. The delicate dark veil that covers Mona Lisa's hair is sometimes considered a mourning veil. In fact, such veils were commonly worn as a mark of virtue. Her clothing is unremarkable. Neither the yellow sleeves of her gown, nor her pleated gown, nor the scarf delicately draped round her shoulders are signs of aristocratic status.
The Mona Lisa is the earliest Italian portrait to focus so closely on the sitter in a half-length portrait. The painting is generous enough in its dimensions to include the arms and hands without them touching the frame. The portrait is painted to a realistic scale in the highly structured space where it has the fullness of volume of a sculpture in the round. The figure is shown in half-length, from the head to the waist, sitting in a chair whose arm is resting on balusters. She is resting her left arm on the arm of the chair, which is placed in front of a loggia, suggested by the parapet behind her and the two fragmentary columns framing the figure and forming a "window" looking out over the landscape. The perfection of this new artistic formula explains its immediate influence on Florentine and Lombard art of the early 16th century. Such aspects of the work as the three-quarter view of a figure against a landscape, the architectural setting, and the hands joined in the foreground were already extant in Flemish portraiture of the second half of the 15th century, particularly in the works of Hans Memling. However, the spacial coherence, the atmospheric illusionism, the monumentality, and the sheer equilibrium of the work were all new. In fact, these aspects were also new to Leonardo's work, as none of his earlier portraits display such controlled majesty.
The Mona Lisa's famous smile represents the sitter in the same way that the juniper branches represent Ginevra Benci and the ermine represents Cecilia Gallerani in their portraits, in Washington and Krakow respectively. It is a visual representation of the idea of happiness suggested by the word "gioconda" in Italian. Leonardo made this notion of happiness the central motif of the portrait: it is this notion which makes the work such an ideal. The nature of the landscape also plays a role. The middle distance, on the same level as the sitter's chest, is in warm colors. Men live in this space: there is a winding road and a bridge. This space represents the transition between the space of the sitter and the far distance, where the landscape becomes a wild and uninhabited space of rocks and water which stretches to the horizon, which Leonardo has cleverly drawn at the level of the sitter's eyes.
LEONARDO DA VINCI ● GIOCONDA ● LEONARDO ● SPECIALE LEONARDO 2019 ● LEONARDO DA VINCI, GIOCONDA ● MONNALISA ● MONNA LISA O GIOCONDA
Madonna del Garofano 1473 | Dipinto Ritratto di Ginevra Benci 1474 | Tempera su tavola Madonna Benois 1478 | Dipinto Madonna Litta 1490 | Dipinto San Girolamo 1482 | Olio su tavola | 103 x 74 cm. Ritratto di Vecchio 1515 | Sanguigna su carta Codice sul volo degli uccelli 1505 | Matita e Inchiostro su carta Sala delle Asse Affresco Ritratto di musico 1485 | Olio su tavola | 32 x 44 cm. Ultima Cena 1494 | Olio su muro Codice Atlantico Opera Letteraria Annunciazione 1472 | Olio e tempera su tavola | 217 x 98 cm. Uomo Vitruviano 1490 | Disegno matita e inchiostro su carta bianca | 24 x 34 cm. Monna Lisa o Gioconda 1503 | Olio su tavola | 53 x 77 cm. Vergine delle Rocce 1494 | Olio su tavola | 120 x 189 cm. Dama con l'Ermellino 1488 | Olio su tavola | 40 x 54 cm. Adorazione dei Magi 1481 | Olio e tempera su tavola Madonna Dreyfus 1469 | Olio su tavola Battesimo di Cristo 1470 | Olio e tempera su tavola Studio di volti per la Battaglia di Anghiari 1503 | Encausto La Scapigliata Dipinto Codice Leicester 1506 | Libro antico Codici Forster 1487 | Manoscritto Codice Trivulziano 1478 | Manoscritto Codice Windsor 1478 | Manoscritto La Belle Ferronière 1490 | Olio su tavola | 45 x 63 cm. San Giovanni Battista 1508 | Olio su tavola | 57 x 69 cm. Sant’Anna, la Vergine e il Bambino 1510 | Olio su tavola | 130 x 168 cm. Paesaggio Disegno matita e inchiostro su carta bianca Salvator Mundi 1490 | Olio su tavola | 45 x 65 cm.
Works in Italy
Works around the world