The sitter's identity was ascertained
at the University of Heidelberg in 2005 by a library expert who discovered
a 1503 margin note written by Agostino Vespucci. Scholars have been of
many minds, identifying at least four different paintings as the Mona
Lisa and several people as its subject. Leonardo's mother Caterina in
a distant memory, Isabella of Naples or Aragon, Cecilia Gallerani, Costanza
d'Avalos—who was also called the "merry one" or La Gioconda,
Isabella d'Este, Pacifica Brandano or Brandino, Isabela Gualanda, Caterina
Sforza, and Leonardo himself have all been named the sitter. Today the
subject's identity is held to be Lisa, which was always the traditional
view.
A margin note by Agostino Vespucci from October 1503 in a book in the
library of the University of Heidelberg identifies Lisa del Giocondo as
the model of Mona Lisa.The painting's title stems from a description by
Giorgio Vasari in his biography of Leonardo published in 1550, 31 years
after the artist's death. "Leonardo undertook to paint, for Francesco
del Giocondo, the portrait of Mona Lisa, his wife...." (one version
in Italian: Prese Lionardo a fare per Francesco del Giocondo il ritratto
di mona Lisa sua moglie). In Italian, ma donna means my lady. This became
madonna, and its contraction mona. Mona is thus a polite form of address,
similar to Ma’am, Madam, or my lady in English. In modern Italian,
the short form of madonna is usually spelled Monna, so the title is sometimes
Monna Lisa, rarely in English and more commonly in Romance languages such
as French and Italian.
At his death in 1525, Leonardo's
assistant Salai owned the portrait named in his personal papers la Gioconda
which had been bequeathed to him by the artist. Italian for jocund, happy
or jovial, Gioconda was a nickname for the sitter, a pun on the feminine
form of her married name Giocondo and her disposition. In French, the
title La Joconde has the same double meaning.
Aesthetics
Detail of the background (right side)Leonardo used a pyramid design to
place the woman simply and calmly in the space of the painting. Her folded
hands form the front corner of the pyramid. Her breast, neck and face
glow in the same light that models her hands. The light gives the variety
of living surfaces an underlying geometry of spheres and circles. Leonardo
referred to a seemingly simple formula for seated female figure: the images
of seated Madonna, which were widespread at the time. He effectively modified
this formula in order to create the visual impression of distance between
the sitter and the observer. The armrest of the chair functions as a dividing
element between Mona Lisa and the viewer.
The woman sits markedly upright
with her arms folded, which is also a sign of her reserved posture. Only
her gaze is fixed on the observer and seems to welcome them to this silent
communication. Since the brightly lit face is practically framed with
various much darker elements (hair, veil, shadows), the observer's attraction
to Mona Lisa's face is brought to even greater extent. Thus, the composition
of the figure evokes an ambiguous effect: we are attracted to this mysterious
woman but have to stay at a distance as if she were a divine creature.[citation
needed] There is no indication of an intimate dialogue between the woman
and the observer as is the case in the Portrait of Baldassare Castiglione
(Louvre) painted by Raphael about ten years after Mona Lisa, and undoubtedly
influenced by Leonardo's portrait.
Detail of Lisa's hands, her right hand resting on her left. Leonardo chose
this gesture rather than a wedding ring to depict Lisa as a virtuous woman
and faithful wife. The painting was among the first portraits to depict
the sitter before an imaginary landscape and Leonardo was one of the first
painters to use aerial perspective.[20] The enigmatic woman is portrayed
seated in what appears to be an open loggia with dark pillar bases on
either side. Behind her a vast landscape recedes to icy mountains. Winding
paths and a distant bridge give only the slightest indications of human
presence. The sensuous curves of the woman's hair and clothing, created
through sfumato, are echoed in the undulating imaginary valleys and rivers
behind her. The blurred outlines, graceful figure, dramatic contrasts
of light and dark, and overall feeling of calm are characteristic of Leonardo's
style. Due to the expressive synthesis that Leonardo achieved between
sitter and landscape it is arguable whether Mona Lisa should be considered
as a traditional portrait, for it represents an ideal rather than a real
woman. The sense of overall harmony achieved in the painting—especially
apparent in the sitter's faint smile—reflects the idea of a link
connecting humanity and nature.
Mona Lisa has no visible facial
hair—including eyebrows and eyelashes. Some researchers claim that
it was common at this time for genteel women to pluck them out, since
they were considered to be unsightly. In 2007, French engineer Pascal
Cotte announced that his ultra high resolution scans of the painting provide
evidence that Mona Lisa was originally painted with eyelashes and eyebrows,
but that these had gradually disappeared over time, perhaps as a result
of overcleaning. For modern viewers the missing eyebrows add to the slightly
semi-abstract quality of the face.
