mona lisa visual analysis essay

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Europe 1300 - 1800

Course: europe 1300 - 1800   >   unit 4.

• About Leonardo
• Letter to the Duke of Milan
• Leonardo: Anatomist - by Nature Video
• Leonardo and his drawings
• Virgin of the Rocks
• Adoration of the Magi
• “Vitruvian Man”
• Virgin and Child with St Anne and St John the Baptist (Burlington House Cartoon)
• The Last Supper

Portraits were once rare

The most recognized painting in the world.

"We all know the face and hands of the figure, set in its marble chair, in that circle of fantastic rocks, as in some faint light under sea. Perhaps of all ancient pictures time has chilled it least. The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire. Hers is the head upon which all 'the ends of the world are come,' and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed!"

A new formula

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Leonardo da Vinci’s Mona Lisa Painting Analysis

Mona lisa analysis: essay introduction, mona lisa painting analysis: description, mona lisa analysis: essay conclusion.

Name of the painting: Mona Lisa

Name of the artist: Leonardo da Vinci

Dates created: 1504-1506

Mona Lisa is one of the most prominent and recognizable paintings in the world and is considered the greatest masterpiece of its author, Leonardo da Vinci. Created in 1503, the painting has been discussed for centuries by artists, academics, medics, and the general public (Mehra & Campbell, 2018). A vast amount of the painting’s interpretations already exist, and some are still being proposed nowadays. However, this paper mostly aims to explore the central theme, subject, and message of the Mona Lisa .

Da Vinci’s masterpiece was written during the Renaissance, and thus, was strongly influenced by the ideas of that period. The philosophy of the Renaissance placed a human in the center of the world; that is why portraits were so popular with Italian masters of the 15 th and 16 th centuries. Leonardo was among the first artists to capture a person sitting in front of the fictional landscape. Even though Mona Lisa is reminiscent of Madonna, it is still clear that the painter tried to depict an ordinary person. For creating this painting, Leonardo used a technique called “sfumato.” This term refers to the technique of oil painting that allows achieving a soft transition from one color to another. The great combination of the woman and the landscape in Mona Lisa is due to this technique (Da Vinci, n.d.). Therefore, this work by Leonardo may be considered not as a classical portrait, and this is what makes it unique among other paintings of a similar genre.

Mona Lisa has an outstanding impact on various types of Western art, but there were some things that shaped Leonardo’s work as well. As it was already mentioned, the Renaissance period had a strong effect on Leonardo’s works. The painter portrayed a real woman who was not consistent with medieval Christian philosophy. Leonardo is also famous for creating paintings on religious themes, but Mona Lisa does not depict another Madonna. The painting shows a typical woman of Leonardo’s age which confirms his commitment to the humanistic vision of the world. Therefore, it is impossible to omit the influence of this woman on Leonardo’s painting. Most critics and researchers agree that Mona Lisa portrays an Italian woman Lisa Gherardini. She was the wife of a rich merchant who ordered her portrait from Leonardo. This happened soon after Lisa gave birth to a child (Kemp & Pallanti, 2017). This might partly explain why Leonardo depicted the woman smiling.

I have always appreciated Mona Lisa by Leonardo da Vinci, but after careful examination, I discovered a new meaning in it. Being aware of the story behind the painting helps to understand it better and makes it more interesting to observe. When you know which person is portrayed in the painting, it is possible to enter his or her life for some time and experience the feelings that he or she had. It is also essential to consider the social and philosophical contest in which the painting was written. It might be hard to realize the significance of the Mona Lisa for the history of art if you do not know that it was one of the first portraits that depicted a real person. Undoubtedly, one can enjoy a painting even if one is not aware of its background. However, once you have become familiar with the painting’s story, you may start to value the piece of art even more.

This paper did not attempt to discover or propose new interpretations of the Mona Lisa . I tried to focus on the main factors that influenced Leonardo’s masterpiece as well as study the most crucial features of the painting. Now that I have become aware of the fact that Leonardo was one of the first Renaissance masters to combine a regular person with the landscape, I can appreciate the painting not only from the artistic perspective but also from the historical.

Da Vinci, Leonardo. Mona Lisa .

Kemp, M., & Pallanti, G. (2017). Mona Lisa: The people and the painting . Oxford, UK: Oxford University Press.

Mehra, M. R., & Campbell, H.R. (2018). The Mona Lisa decrypted: Allure of an Imperfect Reality. Mayo Clinic Proceedings, 93 (9), 1325-1327.

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"Leonardo da Vinci’s Mona Lisa Painting Analysis." StudyCorgi , 11 June 2021, studycorgi.com/leonardo-da-vincis-mona-lisa-painting-analysis/.

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1. StudyCorgi . "Leonardo da Vinci’s Mona Lisa Painting Analysis." June 11, 2021. https://studycorgi.com/leonardo-da-vincis-mona-lisa-painting-analysis/.

Bibliography

StudyCorgi . "Leonardo da Vinci’s Mona Lisa Painting Analysis." June 11, 2021. https://studycorgi.com/leonardo-da-vincis-mona-lisa-painting-analysis/.

StudyCorgi . 2021. "Leonardo da Vinci’s Mona Lisa Painting Analysis." June 11, 2021. https://studycorgi.com/leonardo-da-vincis-mona-lisa-painting-analysis/.

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Leonardo, Mona Lisa

Leonardo da Vinci, Portrait of Lisa Gherardini (known as the Mona Lisa), c. 1503–19, oil on poplar panel, 77 x 53 cm (Musée du Louvre, Paris)

Portraits were once rare

We live in a culture that is so saturated with images, it may be difficult to imagine a time when only the wealthiest people had their likeness captured. The wealthy merchants of renaissance Florence could commission a portrait, but even they would likely only have a single portrait painted during their lifetime. A portrait was about more than likeness, it spoke to status and position. In addition, portraits generally took a long time to paint, and the subject would commonly have to sit for hours or days, while the artist captured their likeness.

View of crowd surrounding Leonardo da Vinci, Portrait of Lisa Gherardini (known as the Mona Lisa) , c. 1503–19, oil on poplar panel, 77 x 53 cm (Musée du Louvre, Paris; photo: -JvL- , CC BY 2.0)

The most recognized painting in the world

The Mona Lisa was originally this type of portrait, but over time its meaning has shifted and it has become an icon of the Renaissance—perhaps the most recognized painting in the world. The Mona Lisa is a likely a portrait of the wife of a Florentine merchant. For some reason however, the portrait was never delivered to its patron, and Leonardo kept it with him when he went to work for Francis I , the King of France.

Leonardo da Vinci, Portrait of Lisa Gherardini (known as the Mona Lisa) , c. 1503–19, oil on poplar panel, 77 x 53 cm (Musée du Louvre, Paris)

The Mona Lisa’s mysterious smile has inspired many writers, singers, and painters. Here’s a passage about the Mona Lisa , written by the Victorian-era (19th-century) writer Walter Pater:

We all know the face and hands of the figure, set in its marble chair, in that circle of fantastic rocks, as in some faint light under sea. Perhaps of all ancient pictures time has chilled it least. The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire. Hers is the head upon which all “the ends of the world are come,” and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed!

Left: Piero della Francesca, Portrait of Battista Sforza , c. 1465–66, tempera on panel (Galleria degli Uffizi, Florence); right: Leonardo da Vinci, Portrait of Lisa Gherardini (known as the Mona Lisa) , c. 1503–19, oil on poplar panel, 77 x 53 cm (Musée du Louvre, Paris)

Piero della Francesca’s Portrait of Battista Sforza  is typical of portraits during the Early Renaissance (before Leonardo ); figures were often painted in strict profile, and cut off at the bust. Often the figure was posed in front of a birds-eye view of a landscape.

A new formula

Hans Memling, Portrait of a Young Man at Prayer , c. 1485–94, oil on oak panel ( Museo Thyssen-Bornemisza , Madrid)

With Leonardo’s portrait, the face is nearly frontal, the shoulders are turned three-quarters toward the viewer, and the hands are included in the image.

