Mona Lisa replicas and reinterpretations - Wikipedia
Leonardo da Vinci's Mona Lisa is one of the most recognizable and famous works of art in the Replicas of Mona Lisa date back to the 16th century, including sculptures and etchings inspired by the painting. But even .. Daily News online. Tales of the Diaspora: Burning The Mona Lisa -Part 01 - rozamira.info Join the NSAs new online dating service. To smile or not to smile.. That is one of the questions we cover during our shoot. As a professional online dating profile photographer, I love.
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The artwork, dating to the midth century, is in the collection of the National GalleryPrague. Titled Le Rire The Laughthe artwork was displayed at the " Incoherents " exhibition in Paris at the time of its creation, making it among the earliest known instances of Mona Lisa's image being re-interpreted using contemporary irony.
Further interpretations by avante garde artists beginning in the early 20th century, coinciding with the artwork's theft, attest to Mona Lisa's popularity as an irresistible target. Dadaists and Surrealists were quick to modify, embellish and caricature Mona Lisa's visage. At left, a wood engraving faithful to Leonardo's original, by Timothy Cole Marcel Duchampamong the most influential artists of his generation, in may have inadvertently set the standard for modern manifestations of Mona Lisa simply by adding a goatee to an existing postcard print of Leonardo's original.
Duchamp pioneered the concept of readymadeswhich involves taking mundane objects not generally considered to be art and transforming them artistically, sometimes by simply renaming them and placing them in a gallery setting. The title, Duchamp is said to have admitted in his later years, is a pun. Contemporary conceptual artist Subodh Gupta gave L.
Gupta, from India, considers himself an "idol thief" and has reinterpreted a number of iconic works from European art history. Mona Lisa is also referenced in artwork by Contemporary art luminaries such as Jasper Johns and Robert Rauschenbergadding to the veritable " who's who " list of artists putting their own spin on the portrait. Street artists such as Jean-Michel Basquiat and Keith Haringwho came into prominence in the s, created "Federal Reserve Note" and "Apocalipse 7", respectively, juxtaposing Mona Lisa within compositions suiting their styles.
Contemporary commercialization[ edit ] Mona Lisa's iconic face has been available for years in all forms, reproduced on everything from birthday cards to refrigerator magnets,  appearing in advertisements for fashion and travel industries, and on the cover of magazines. Struggling artists in China paint them by the hundreds to supply the demand of American and European markets, and Mona Lisa is among the most popular requests. Working in cramped studios, or at home with children running around, these artists can earn a few hundred dollars US for a weeks worth of work on paintings which are then sold retail through mail-order catalogues.
Replacing Mona Lisa's face or head altogether is another common motif; substituting the head of an animated character such as Betty Boopfor example. The inspiration for the series, she says, came to her while watching a documentary about Mona Lisa. Having settled upon the cow motif, she then formulated puns befitting her chosen subjects; whereby Mona Lisa became Moo-na Lisa. And in My Little Pony: Unconventional interpretations[ edit ] Mona Lisa replicas are sometimes directly or indirectly embellished as commentary of contemporary events.
Exhibitions or events with ties to Leonardo da Vinci or Renaissance art also provide an opportunity for local artists to exploit Mona Lisa's image toward promoting the events.Fugees - Nappy Heads
Ina replica of Mona Lisa was pieced-together using precious gemstones by a jewelry collector in China. Using approximatelycarats of multi-colored jewels amassed over 30 years, the replica required five years to complete.
The resulting artwork was publicly displayed at a Shenyang City shopping center.
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The one initial creation led to a full series of eight masterpiece replicas commissioned by a California jelly bean company as a publicity stunt and addition to the company's collection. Although his rendition drew media attention, it was never officially reported whether he had, in fact, broken any existing record.
Giocondo is an adjective, meaning 'jocund', so this traditional name for the painting could have originated as a purely descriptive title - the witty or playful one, the joker-lady, perhaps even the tease. Vasari's 'Monna Lisa' certainly existed. She married Francesco di Bartolomeo del Giocondo inat the age of 16; he was a well-to-do businessman in his mid-thirties, already twice widowed.
Bythe presumed earliest date for the portrait, she had borne two sons, and a daughter who had died in infancy. But is Vasari right that this otherwise obscure year-old Florentine housewife is the woman whose portrait now hangs in the Louvre?
No mention is made of her in other early sources; in fact some of them implicitly argue against her. The painter Gianpaolo Lomazzo, for instance, who knew Leonardo's executor Francesco Melzi, described the woman in the picture as a Neapolitan.
