Mona Lisa original (left) and the replica
Nobody thought that because Mona Lisa was the masterpiece of Leonardo da Vinci, that it could never be exactly replicated.
Perhaps, it was for this reason that Spain’s Prado Museum officials were not so serious in displaying a copy of the Mona Lisa painting, much less, restoring it, and was just left in the vaults of the museum.
Also, no one was really giving it much attention or importance because the painting had a stark black background and not the beautiful landscape seen in the original.
Not until the museum officials decided, two years ago, to include said painting for a da Vinci exhibition to be held in Paris, where the original hangs in the Louvre, that they started giving the artwork some rehabilitation/restoration works.
In the process, however, and to the great surprise of the restorers, what was once a stark black background started showing a Tuscan landscape very similar to the one in the original painting of da Vinci.
While the discovery was hailed by art historians as one of the most remarkable in recent times, what makes the finding more exciting is the revelation that the painting could have been done by a da Vinci’s apprentice alongside the master himself as he did the original.
They are talking about Francesco Melzi, a da Vinci disciple, who is believed to have worked on the model alongside the master, making sure it was a true replica of the original.
Prado’s technical specialist, Ana González Mozo, said: ‘It is quite possible that Leonardo’s assistant met Lisa and may even have been present when she sat for the master.
The stunning copy is so similar in style to that of the original, which suggests that both were begun at the same time and painted next to each other, as the work evolved, according to Mozo.
There are dozens of the surviving replicas of the masterpiece from the 16th and 17th centuries, but the recent find stands out, when after restoration, it showed the radiant Mona Lisa as she would look like in the 16th century.
Miguel Falomir, the Prado’s director for Italian painting, said the copy gives art lovers and experts a chance “to admire the Mona Lisa with totally different eyes.”
The reason for this is that, besides the stark black background, one other difference from the original is the woman in the copy has eyebrows and the Mona Lisa in the real masterpiece does not.
The model is generally believed to be Lisa Gherardini, the wife of the Florentine cloth merchant Francesco del Giocondo. (Mona Lisa means Beautiful Lisa, in Spanish – Quierosaber)
Dear Quierosaber, (love your name)
This painting is extremely important, but it puzzles me why it has not gotten due recognition years ago. It is one of the better known period copies out there.
The colors in her garments prove that she is a member of the powerful Italian Sforza-Visconti dynasty. Leonardo was a court painter for the Milanese noble house for over 17 years. The long veil she is wearing is worn ONLY and specifically by the Milanese duchesses in mourning. There were only 4 Duchesses before the French overthrew the Milanese. Three were blond. Her identity is without dispute: Isabella of Aragon, daughter of King Alfonso II of Naples, and the young widow of Gian Galeazzo II Maria Sforza, Duke of Milan.
see kleio.org
Many people think the sitter in the painting is Leonardo or Gian Giacomo Caprotti, called Salai. If the sitter in the painting was really Salai or Leonardo in drag, why did not the French King, who became the owner of the painting and knew Leonardo’s face, make this conclusion? Why would he even want to own such a rediculous painting? Leonardo had just been aquitted of sodomy, why then would he paint himself in a dress? These assumptions were only started by 19th century biographers and pycho-analyst, and are now, in the 21st century accepted as politically correct facts though unsubstantiated by historical facts.
Neither is she the silk merchant’s wife. The myth of the silk merchant’s wife was fabricated to conceal her true identity and protect the honor of those involved. Ask yourself, ‘Is there any historical record of the Gherardini family legally claiming rightful ownership of this painting? Why didn’t Leonardo will this painting to the Gherardini family? Why did the many copies that were made during this time period end up only in noble houses in Italy and allying countries if she were merely a silk-merchant’s wife?
The mystery was solved 10 yrs ago, by historian and author Maike Vogt-Luerssen. It is time to stop the lies of the world’s most famous painting.
If you are tired of this long draw-out never-ending mystery and want true answers of Leonardo’s EPIC life, based in 100′s of historical facts and visual evidences left in the paintings of his closest contemporaries see the above website and follow the facebook link. – in English and German.
You might ask, “Why isn’t this common knowledge? Why have I (possibly) never heard of this before?” answer: Because the influential art historians and DaVinci ‘experts’ are less than willing to see the research of Mrs. Vogt-Luerssen widely accepted because it does not serve their own interest. Neither are they willing to admit that they have been on the wrong track.
There is an Italian 16th century copy that needs “discovering” too. It is my hope that many vital proofs will come forward that will prove to be further evidences into the true meaning and history of this painting and its painter. . To see the 16th C Italian copy, See:
http://www.apollo-magazine.com/september-2006/70322/reynoldss-mona-lisa.thtml (be sure to click the picture and select #17)
Thank you
Derrilynnee
WOW! Enlightening! May I know what kind of work you do?
Thank you, but my information is based in the research of brillian historian Mrs. Maike Vogt-Luerssen. Though I have many hobbies, including art, history, fashion history, photomanipulation, and more, Sorry, but, I cannot impress you with an academic degree. Most of my life I have been a housewife, mother, or caregiver with a few odd jobs in between.
Two years ago I became interested in Leonardo DaVinci & ‘Mona Lisa’ and quite by accident at that.
His true story is EPIC. I hope that you will support the research of Mrs. Vogt-Luerssen, too. The world is tired of speculations and sensationalism that lead to no where, leaving us to believe the mytery will never get solved. This painting and many other are very important to the real story of real people that existed through very turbulent times and were clever enough to ‘tell’ us about it in their paintings.
Thanks,
Derrilynnee
The more I am getting curious now. But, be that as it may, I wish you and your women-folk luck in your crusade.
Thank you.