Leonardo uses his characteristic sfumato —a smokey haziness—to soften outlines and create an atmospheric effect around the figure. When a figure is in profile, we have no real sense of who she is, and there is no sense of engagement. With the face turned toward us, however, we get a sense of the personality of the sitter.

Northern Renaissance artists such as Hans Memling (see the Portrait of a Young Man at Prayer ) had already created portraits of figures in positions similar to the Mona Lisa . Memling had even located them in believable spaces. Leonardo combined these Northern innovations with Italian painting’s understanding of the three dimensionality of the body and the perspectival treatment of the surrounding space.

Left: Unknown, Mona Lisa , c. 1503–05, oil on panel (Museo Nacional del Prado, Madrid); right: Leonardo da Vinci, Portrait of Lisa Gherardini (known as the Mona Lisa) , c. 1503–19, oil on poplar panel, 77 x 53 cm (Musée du Louvre, Paris)

A recent discovery

An important copy of the Mona Lisa was recently discovered in the collection of the Prado in Madrid. The background had been painted over, but when the painting was cleaned, scientific analysis revealed that the copy was likely painted by another artist who sat beside Leonardo and copied his work, brush-stroke by brush-stroke. The copy gives us an idea of what the Mona Lisa might look like if layers of yellowed varnish were removed.

Bibliography

Read a Reframing Art History chapter that discusses Leonardo da Vinci—” Art in Sovereign States of the Italian Renaissance, c. 1400–1600 .”

Theresa Flanigan, “Mona Lisa’s Smile: Interpreting Emotion in Renaissance Female Portraits,” Studies in Iconography , vol. 40 (2019), pp. 183–230.

This painting at the Louvre .

Louvre Feature: A Closer Look at the Mona Lisa .

Not Just Another Fake Mona Lisa from The New York Times Interactive.

Mona Lisa at Universal Leonardo.

Important fundamentals

Cite this page.

Your donations help make art history free and accessible to everyone!

Module 5: 1500–1600—High Renaissance and Mannerism in Italy

Beth Harris and Sal Khan provide a description, historical perspective, and analysis of Leonardo da Vinci’s  Mona Lisa .

Leonardo da Vinci, Mona Lisa , c. 1503–05, oil on panel 30-1/4 × 21 inches (Musée du Louvre)

Portraits Were Once Rare

We live in a culture that is so saturated with images, it may be difficult to imagine a time when only the wealthiest people had their likeness captured. The weathy merchents of Renaissance Florence could commission a portrait, but even they would likely only have a single portrait painted during their lifetime. A portrait was about more than likeness, it spoke to status and position. In addition, portraits generally took a long time to paint, and the subject would commonly have to sit for hours or days, while the artist captured their likeness.

The Most Recognized Painting in the World

Figure 1. Leonardo da Vinci, Mona Lisa

The Mona Lisa was originally this type of portrait, but over time its meaning has shifted and it has become an icon of the Renaissance, the most recognized painting in the world. The Mona Lisa is a likely a portrait of the wife of a Florentine merchant, and so her gaze would have been meant for her husband. For some reason however, the portrait was never delivered to its patron, and Leonardo kept it with him when he went to work for Francis I, the King of France.

The Mona Lisa ‘s   mysterious smile has inspired many writers, singers, and painters. Here’s a passage about the Mona Lisa, written by the Victorian-era writer Walter Pater:

We all know the face and hands of the figure, set in its marble chair, in that circle of fantastic rocks, as in some faint light under sea. Perhaps of all ancient pictures time has chilled it least. The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire. Hers is the head upon which all “the ends of the world are come,” and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed!

Figure 2. Piero della Francesca, Portrait of Battista Sforza (c. 1465–66)

Early Renaissance artist, Piero della Francesca’s Portrait of Battista Sforza (figure 2) is typical of portraits during the Early Renaissance (before Leonardo); figures were often painted in strict profile, and cut off at the bust. Often the figure was posed in front of a birds-eye view of a landscape.

A New Formula

With Leonardo’s portrait, the face is nearly frontal, the shoulders are turned three-quarters toward the viewer, and the hands are included in the image. Leonardo uses his characteristic sfumato—a smokey haziness, to soften outlines and create an atmospheric effect around the figure.

Figure 3. Hans Memling Portrait of a Young Man at Prayer (c. 1485–94)

When a figure is in profile, we have no real sense of who she is, and there is no sense of engagement. With the face turned toward us, however, we get a sense of the personality of the sitter.

Northern Renaissance artists such as Hans Memling (see figure 3) had already created portraits of figures in positions similar to the Mona Lisa . Memling had even located them in believable spaces. Leonardo combined these Northern innovations with Italian painting’s understanding of the three dimensionality of the body and the perspectival treatment of the surrounding space.

A Recent Discovery

An important copy of the Mona Lisa was recently discovered in the collection of the Prado in Madrid. The background had been painted over, but when the painting was cleaned, scientific analysis revealed that the copy was likely painted by another artist who sat beside Leonardo and copied his work, brush-stroke by brush-stroke. The copy gives us an idea of what the  Mona Lisa might look like if layers of yellowed varnish were removed.

Figure 4. Comparing the copy to the original  Mona Lisa .

• Leonardo's MonaLisa. Provided by : Khan Academy. Located at : https://web.archive.org/web/20140215032805/http://smarthistory.khanacademy.org/leonardo-mona-lisa.html . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike

“Mona Lisa” by Leonardo da Vinci – Facts About the “Mona Lisa”

The Mona Lisa (c. 1503-1506) by Leonardo da Vinci seemingly needs no introduction as almost all the world is well acquainted with this mysterious beauty and Renaissance masterpiece. This is the painting we will explore in the article below.

Table of Contents

• 1 Artist Abstract: Who Was Leonardo da Vinci?
• 2.1.1 A New Take on Portrait Paintings
• 2.1.2 Interesting Facts About the Mona Lisa
• 2.1.3 The Mona Lisa in Pop Culture
• 3.1 Visual Description: Subject Matter
• 3.3 Texture
• 3.5 Shape and Form
• 4 The Mona Lisa as an Objectified Icon
• 5.1 Why Is the Mona Lisa So Famous?
• 5.2 How Much Is the Mona Lisa Worth?
• 5.3 Who Was Mona Lisa?
• 5.4 Where Is the Mona Lisa Painting?
• 5.5 When Was the Mona Lisa Painted?

Artist Abstract: Who Was Leonardo da Vinci?

Leonardo da Vinci was an Italian painter from the High Renaissance , he was believed to be born in the town called Vinci, or possibly near it. His date of birth was April 15, 1452, and he was believed to have died of a stroke on May 2, 1519 at the Château du Clos-Lucé in Amboise in France.

Da Vinci was known as a genius and polymath; he was an artist, scientist, engineer, draughtsman, architect, and sculptor, among many other skills and talents.

He trained under the Italian Andrea del Verrocchio in Florence. He was commissioned by notable figures like Matthias Corvinus the King of Hungary and Francis I the King of France. He also worked as a military engineer for Cesare Borgia, who was Pope Alexander VI’s son. Some of his famous paintings include The Virgin of the Rocks (c. 1483-1486), The Last Supper (c. 1498), and, of course, the famous Mona Lisa (c. 1503-1506).  

Mona Lisa (c. 1503 – 1517) by Leonardo da Vinci in Context

We will start with a contextual analysis, uncovering interesting facts about the Mona Lisa and answering the often-asked questions like: “Who was Mona Lisa?”, “ Why is the Mona Lisa so famous? ”, “Where is the Mona Lisa painting?”, “When was the Mona Lisa painted?”, and “How much is the Mona Lisa worth?” We will then discuss a formal analysis, providing a visual description of the Mona Lisa painting as well as the artistic techniques Leonardo da Vinci utilized that made this painting so enchanting to look at.   

Contextual Analysis: A Brief Socio-Historical Overview

The widely held consensus on who commissioned the painting Mona Lisa by Leonardo da Vinci is Francesco del Giocondo; he was reportedly a silk merchant, and his wife was Lisa del Giocondo (her maiden name was Gherardini), who was the subject for the Mona Lisa . The term “mona” originates from the Italian word Monna , which is utilized as a manner of address.