Lomazzo elsewhere throws a spanner in the works by describing La Gioconda and Monna Lisa as two distinct works: Another old tradition, that the Gioconda was a 'courtesan', does not tally at all with the historical Lisa. This idea was current in the midth century, when Father Pierre Dan felt compelled to clear her name: Two scraps of documentation exist for the painting prior to Vasari's account.
The first mention of it is by Antonio de Beatis, secretary to Cardinal Luigi d'Aragona, whose diary records their visit to Leonardo's studio in France in August There the ageing maestro showed them three paintings: This has led to the dating controversy mentioned above, and to other candidates for the famous face. There is Giuliano's mistress, a young widow named Pacifica Brandino, who bore him a child in - the funereal black veil which covers the Mona Lisa's hair might allude to her widowhood.
And there is the beautiful Isabella Gualanda, who was in Rome at the right sort of time; who is mentioned suggestively in de Beatis's diary on the day after his visit to Leonardo; and who turns out to be a cousin of Cecilia Gallerani, whose portrait Leonardo had painted the Lady with an Ermine in Milan in the late s. Either of these women might plausibly have been painted at Giuliano's 'instigation', and the resulting portrait might have remained in Leonardo's hands when Giuliano became a married man, as he did in early However, neither of them was from Florence, which is required by de Beatis's diary entry though Isabella Gualanda does fulfil Lomazzo's criterion by being Neapolitan.
These trails tend to double back on themselves, and the rival claimants start to look pretty thin. As Sassoon drily observes, it is mainly the "paucity of evidence" which "keeps the experts divided". The other early document, unearthed in the Milanese archives about ten years ago by Janice Shell and Grazioso Sironi, seems to strengthen the case for Vasari's Lisa.
It is an inventory of the possessions of Gian Giacomo Caprotti, known as 'Salai' or Little Devilwho was Leonardo's pupil and companion for nearly 30 years. Some of these have titles corresponding to known works by Leonardo, and the high values assigned to them suggest they were thought of as originals rather than copies.
Among these is "a painting called La Joconda", priced at lire. Whether this is the original or a copy, it shows that the painting was known as La Gioconda some years earlier than Vasari's identification of its subject as Lisa del Giocondo.
This strengthens Vasari's case but does not prove it: A small documentary curiosity which has not been commented on: Discarding the supernumerary Latin 'h', one arrives at the curious idea that the clerk who wrote this list thought the painting was called La Onda, or 'The Wave'.
In a strictly chronological sense this is the painting's first known title. There are many other identifications.
Mona Lisa: The Ad World’s Favourite Muse
One line of argument is that the Mona Lisa began life as a portrait of the rich and capricious Isabella d'Este. Leonardo's black chalk drawing of her, probably done in Mantua inhas something of the pose, and if you turned her face from the profile something of the look of the Mona Lisa.
For Freud the famous half-smile was a recovered memory of Leonardo's mother; for others the painting is an idealised portrait representing no one in particular, or it is a depiction of chastity. All in all, it may be best to follow the example of Martin Kemp, whose study of the artist laconically captioned the painting Portrait of a Lady on a Balcony - though even this will not satisfy those denizens of the Mona Lisa websites and news groups who believe that she is really a man, and perhaps even Leonardo himself in drag.
No doubt the mysteries of her identity are an essential part of the appeal. The various solutions are self-cancelling: The face in the portrait is "indeterminate', Sassoon observes, and so becomes a 'terrain for infinite variations'.
It is these variations which are the true subject of his book. He canters entertainingly through the painting's early years, but his main concern is with its transformation into a global cultural icon. An element in this was essentially a historical accident: Why did gorgeous Leonardo ladies like Cecilia Gallerani and Ginevra de' Benci both seemingly sexier than the sallow, broad-browed Gioconda not catch the collective imagination as she did?
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One answer is that during the 19th century - the key period in her route to celebrity, according to Sassoon - the Gioconda was drawing the crowds in Paris, while Cecilia and Ginevra were languishing in private collections in Krakow and Liechtenstein. The myth of the Mona Lisa was born out of 19th-century northern Europe's fascination with the Italian Renaissance in general, and Leonardo in particular. It was also, Sassoon shows, intimately bound up with the morbid Romantic fantasy of the femme fatale: An important figure in the Gioconda's elevation to fatal status was the novelist, art critic and hashish-smoker Theophile Gautier.
For him she was "this sphinx of beauty who smiles so mysteriously"; her "divinely ironic" gaze intimates "unknown pleasures"; she 'seems to pose a yet unsolved riddle to the admiring centuries' and so on. As Sassoon hardly needs to add, Gautier was projecting onto the painting "images and fantasies haunting his own psyche". In a telling aside during one of his rhapsodies, he remarks: