Art and Art History Collection (Saskia)
Files
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Publisher
Saskia, Ltd., Cultural Documentation
Abstract
Painted on a thin backing of poplar wood, the modeling of the face is astonishingly realistic. After preparing the wooden panel with several layers of coating, he first of all drew his motif directly onto the picture, before painting it in oil, adding very weak turpentine, which enabled him to paint on inumerable layers of transparent colour, known as glaze, and to endlessly remodel the face. The glaze, skilfully worked, heightens the effects of light and shade on the face, constituting what Leonardo himself called "sfumato". This technique enables the perfect imitation of flesh, due to refined treatment of the human figure plunged into half-obscurity or chiaroscurro, and enabled Leonardo to satisfy his preoccupation with realism.
Keywords
Madrid, Spain, Italy (Milan or Rome), Style: Renaissance, School: High Renaissance, Movement: High Renaissance, Italian, Painting, Painting
Geographic Location
Madrid, Spain; Italy (Milan or Rome)
Type
StillImage
Rights
This material is licensed by USF Libraries for the research and teaching needs of USF students, staff, and faculty only. See: https://lib.usf.edu/collections-and-discovery/collection-management/user-terms/
Access Restrictions
Only thumbnail images and descriptive information are available to non-USF users. Full access to this collection is available only to authorized users on the USF network on campus or via VPN.
Media Type
Paintings; Pictures
Holding Location
University of South Florida
Identifier
A01-LIF0426
Recommended Citation
Unknown, "La Giaconda Mona Lisa" (2022). Art and Art History Collection (Saskia). 2083.
https://digitalcommons.usf.edu/saskia/2083