The famous portrait painting is also titled the Italian “La Gioconda” and the French “La Joconde”, which translates to “jocund” or “jovial”.

Significant information about the Mona Lisa painting, and regarding the question, “Where is the Mona Lisa ?” as well as the woman’s identity originates from the Italian writer and historian Giorgio Vasari and his seminal text The Lives of the Most Excellent Painters, Sculptors and Architects (1550).

Vasari is often quoted as writing, “Leonardo undertook to execute, for Francesco del Giocondo, the portrait of Mona Lisa for his wife, and after he had lingered over it for four years, he left it unfinished; and the work is today in the possession of King Francis of France, at Fontainebleau”.

However, many scholars who have researched Leonardo da Vinci’s life and the “Mona Lisa” painting have disputed the accuracy of Vasari’s account due to his potential lack of information and prior knowledge of Da Vinci’s circumstances at the time he wrote about it.

Furthermore, because the version of the Mona Lisa in the Louvre Museum is reportedly “finished” questions arise about why Vasari mentioned that it was unfinished and whether he was referring to a possible other copy of the Mona Lisa .

Other discovered sources have verified that Leonardo da Vinci worked on a painting of Lisa del Giocondo. Evidence was found in what is known as the “Heidelberg Document”, found by Dr. Armin Schlechter while he was cataloging the documents. He saw a note, which was dated October 1503 and written by Agostino Vespucci, who was a Florentine clerk and chancellor, on a 1477 copy from one of the letters of the Roman philosopher Marcus Tullius Cicero.

On that note, Vespucci wrote about Leonardo da Vinci’s project of painting Lisa del Giocondo. He also compared Da Vinci’s work to Apelles of Kos, who was an ancient Greek painter.  

However, apparently, the Mona Lisa painting was never given to the commissioner, Francesco del Giocondo, and Da Vinci kept it with him until he died, possibly also adding the finishing touches to it. Reportedly, when he moved to France in 1516 to live and work at the Château du Clos-Lucé in Amboise, he also worked on the painting and left it to his apprentice known as Salaì. There is wide scholarly debate around the notion that there was more than one copy of the Mona Lisa , which makes the question we raised earlier, “Where is the Mona Lisa ?”, more complex.

Notably, the copy at the Prado Museum is thought to have been painted by Da Vinci’s apprentice Salaì, and possibly copied while Leonardo da Vinci was working on his original copy.

Furthermore, when the Prado copy was cleaned it also provided more visual information in terms of the colors utilized as it did not have the yellow layer that the Louvre’s Mona Lisa has. Additionally, the composition also depicts two columns on either side of the Mona Lisa, which are not in full view in the Louvre’s painting.

A New Take on Portrait Paintings

Leonardo da Vinci, who painted the Mona Lisa , depicted the half-length portrait in a new way compared to the common profile (side) formats of portrait paintings. Here we see the sitter almost completely facing us, the viewers.

This more frontal format was also believed to influence numerous other artists after the “Mona Lisa” painting.

It was also believed that Leonardo da Vinci took inspiration from the Northern Renaissance painters who painted portraits in a similar manner to that of the Mona Lisa . A notable example that has been pointed out includes Portrait of a Young Man at Prayer (c. 1485-1494) by Hans Hemling.

Interesting Facts About the Mona Lisa

It is also interesting to note that the Mona Lisa has been stolen and vandalized on several occasions. In 1911, she was stolen by the Italian Vincenzo Peruggia, who worked at the Louvre and wanted to return it to its rightful place in Italy.

He had the painting for around two years until it was discovered after he wanted to sell it to the Uffizi Gallery director who alerted the police.

In 1956, Hugo Unjaga Villegas, who was from Bolivia, threw a rock/stone at the Mona Lisa painting. Reportedly he was quoted as stating that he had a stone in his pocket and had the idea to throw it at the painting. 

The “Mona Lisa” painting was again the victim of a woman, Tomoko Yonezu, at the Tokyo National Museum, who sprayed red paint protesting the museum’s policies regarding access for disabled people.

On another occasion in 2009 at the Louvre Museum, a Russian woman broke a teacup against the Mona Lisa painting out of anger for not being granted French citizenship. Recently, in May of this year (2022), a man dressed in a wig, a woman’s outfit, and in a wheelchair, threw a piece of cake at the beloved painting of Lisa del Giocondo, the Mona Lisa .

His actions were reportedly motivated to bring attention to climate change, exclaiming to everyone there, “Think of the Earth! There are people who are destroying the Earth! Think about it. Artists tell you: think of the Earth. That’s why I did this.”

On all the occasions the “Mona Lisa” was vandalized, the painting itself was not badly damaged, and it was mostly protected by the glass casing that surrounded it.

The Mona Lisa in Pop Culture

The Mona Lisa has become more than a painting, it has become a centerpiece in the art world. From starting as an icon of portraiture during the Renaissance era to the burgeoning overstimulation of imagery and information in the 21st century, the Mona Lisa become an icon of pop culture, oftentimes as parody and satire. 

Dada artists like Marcel Duchamp produced L .H.O.O.Q (1919), which is a postcard depicting the Mona Lisa with a mustache and goatee drawn on her face. The letters “L.H.O.O.Q” are written underneath with various scribbles on the postcard. Reportedly, Duchamp was playing on the ideas of gender reversal.

This was also known as one of his “ready-mades”, which were ordinary and everyday objects that were referred to as art.   

Then, before 1919, the French artist Arthur Sapeck (his original name was Eugène Bataille) created Le Rire (The Laugh) (1883), which featured the Mona Lisa with a pipe in her mouth. The Pop artist Andy Warhol also re-created his own depiction of the Mona Lisa in his painting titled Colored Mona Lisa (1963), which depicts several iterations or duplications of the portrait on one canvas in different colors, namely, pink, yellow, black, and blue in his characteristic silk-screen prints.

This was not Warhol’s only rendition of the Mona Lisa by Leonardo da Vinci. He also created the Mona Lisa (1963), which depicts four images of her in two different formats, made from acrylic and silkscreen on one canvas.

From oil paint to ink, the “Mona Lisa” has also been reproduced by the contemporary artist Lennie Mace, who drew her with a ballpoint pen, titled “Mona a’la Mace” (1993). This has been referred to as a “PENting”.

Beyond modern and contemporary art , the Mona Lisa has also been featured in films and on book covers. References to the Mona Lisa include films like Horton Hears a Who (2008), Elf (2003), Mona Lisa Smile (2003), and The Mona Lisa Identity (2019), and we will find her on the book cover of Dan Brown’s The Da Vinci Code (2003). 

Formal Analysis: A Brief Compositional Overview

In the formal analysis below, we will take a closer look at the Mona Lisa painting, providing a visual description, and the notable techniques utilized by Leonardo da Vinci. We will outline these in terms of the primary art elements like color , texture, line, shape, form, and space.

Visual Description: Subject Matter

The Mona Lisa by Leonardo da Vinci depicts a portrait of a woman sitting in an armchair (the armchair is known as a “pozzetto” chair); her body is mostly turned facing us, the viewers. Her left arm (on our right) rests on the left side of the armchair while her right hand is gently placed over her left hand.

This gives her the appearance of slightly leaning to her left as she sits comfortably, yet upright. 

The Mona Lisa is dressed in soft silky garments gathered around her body and there appears to be a garment over her left shoulder, which is possibly a scarf. Her bodice is pleated with a golden embroidered trimming, which also reveals her upper neck and chest area.

The Mona Lisa ’s hair is loose and hangs to just below her shoulders, slightly visible on both sides of her revealed upper chest area. There is a fine dark veil over her head that appears to hang down the length of her hair. She is also not wearing any jewelry.

Behind the seated figure of the “Mona Lisa” is an extensive landscape, the closest appears to be a dry area of land with a winding road to the left that leads to a large body of water further into the distance.

To the right, in the distance below, is a bridge with what appears to be another winding way that leads to the body of water in the distance that seems to lead to an ocean further ahead. Surrounding this landscape are jagged mountainous protrusions.

The landscape behind the Mona Lisa has been a topic of wide debate.

Some believe it is an imaginary setting by Leonardo da Vinci or a backdrop that the artist utilized for the sitting, while others have estimated that it is in fact based on a real scene from the Italian countryside. Furthermore, Lisa del Giocondo, who was Mona Lisa , appears to be sitting on a balcony or porch, otherwise referred to as a loggia in Italian.

This is evident by the long vertical structure behind her as well as indications of pillars on either side of her.

The Mona Lisa painting has faded in color over the years due to natural discoloration of the oil paint, which has left it in yellowed and brown hues. Conservation efforts like varnishing have also stripped some of its layers of colors.

However, some of the colors in the “Mona Lisa” painting would have included greens, blues, reds, and skin-tone, or flesh, colors. 

If we look at the tactile texture of the Mona Lisa painting, the oil paint creates a smooth texture over the composition. There are also implied textures, for example, the fabrics from the Mona Lisa’s clothing like the soft and translucent texture in her veil over her hair and the silky folds from her dress sleeves, the soft curls from her hair, and the smooth and fairness of her skin.

The landscape behind her creates a contrasting effect due to the implied roughness of the rocky mountain terrain.

Leonardo da Vinci applied the sfumato technique , which we will notice in many of his artworks. The word sfumato originates from Italian, which means “vague” or “soft”, and it consists of the subtle “blending” of tones or shades so that they naturally transition. We see this subtle “gradation” or transition of light and dark, as some sources describe it, in Mona Lisa’s mouth and its corners as well as the corners of her eyes.

This gives a more naturalistic effect to the composition and the subject matter, which also eliminates obvious outlines.

Because the Mona Lisa painting is a portrait, the orientation is vertical, which gives it implied vertical linearity. However, the landscape behind her emphasizes horizontal lines created by the waterscape. Additionally, there is also a horizontal line created behind the Mona Lisa from the balcony.

Furthermore, there are curved lines created by the winding pathway in the distance, which creates a subtle contrasting effect with the main subject sitting in the foreground, who also has various curved lines created by the fabric folds as well as her overall voluptuousness.

Shape and Form

The Mona Lisa painting appears mostly organic in its shape and form, which further heightens the naturalism. This is evident in the figure of Mona Lisa herself as well as the landscape behind her, which is a representation of nature portraying the natural curvatures created by the pathway and the water flow, as well as the sharp edges from the craggy terrain.

Leonardo da Vinci utilized aerial or atmospheric perspective to give the illusion of depth and three-dimensional space. This was done by creating a hazy or blurred background, as we see in the distant mountains, compared to the foreground, which we see in the figure of the Mona Lisa, who appears clearer and in focus.

Furthermore, depth is created through scale. For example, the bridge to the right in the landscape, as well as the natural terrain in the background appear smaller in scale compared to the subject matter in the foreground.

The Mona Lisa as an Objectified Icon

It is important to note that there is extensive research and conjecture around the Mona Lisa painting, from there being several copies, if the landscape is in fact real or fictional, to the identity of the sitter herself, some believe it was Salaì and others believe it could have been Leonardo da Vinci’s mother.

The Mona Lisa has become a “celebrity” among paintings, the object of many affections and outrages. While we have not covered all the facts, theories, and conspiracies about the Mona Lisa in this article, we have outlined a few of its important aspects and we encourage you to conduct deeper research about this famous portrait painting.

Leonardo da Vinci, who painted the “Mona Lisa”, created a timeless masterpiece that will undoubtedly raise eyebrows for even more centuries to come. In the words of Giorgio Vasari when he described this sitting beauty: “And in this work of Leonardo there was a smile so pleasing, that it was a thing more divine than human to behold, and it was held to be something marvelous, in that it was not other than alive.”

Take a look at our  Mona Lisa  painting webstory here!

Frequently Asked Questions

Why is the mona lisa so famous.

The Mona Lisa (c. 1503-1517) by Leonardo da Vinci has achieved a high level of fame for the mystery surrounding its inception, the subject matter, as well as its provenance. There are numerous theories surrounding it and many unanswered questions. One of the most mysterious qualities that make this painting so famous is the Mona Lisa’s smile. 

How Much Is the Mona Lisa Worth?

The Mona Lisa (c. 1503-1517) is believed to be over $800 to $900 million in insurance value, which was estimated from 2021. In 1962, its insurance value was estimated at $100 million.

Who Was Mona Lisa?

The subject of the Mona Lisa (c. 1503-1517) was the Italian Lisa Gherardini, who later became Lisa del Giocondo. She was married to Francesco del Giocondo, who was a wealthy tradesman. Some believe the subject of the Mona Lisa could have been Isabella d’Este, but evidence suggests against the proposition.  

Where Is the Mona Lisa Painting?

The Mona Lisa (c. 1503-1517) by Leonardo da Vinci is housed at the Louvre Museum in Paris, France. It was reportedly installed in the Louvre after the French Revolution; some sources suggest it during 1797 and others during 1804. Before then, it was reportedly first at the Palace of Fontainebleau and then at the Palace of Versailles.

When Was the Mona Lisa Painted?

Leonardo da Vinci, who painted the Mona Lisa , was believed to have started the oil painting from 1503 to around 1517. It was believed that he worked on the painting until before his death and that there was more than one copy of the painting, which he left for his assistant, whose name was Salaì. 

Alicia du Plessis is a multidisciplinary writer. She completed her Bachelor of Arts degree, majoring in Art History and Classical Civilization, as well as two Honors, namely, in Art History and Education and Development, at the University of KwaZulu-Natal, South Africa. For her main Honors project in Art History, she explored perceptions of the San Bushmen’s identity and the concept of the “Other”. She has also looked at the use of photography in art and how it has been used to portray people’s lives.

Alicia’s other areas of interest in Art History include the process of writing about Art History and how to analyze paintings. Some of her favorite art movements include Impressionism and German Expressionism. She is yet to complete her Masters in Art History (she would like to do this abroad in Europe) having given it some time to first develop more professional experience with the interest to one day lecture it too.

Alicia has been working for artincontext.com since 2021 as an author and art history expert. She has specialized in painting analysis and is covering most of our painting analysis.

Learn more about Alicia du Plessis and the Art in Context Team .

Cite this Article

Alicia, du Plessis, ““Mona Lisa” by Leonardo da Vinci – Facts About the “Mona Lisa”.” Art in Context. August 31, 2022. URL: https://artincontext.org/mona-lisa-by-leonardo-da-vinci/

du Plessis, A. (2022, 31 August). “Mona Lisa” by Leonardo da Vinci – Facts About the “Mona Lisa”. Art in Context. https://artincontext.org/mona-lisa-by-leonardo-da-vinci/

du Plessis, Alicia. ““Mona Lisa” by Leonardo da Vinci – Facts About the “Mona Lisa”.” Art in Context , August 31, 2022. https://artincontext.org/mona-lisa-by-leonardo-da-vinci/ .

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The Mona Lisa Foundation

Visual and spectral analyses.

The word ‘ sfumato ’ is derived from the Italian ‘ sfumare ’ – ‘to evaporate like smoke’, or ‘to tone down’. In art, it is used to denote a painting technique whereby outlines are blurred and there is a gradual blending of one tone into another. This technique is exemplified in the two versions of Mona Lisa.

“ The supreme expression of the science of painting and of its divine character, Leonardo’s ‘sfumato’ was the power behind the poetry of his paintings and the mystery that seems to emanate from them. ”

The Craquelure

The painting is covered in a series of fine cracks, known as craquelure. This is not only common with old paintings, but would be unusual if it were not present. Paint on old paintings often cracks due to movement of the ground preparation away from the canvas support, a process that naturally occurs over centuries. A similar effect occurs with paintings on wood panels. This craquelure is not the result of any external pressure, was not provoked artificially, and did not occur due to any imperfections in the paint or the ground. There are some later cracks due to stresses over time with the paint film. It has been confirmed that early cracks seen on the X-ray imaging correspond to those visible on the surface.

In-depth studies of craquelure will show up even the finest and most expert restoration work, as the restorer tries to recreate the craquelure threads to be compatible with the surrounding surface that he has disturbed. Intense magnification will invariably identify where the match is not perfect.

The remarkably well-preserved state of the untouched natural craquelure on the surface of the ‘ Earlier Mona Lisa ’ was first pointed out by Dr. Seracini, and applauded by experts whose examinations followed. Indeed, very little restoration has been attempted on the painting throughout the centuries (in contrast to its Louvre sister), and those minimal restorations have only been located in peripheral and background areas.

An in-depth examination of the entire painting was carried out in 2011. Results showed that some minor restoration work to the paint surface of the background took place in the 20th Century, likely between 1926 and 1966. The retouching did not involve any of the important areas or sections such as the figure, hands or lower columns, but fortunately was concentrated in some areas of the sky above the trees, and on the right-hand side above the faded hills. During those procedures, it seems that some definition in the distant landscape was reduced due to possible over-cleaning.

The tree to the viewer’s left appears as if falsely enlarged due to the fading of the blue lake beneath it, on which it was originally reflected.

The copy of ‘Mona Lisa’ from the National Museum, Oslo, shows the original lake and tree reflection as astutely copied by the artist.

Ultraviolet Light Examination

Prior to the recent introduction of such sophisticated technology as ultra-high resolution multi-spectral cameras, the ‘ Earlier Mona Lisa ’ underwent numerous traditional procedures. Ultraviolet photography can be used to observe the coloured fluorescence characteristics of the pigments in the paint, and can help to identify them or differentiate between them. Any efficiency in ultraviolet light illumination will depend upon the phenomenon known as fluorescence that occurs on the surface of the painting.

Detail – Ultraviolet light examination.

Regarding the background, there are two areas on the left of the painting, and various smaller areas on the right, that fluoresce less than the adjacent paint. This could indicate some slight retouching or restoration to the original paintwork in those areas. In addition, some parts that appear slightly hazy in the fluorescence indicate the possibility that additional varnish may have been applied over the retouched spots. A subsequent scientific analysis of the pigments in 2005 verified that some areas of the painting carried more varnish than others.

Infrared Luminescence

The photographic results of the infrared luminescence examination penetrate just the upper surface layers, varnish in particular, for the purpose of making observations below these layers. Though the penetration is only partial, this process has the use of verifying observations made by ultraviolet fluorescence. With respect to this painting, there were no abnormalities other than the minor inconsistencies previously mentioned.

Infrared light is electromagnetic radiation with a wavelength longer than that of visible light. Infrared has the advantage of being able to penetrate deeper than ultra violet light and infrared luminescence. However, the results can only be studied photographically. Since infrared photography records only near infrared, the possibility of penetrating the pigments at these wavelengths is limited, which means that while thin, fairly light colours become transparent, certain other colours such as dark blues and greens based on copper pigments remain opaque. In the case of this Mona Lisa, the usual surface layers correspond to the infrared image.

False Colour Infrared

First introduced in 1910, false-colour imaging is today observed on a computer. The photograph in direct light, composed of red, blue, and green layers, is mixed with the infrared image. To achieve this, the blue layer is removed, and the three remaining layers are divided up as follows: the infrared becomes the red layer, the red image replaces the green layer, and the green image replaces the blue one. Often an ‘infrared filter’ is used: this lets infrared light pass through to the camera, but blocks all or most of the visible light spectrum.

The result provides information about the nature of the pigments used, and makes it easier to locate the changes, if any, made to the composition by the painter. The various analyses undertaken on the painting report that no changes were made to the composition.

Infrared Reflectography

Infrared Reflectography. This process can assist in revealing underdrawings, and in a recent test on the ‘ Earlier Mona Lisa ‘, provided information about the materials used and techniques employed.

This is a non-destructive process, pioneered in the 1950s, which is popular for analysing underdrawings in paintings. Based on the same principle as regular infrared photography, and using a slightly different system of detection, it is sensitive up to 2000 nanometers, making it possible to penetrate some opaque pigments. This method of examination is essential for studying a painting’s underdrawing if any, and can also provide information about the materials used (dry and fluid), the instruments and techniques employed, the development of the drawing, if any, as, for example, places where the original composition may have been altered or abandoned.

An examination in 2010 by Pascal Cotte did reveal clear underdrawings, and confirming it as an as an original painting.

X-Ray Examination

X-Radiography. A 2005 X-ray procedure on the ‘ Earlier Mona Lisa ‘, revealed the sequence in which the painting was executed; the figure, the columns, the sky, and then the landscape. This X-ray image also shows the stretcher behind the canvas, and the nails used to secure the canvas to it.

X-rays are absorbed by the white that contains lead and other dense pigments. They do not reveal pigments not containing lead, but they do show the sum of dense paint of all the superimposed layers. In an early examination of the painting, no other image was discernible below the surface image. In fact, the X-ray plates showed almost all the surface details, including the figure, the balustrade, and the columns with the bases. Only the background was not present, likely due to the amount of lead white.

In a later 2005 examination the X-radiography revealed the order in which the painting was executed. First the figure and columns, then the sky, and finally, the landscape. In an X-radiography detail of the head, the barely radiopaque materials used to paint the hair were outlined by the more radiopaque materials used in the sky.

2010 Multispectral Examination

Pascal Cotte of Lumiere Technologies in Paris conducted extensive spectral analyses of the painting using cutting edge equipment and methods that have been used to examine the Louvre ‘ Mona Lisa ’ and other Leonardo paintings, as well as to authenticate recent attributions to the master.

The multispectral imaging process revealed definite areas of underdrawing, as indicated by the white outlines above.​

A summary of the 2010 results of the analyses conducted on the ‘ Earlier Mona Lisa ’ are: • All pigments used were common on Leonardo’s palette, and were available at the beginning of the 16th Century in Florence. • The painting has some clear underdrawings, by the columns and elsewhere, signifying that it is not a direct copy of anything, and clearly an original work. • No handprint or fingerprint could be identified; a similar result as that for the Louvre ‘ Mona Lisa ’. • No traces were found of the glazing techniques developed only later by Leonardo during his ‘Second Milanese Period’ (1506-13). [The earliest known use of these techniques can be found in his famous cartoon: ‘ The Foetus in the Womb ’ c.1510. The Louvre version, by contrast, displays them, especially to demonstrate shadows and give the appearance of a three-dimensional effect to the eye] • The lady’s right elbow is resting on the arm of the chair, below which are very fine details, similar to the Louvre version that cannot be seen by the naked eye and likely only known to the artist. Mr. Cotte confirms that the artist was likely the same for both paintings. • Apart from obvious differences with the Louvre version, such as the columns, and the ages of the sitters, there are clearly many other small variations in what may appear at first glance to be the same: the embroidery knots, the sleeves, etc. This removes any doubt that either painting could have been a copy of the other.

Mr. Cotte confirmed that the scientific analysis undertaken with the Lumiere Technology multispectral camera fails to show any result that could indicate that the ‘ Earlier Mona Lisa ’ was not painted by Leonardo. In a 2015 Documentary aired on PBS in the United States, Mr. Cotte stated the following concerning the ‘Earlier Mona Lisa’: “ If we analyse the pigments, all the pigments are OK. So the Carbon dating is OK. The varnish is OK. The binder is OK. So technically, everything is OK. ”

*Editor’s note:  In December 2015, it was reported that Cotte had found a hidden portrait underneath the surface of the painting using reflective light technology. The portrait was claimed to be an underlying image of a model looking off to the side. Having been given access to the painting by Louvre in 2004, Cotte spent ten years using layer amplification methods to study the painting. According to Cotte, the underlying image may be Leonardo’s original Mona Lisa. However, Cotte himself admits this is only a hypothesis, and the majority of experts oppose this idea.

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Analysis of Mona Lisa by Leonardo Da Vinci

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Leonardo da Vinci

• Adoration of the Magi
• Anunciation

Lady with an Ermine

• Madonna of the carnation
• Portrait of Salai
• St John the Baptist
• St. Jerome in the Wilderness
• The Benois Madonna

The Last Supper

• The Virgin and Child with Saint Anne
• The Virgin of the Rocks
• The Virgin of the Rocks (The Virgin with the Infant Saint John adoring the Infant Christ accompanied by an Angel)
• Allegory with a Wolf and an Eagle

Crossbow Sketch

Portrait of Isabella d'Este

• The Adoration of the Magi
• The Virgin and Child with Saint Anne and Saint John the Baptist
• Vitruvian Man

• Date of Creation:
• Alternative Names:
• Portrait of Lisa Gherardini, wife of Francesco del Giocondo, La Gioconda
• Height (cm):
• Length (cm):
• Art Movement:
• Renaissance
• Created by:
• Current Location:
• Paris, France
• Displayed at:

Musée du Louvre

• Mona Lisa Page's Content
• Story / Theme
• Critical Reception
• Related Paintings
• Bibliography

Mona Lisa Story / Theme

The Mona Lisa is also known as Portrait of Lisa Gherardini, wife of Francesco del Giocondo, or La Gioconda and as well as being one of Leonardo da Vinci's favorite paintings, it remains the most famous artwork in the world. The artist carried the Mona Lisa with him until he died and was clearly aware of its significance. After the painting was produced there were questions raised about the identity of the sitter. While most people agreed that it was Mona Lisa Gherardini, the wife of Francesco del Giocondo, a Florentine silk merchant, a lot of people proposed it was, in fact, a self-portrait, and the facial features resemble a later self-portrait by Leonardo. However, despite the fact that little is known about the commissioning of the Mona Lisa, how long it took to complete or payment for the work, an early biography of Leonardo claims that it was indeed painted for Francesco del Giocondo and is a portrait of his wife. It's possible that this work was commissioned to mark one of two events - the purchase of a house in 1503 or the birth of the family's second son in 1502 after the death of their daughter three years earlier. The fine dark veil that covers Mona Lisa's hair is often believed to be a mourning veil, a piece of clothing worn to symbolize social status. Yet, the subject's clothing is rather simple and ordinary and neither her gown nor the scarf around her neck indicates her aristocratic standing. In 1911 the Mona Lisa was stolen from the Louvre Museum in Paris by a former employee who believed it belonged in Italy. The thief hid the painting underneath his painter's smock and left the museum. He had the painting for two years until he was seized by police and the work was safely returned to its original home.

Mona Lisa Analysis

Composition: The subject is viewed from a frontal position and is seated on a balcony. Her face stands out against two distinct areas in the background: a civilized landscape and an imaginary one. Although the observer has a bird's-eye view of this scenery, there is definite harmony between the figure and landscape. Mona Lisa is wearing very plain clothing which is markedly different from other costumes painted at the time. She wears a very dark, simple dress with a pleated bodice, with gold embroidery. The dress has a low neckline that exposes her chest. She is not wearing any jewelry and a scarf hangs from her left shoulder. There is a veil hanging over her slightly messy hair, believed to be a mourning veil. Color palette: Viewing the Mona Lisa today it appears rather drab, a mixture of dull yellow and brown tones. It seems that the work has been darkened by numerous coats of varnish that have yellowed with age. It is therefore likely that the painting was once more vibrant and colorful than it is now. Use of technique: In this work Leonardo uses sfumato - a technique where sharp edges are blurred by blended colors - which leaves the corners of the eyes and the mouth in shadow. This technique adds ambiguity to Mona Lisa's expression. Another technique employed by the artist is that of aerial perspective which means that the background of the image has been made to look hazier with fewer clear outlines than the foreground. Leonardo was one of the first painters to use this method to add greater depth to his artworks. Materials used: The Mona Lisa was painted on a poplar wood panel that was of extremely high quality and cut from a single piece of wood. On the back it appears that edging paper has been scraped off. An oak frame was used to strengthen the work in 1951 as it was slightly damaged. Use of light: Leonardo cleverly used light to define forms, model them and create a feeling of depth. His sfumato lines disappear into the shadows and into the light and he offers no contrasts or boundaries by faintly blending light and shade in a natural manner. The Mona Lisa is covered with a series of translucent glazes that add to the sense of depth and create a polished surface. Use of space: This painting is the earliest Italian portrait to concentrate on the sitter in a half-length depiction. Its vast dimensions mean that it includes the arms and hands without them touching the frame. Painted to a realistic scale, the portrait has the fullness of a sculpture. Mood, tone and emotion: The Mona Lisa is a visual representation of the ideal of happiness and the landscapes illustrated are very important. The middle distance, on level with the sitter's chest, is painted in warm colors. This is a humanized space complete with a winding road and bridge. This landscape represents the shift between the space of the sitter and the far distance, where the scenery becomes an uninhabited area of rocks and water which stretches to the horizon, which Leonardo has cleverly drawn at the level of the sitter's eyes.

Mona Lisa Critical Reception

Giorgio Vasari

The Mona Lisa earned its place in history thanks to Leonardo's innovative techniques in laying on the paint, his knowledge of anatomy, light, botany and geology, his interest human expression of emotion and his use of the subtle gradation of tone. Such techniques were also employed when he created other masterpieces such as The Last Supper and The Virgin of the Rocks . The Mona Lisa was highly influential in Florentine and Lombard art of the early 16th century. Some aspects of the work such as the three-quarter view of a figure against the countryside, the architectural setting and the hands joined in the foreground already existed in Flemish portraiture, particularly in the works of Hans Memling. However, in the Mona Lisa the spacial unity, the atmospheric illusionism, the grand scale and the sheer symmetry of the work were all original and were also new to Leonardo's work - none of his earlier portraits display such controlled splendor. The success of the Mona Lisa and its continuing popularity is all down to its mystery, more specifically, the elusive smile of the female. By subtly shadowing the corners of her mouth and eyes the viewer is left intrigued as to the exact nature her smile. Vasari, who is thought to have known the painting only by reputation, said that it "was so pleasing that it seemed divine rather than human; and those who saw it were amazed to find that it was as alive as the original" . He adds that the manner of painting would make even "the most confident master ... despair and lose heart. "

Mona Lisa Related Paintings

Portrait of Benedetto Portinari, Hans Memling

Francesco Sassetti and His Son Teodoro

Domenico Ghirlandaio

Portrait of a Lady known as Smeralda Bandinelli

Sandro Botticelli

Related works by the artist: Lady with an Ermine, 1490: Mona Lisa's famous smile represents the sitter in the same way that the ermine represents Cecilia Gallerani. With a more traditional pose and added sentimentality, Leonardo's Lady with an Ermine foreshadows the Mona Lisa in its inflection of light and the model's faint, subtle smile. Portrait of Isabella d'Este , 1500: None of Leonardo's rare portrait studies are linked to existing paintings. Some claim that this work is the only one truly comparable to the Mona Lisa. Related works by other artists: Hans Memling, Portrait of Benedetto Portinari, c. 1487: It was in the last quarter of the 15th century, in Italy and particularly in Florence, that artists aimed to convey the personality and physical traits of their subjects. The Mona Lisa combines several innovations, including the spatial solutions previously mastered by Flemish painters such as Hans Memling. Memling's portrait was hung in the Portinari Chapel in the hospital of Santa Maria Nuova in Florence in 1487 and Leonardo must surely have seen it. The Flemish principle, pioneered by Jan van Eyck in 1428, was developed to a larger scale by Florentine painters between 1485 and 1490. The Mona Lisa was inspired by such new developments and became a model for other artists. Domenico Ghirlandaio, Francesco Sassetti and His Son Teodoro, c. 1488: The Mona Lisa also drew on the formula that Domenico Ghirlandaio had experimented with twenty years earlier in this work which was the first large-format portrait. Sandro Botticelli , Portrait of a Lady Known as Smeralda Bandinelli, 1470s: Sandro Botticelli painted this life-size portrait just before the Mona Lisa was created. In Botticelli's work the model observes us from a space distinct from the observer's.

Mona Lisa Artist

Baptism of Christ

Andrea del Verrocchio

Although Leonardo da Vinci did not dedicate his entire career to painting, the medium he regarded so highly, it was the Mona Lisa that catapulted him to fame and established his reputation as an artistic genius. A landmark in his career, this work single-handedly combines his research into the landscape, the portrait and facial expressions. Da Vinci employed the technique of sfumato (often referred to as Leonardo's smoke) to produce the Mona Lisa. Other qualities of this work are the simple dress, the dramatic landscape background, the subdued color palette and the extremely smooth nature of the painterly technique, whereby the artist used oils but applied it much like tempera and blended it on the surface to hide any trace of the brush stroke. In the last decades of the 15th century the image of the winding river and path became a pictorial custom for spatial depth. Leonardo had already employed this motif when contributing to the work of his master, Verrocchio, in Baptism of Christ in 1472. With Mona Lisa, Leonardo reverted to the more archaic format of the profile probably due to the royal status of his model. Works such as Mona Lisa are among the most esteemed and reproduced works in the history of art, rivaled only by the masterpieces of Michelangelo. Despite the fact that Leonardo never completed many of his works, and even fewer have survived, he influenced generations of artists and is today regarded as a universal mastermind.

Mona Lisa Art Period

Michelangelo

Madonna and Child Enthroned with Saints

In art history, the High Renaissance was a time denoting the pinnacle of the visual arts in the Italian Renaissance. Most agree that the High Renaissance began in the 1490s, with Leonardo's fresco of The Last Supper in Milan and ended in 1527 with the sacking of Rome by the troops of Charles V. The High Renaissance was a time of outstanding artistic production in Italy and the best-known examples of Italian Renaissance painting derive from artists such as Leonardo da Vinci, Michelangelo and a young Raphael. The images in the Vatican by Michelangelo and Raphael are the epitome of High Renaissance art and their size, ambitious compositions, detailed figures and iconographic references to classical antiquity, are emblematic of this period. Although typically named as the three giants of the High Renaissance, Leonardo, Michelangelo and Raphael were not of the same age. Leonardo was the eldest; he was twenty-three when Michelangelo was born and thirty-one when Raphael was born. Raphael died in 1520 at the age of 37, the year after Leonardo, but Michelangelo's career spanned a further 45 years.

Mona Lisa Bibliography

To explore further about the life and works of Leonardo da Vinci please select from the following recommended sources. • Brown, David Alan. Leonardo da Vinci: Origins of a Genius. Yale University Press, 1998 • Da Vinci, Leonardo. Drawings. Dover Publications Inc. , 1980 • Jones, Jonathan. The Lost Battles: Leonardo, Michelangelo and the Artistic Duel That Defined the Renaissance. Simon & Schuster Ltd. , 2010 • Kemp, Martin. Leonardo da Vinci: The Marvellous Works of Nature and Man. OUP Oxford, 2007 • Marani, Pietro C. Leonardo Da Vinci: The Complete Paintings. Harry N. Abrams, Inc. , 2003 • Syson, Luke. Leonardo Da Vinci: Painter at the Court of Milan. National Gallery Company Ltd. , 2011 • Vezzosi, Alessandro. Leonardo da Vinci: Renaissance Man. Thames & Hudson, 1997 • Zollner, Frank & Nathan, Johannes. Leonardo Da Vinci: The Complete Paintings and Drawings. Taschen GmbH, 2007

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A Visual Analysis of a Painting- The Mona Lisa

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Trevon Mitchell

Freshman Composition -101B-02

Professor Ryan McGunkin

04-May-2020

The Louvre Museum in Paris, France, is the home to one of the most emblematic portraits ever done in the history of art and humankind because it houses the famous Mona Lisa painting. The Mona Lisa painting is a painting that was done by an Italian artist, Leonardo da Vinci in the 16th century. Measuring 77CM by 53 CM, the Mona Lisa is a painting that has all the visual elements that one thinks of in a piece of art (Leonardo, 65). A critical analysis of the visual elements of the art shows that the main them that the Mona Lisa art communicates and represents the theme of happiness, one of the best things that a person can have in their life.

The theme of happiness is evident in the Mona Lisa painting, and this is depicted by the amazing smile that the painting holds.

A visual analysis of the painting is simply done by simply looking at how the painting is simply done. In the portrait, Mona Lisa is sitting upright and also in a sideways chair. The face and the chest have been drawn in a way that it looks like they are facing the viewers. Mona Lisa has been drawn in a manner that her left arm is comfortably sitting on the armrest of the chair she is sitting on while her right arm is done in a way that it is crossing on her front (, Leonardo 78). One of the few things that makes the painting a unique painting that represents a theme of happiness is the aerial perspective of background landscape with some sort of smoky blues that do not show any sign of having a vanishing point ( Borkowski , 54-58).

Looking at the painting of Mona Lisa, one is able to see how happy happiness shines on her face meaning that the main theme shown by this painting is the theme of happiness. Happiness is a mental and also an emotional state of an individual that is gotten from having a pleasant or a positive emotion regarding a theme. A visual analysis of the painting, especially the choice of colors used in doing the painting shows happiness. The Mona Lisa art is done with simple but detailed colors that blend in with the smile to complete the theme of happiness in the painting. The artist used blue, yellow, and bright flesh colors, and these colors were in the renaissance period associated with happiness.

By looking at the atmosphere of the painting, one is able to tell that the artist took his time to draw the painting and blended in a happy atmosphere that is represented by the bright colors as dark colors are associated with sad times (Borkowski, 54-58).

Leonardo managed to blend in lighting into his painting to enhance his theme of happiness. Just like colors, light is normally associated with happiness, while darkness is, in most cases, associated with sadness or bad times, and that is why bad times are often referred to as dark times. In this painting, the artists used light in a clear way in that the lines are disappearing into shadows that have no boundaries (Borkowski, 54-58). The light used in the painting comes as a complement to other visual analysis elements such as mood tone and emotion of the picture. Mona Lisa’s painting shows how a fine texture of a painting can make a huge difference in communicating a certain theme. When a painting has a smooth texture, the painting is representing a good or a positive thing, and this is evident in the Mona Lisa painting, which has a smooth texture to represent a positive theme, which in this case scenario is happiness.

The Mona Lisa smile is a unique smile because it is complemented by the lack of eyebrows, which was done intentionally. The theme of happiness in this painting has been given so much attention by different artists and authors to the extent that in 2003, a movie was produced under the title The Mona Lisa Smile. Drawing its inspiration from how Mona Lisa’s smile was painted by Leonardo, the movie gives the theme of happiness in this painting more weight in an argument than anything else (Kontsevich, Leonid & Tyler, 44). In addition to that, the theme of happiness in the painting of Mona Lisa has been supported by scientific analysis of the painting, which concluded that Mona Lisa is indeed happy in the painting.

Works Cited

Borkowski, Joseph E. “Mona Lisa: the enigma of the smile.” Journal of Forensic Science 37.6 (1992).

Da Vinci, Leonardo. Mona Lisa. Becocci Editore., 2015.

Kontsevich, Leonid L., and Christopher W. Tyler. “What makes Mona Lisa smile?” Vision research 44.13 (2004): 1493-1498.

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“Mona Lisa Smile” Movie Analysis Essay

Introduction, plot summary, social issue addressed by mona lisa smile, examples of how the social issue is addressed, analysis of key moments.

Mona Lisa Smile is a film based in New England in the 1950s. The movie title references the famous art by Leonardo Da Vinci called Mona Lisa . The film is a drama about a teacher who travels to teach students in New England in a school called Wellesley. Throughout the film, there are references to social issues that affect women being addressed. The director uses art to present the way women’s role in society had been viewed in the 50s in America. Society at that time was largely patriarchal and women were seen as helpers. The main character, Katherine Watson, finds it hard to believe that women could accept to drop their ambitions in favor of getting married. Mona Lisa Smile criticizes the traditional views about women role only being mothers and wives and concludes that women have the right to make their own choices.

The setting of the movie is 1953, first in California than in New England where the school is based. Katherine applies for a job to teach art history at a school called Wellesley and is called for an interview. The school is prestigious and the students are well informed about traditional art history. Amanda, a nurse at the school for 21 years, tells Katherine that the students can be intimidating if they sense fear ( Mona Lisa Smile 5:42-5:46). The teacher realized that she had to use different methods to teach the students. Katherine centered her art class on three questions: what is art? Is art good or bad? what criteria can be used to decide these questions?

Wellesley school was more interested in ensuring that students understood their role either as a husband or a wife. Girls were taught that the only grade that matters is the one a husband gives for the performance of a wife and mother. Ironically, the teacher who taught the ladies how to poise and elocute was insecure and lonely. Ultimately, the ladies realized what Katherine was teaching them and finally started making their own choices. In the end, Katherine is surprised by the impact she had on the women in her class.

The film addresses the issue of women’s role in society. In the 1950s many people believed that women’s position was as mothers and wives. Society at that time was patriarchal and the director of the movie wanted to illustrate how most the women were forced to stop their careers and get married (Fatmawati). In the first 20 minutes of the movie the director presented the way different characters think. One of the students, Betty, was wealthy and was interested in following her mother’s conservative views about life. Her mother was a board member in the Wellesley school and had always taught her daughter to work hard and then find a wealthy husband. The girls at the school are taught foreign languages for them to be ready to host perfect dinner parties for their beau boss. The ladies are also taught how to poise and speak correctly when hosting dinner parties. Therefore, the main aim is to prepare the women for marriage and the men for work and further education.

The role of women in our society has always generated interest from various areas. Currently, women’s rights have become more advanced with many organizations pushing for equality. The way women are viewed at home has also changed as compared to in the past. Katherine tried to help the girls avoid making the mistake of failing to pursue their dreams. She talked with Joan, a bright student who had always wanted to pursue law and become a high-profile lawyer. However, she is disappointed when she learned that Joan had secretly been married and moved to Philadelphia. What frustrates her more is that Joan had to stay at home while her husband went off to graduate school. This meant that Joan would lose precious time that would have been used to further her education. The girls became consumed by the traditions imposed on them when growing up which prevents them from questioning why they are forced to follow the traditions. Through Katherine, the ladies learn of a different way of living life which leaves a lasting impact on them.

The need to have free will when making decisions in life has always been at the center of the arguments to bring equality. Women should not exist as though they depend on other people to make decisions. The 1950s was a period where the conservative ideas about society, in general, had taken root. Some of the women who desired to live a different life got criticism from their families and were forced to adhere to the traditional societal ideals (Kyle 227). In the movie, an argument ensues when Giselle tells Betty how she admires the way Katherine encouraged students to be independent. Betty was of a different view as she believed more in the conservative ideals imposed by the school.

One of the examples is when Katherine was getting to know the students and met Joan who was one of the smartest in the class. The meeting surprised Katherine because she realized that Joan intended to finish school and get married. When she asked Joan, what happens after getting married the student replied sarcastically “…then I will be married” ( Mona Lisa Smile 30:41). This shows that for the student marriage was the main objective after school. Being smart did not provide Joan with the motivation to continue her studies because of the way she was brought up knowing that marriage was important. While addressing the need for women to make their own choices, the director also addressed the importance of education. This is because without education the students would not have been exposed to different viewpoints about life.

Another instance happened when Katherine was teaching the students using her new model of teaching. A student questioned why married students were allowed to miss classes which forced Katherine to be strict with Joan. The missing class due to being married appeared a normal thing because of the conservative nature of the school. Joan threatened the teacher since she knew her mother was on the board and she would not be expelled. For Katherine, this situation presented an opportunity to ask for more support from the top management. However, she was told that change happens slowly which infuriated her. The director wanted to show the effects of early marriages on women’s ability to make better choices.

The other instance is when Betty got married but after some time the marriage fell apart. When she went to her mother for help, she was told to go back to her husband. Her mother did not want to listen to what she was saying instead she wanted her to go back immediately. This part illustrates the traditional views that were held by most of the older women and men. The position of women had greatly been diminished to that of a submissive person that has no free will (Fatmawati). In showing how Betty got shunned by her mother the director wanted to illustrate how hard it was for women to get support even from their families.

The lack of support that Betty experienced may affect the way a person perceives a situation. She was lucky to have a teacher who encouraged women to be independent. As a teacher, Katherine provided the girls with the ability to rediscover themselves. They were able to understand the importance of education in their life. Katherine wanted to raise women who would go and become the leaders of tomorrow. Her quest to change the way the school viewed women’s position in society was remarkable as it helped change other people’s life. Two of the girls applied for a law degree at Yale University and succeeded which shows that they were bright. Therefore, Katherine showed how important a teacher is in the life of students.

During the opening address by the head of the school, the students are told that soon one of their major roles will be to take care of their husbands and children. The address was to welcome the students to the school and tell them what the school expects of them. The speech was also a message to the girls about what society expects of them. The school reinforced these ideals by teaching students how to act when hosting parties for their husbands’ friends. Katherine is infuriated by the message provided to the students as it is against what she believes in. The idea that women should only perform the roles of wives and mothers was demeaning. This is because the students were smart enough to venture into enterprising courses that would be fulfilling. Some of the students, for example, Betty and Giselle, had a dream to enroll at Yale University.

Another key moment is when Katherine convinced Joan to apply to Yale University because of her interest in law school. She had already enrolled in pre-law which made the teacher aware of her interest. After the conversation with the teacher, Joan applied to Yale University and was accepted. However, she changed her mind and decided to get married to her fiancée, Tom Donegal. When the teacher got wind of the news, she became frustrated and angry that Joan had made that choice. Joan told the teacher that being a wife did not make her any less intelligent. Parents’ influence on children is strong because students follow what they learn and see (Morin 165). The decision to become a wife conformed to what the school wanted but was against what their teacher taught them. For the teacher, it was better to continue studies and venture into careers that they prefer. This part also indicates the role of the teacher in shaping the decisions of the students in a positive way (Kupfer 95). However, some of the students are influenced by their parents to adopt more conservative ideals that limit their independence.

When the school invited Katherine to continue teaching the school, it indicates how popular her class had become. It also showed the school had realized the importance of educating students to make informed choices and not putting limitations on their development. Betty, who had also chosen to get married, found Katherine as the only one who cared to listen and help her when her marriage got rocky. Eventually, she decides to divorce her husband and move to Yale university to start a law degree. She had decided to live a life of her own without worrying about what society thought. This was an indicator of how the influence of a teacher can help change the way people think and act. The teacher was able to have a profound influence on the students.

In conclusion, Mona Lisa Smile focuses on how women were viewed in society during the 1950s. The film portrays the Wellesley school as a conservative place where the women are taught how to be mothers and wives. They learn the right way to speak and pose at dinner parties. The main character, Katherine, tries to change this culture by teaching the students that there is a possibility of being independent by pursuing a career. Several of the students had an interest in going for further studies. Joan wanted to be a lawyer but chooses to get married instead. The action by Joan and Betty made Katherine angry because she thought they were serious about enrolling in further studies. In the end, the students realized the importance of education and their role as women in society. They learned that women can also make their own choices without conforming to what society tells them.

Fatmawati, Septi. Feminity of the 1950s on the movie Mona Lisa smile. Diss. Universitas Negeri Malang, 2018.

Kupfer, Joseph H. “Classroom Creativity: Pedagogical Adaptability in Film.” Journal of Higher Education Theory and Practice 20.1 (2020): 94-98

Kyle, Killian. “Mona Lisa Smile, Wit, and Teacher’s Pet: Three Depictions of Female Academics.” Journal of Feminist Family Therapy 29.4 (2017): 226-228.

Mona Lisa Smile . Directed by Mike Newell, performance by Julia Roberts, music by Rachel Portman, Sony Pictures, 2003

Morin, Céline. “Nuclear families and radical feminism in 2000’s American TV series.” International Journal of Media & Cultural Politics 15.2 (2019): 163-174.

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IvyPanda. (2022, July 19). "Mona Lisa Smile" Movie Analysis. https://ivypanda.com/essays/mona-lisa-smile-movie-analysis/

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Bibliography

IvyPanda . ""Mona Lisa Smile" Movie Analysis." July 19, 2022. https://ivypanda.com/essays/mona-lisa-smile-movie-analysis/.

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