The Gioconda “of the Meadow” appears in society in the museum of Madrid

The Gioconda “of the Meadow” appears in society in the museum of Madrid

 

After a meticulous and detailed study and its restoration, the copy of The Gioconda, which survives in the collections of the Meadow from its foundation, appears in the Prado Museum.

 

One of the main contributions of this study is that of being a work gone out of Leonardo's workshop that was painted simultaneously to the execution of the original work.

 

During the whole process one has handled existing papers of both works, original and copy, there going so far as to be established the sequence of the achievement of Leonardo's Gioconda that survives, as well it is known, in the Museum of the Louvre.

 

Thanks to this process the original aspect of the copy one has managed to recover “from the Meadow” that now shines in all its splendor. Since it is possible to observe in the photos, one has proceeded to a rigorous cleanliness eliminating repaint them achieving that the picture recovers the fund identical to the original (he had "wrapped up" to heighten the feminine model or why it was not desirable that the scenery was unfinished). Also the magnificent conservation state is clear being able to enjoy details big clearness.

 

Now this picture is located like one of the testimonies most representative of the procedures of Leonardo's workshop. The responsibility has been revealed like work of some of the disciples of the Florentine teacher who were employed at its workshop and realized at the same time that the original version.

 

The table of walnut used as support, as well as the preparation of the same one with a double layer of plaster and oil of linen (instead of the plaster traditional one) has made the excellent conservation state possible. One, the table, and other one, the preparation, they were habitual in numerous works of Leonardo's workshop it gives-Vinci. Between others they were used for The Lady of Ermine or La Belle Ferronière.

 

«It is the most ancient and important copy of the work of Da Vinci. The differences rest on that The Gioconda “of the Meadow” has eyebrows and a different smile».

 

Thanks to the technological advances applied to the study of the art as the infrared reflectografía joined to the examination of the surface with light rasante it was discovered that a scenery existed under the black fund. Chemical analyses concluded that it was a question of one they repeat not previously to 1750.

 

Comparing the figures, the woman of enigmatic smile, it is observed that it has almost the same size and the most surprising thing is that each of the corrections of the underlying drawing of the original, recur in the work of the Meadow.

 

The conclusion of the studies they aim at a possible responsibility to a habitual collaborator of Leonardo like Boltraffio, Marco d'Oggiono or Ambrogio di Predis, who have a very definite personality. Nevertheless, it is possible to place it stylistically in an environment milanés, next to Salaï (1480-1524) or perhaps to Francesco Melzi (1493-1572/73), the pupils of more confidence of the teacher, heirs of its work.

 

The technical study has been realized by investigative Ann González Mozo of the Office of Technical Papers of the Prado Museum and the intervention has been executed by Almudena Sánchez Martín, restorer of the Prado Museum. Miguel Falomir Faus, chief of the department of Italian Painting (until 1700) of the Prado Museum, has coordinated the works.

 

These works do not contribute any thesis of the porqué of this exceptional copy. I appeal Juan Adriansens to whom, recently, I listened, in the radio, to a thesis on The Gioconda. The Gioconda was an order of Franceso Giocondo. But this portrait, the original, never came to its hands. Leonardo fell in love with its picture and all its life remained with him. Logically an order had to answer the same one to the being. For it he entrusts to one of its best disciples the copy that the same one supervises.

 

The painter and biographer Giorgio Vasari, in its work life of the most excellent architects, painters and Italian sculptors from Cimabue to our times, wrote:

 

It did for Francesco del Giocondo the portrait of its wife Mona Lisa and, in spite of dedicating the efforts of four years, it made it unfinished. This work has today king Francisco of France in Fontainebleau.

 

 

Against what the people could think, the work “of the Meadow” has not been discovered now. The Gioconda belongs to the collections of the Meadow from its foundation in 1819. The exact fact of its revenue is not known but he was already arranging to meet in the inventory of the Gallery of the Midday of the Citadel realized in 1666 like «a feminine portrait linked to Leonardo».

 

This work one can contemplate from February 21 until March 13 in the room 49 of the Prado Museum in Madrid. This is an opportunity. In the following days The Gioconda it goes away of trip to return along with its model, its original: five hundred years later! (and if there they have the copy and is this the original?). It moves to the head office of the Museum of the Louvre to inform in the exhibition of the Gallic capital that goes for title “L'ultime chef-d'œuvre of Léonard de Vinci, the Sainte Anne” (March 29 – June 25, 2012). Good trip, beautiful, and see you soon!

 

 

 

I recommend to you to throw a glance to this linkage for major information:

 

http://domuspucelae .blogspot.com/2012/02/museo-del-prado-sorpresa-en-la-limpieza.html

 

 

And also the visionado of two interesting videos:

 

Where Ann González Mozo, researcher of the Office of Technical Papers of the Museum and Almudena Sánchez Martín, restorer of Painting, comment on the technical study and the restoration of the copy of The Gioconda of the Prado Museum.

 

 

 

Where Gabriele Finaldi presents The Gioconda to us.

 Square Luisjo


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The Gioconda “of the Meadow” appears in society in the museum of Madrid | Magazine Atticus

The Gioconda “of the Meadow” appears in society in the museum of Madrid

The Gioconda “of the Meadow” appears in society in the museum of Madrid

 

After a meticulous and detailed study and its restoration, the copy of The Gioconda, which survives in the collections of the Meadow from its foundation, appears in the Prado Museum.

 

One of the main contributions of this study is that of being a work gone out of Leonardo's workshop that was painted simultaneously to the execution of the original work.

 

During the whole process one has handled existing papers of both works, original and copy, there going so far as to be established the sequence of the achievement of Leonardo's Gioconda that survives, as well it is known, in the Museum of the Louvre.

 

Thanks to this process the original aspect of the copy one has managed to recover “from the Meadow” that now shines in all its splendor. Since it is possible to observe in the photos, one has proceeded to a rigorous cleanliness eliminating repaint them achieving that the picture recovers the fund identical to the original (he had "wrapped up" to heighten the feminine model or why it was not desirable that the scenery was unfinished). Also the magnificent conservation state is clear being able to enjoy details big clearness.

 

Now this picture is located like one of the testimonies most representative of the procedures of Leonardo's workshop. The responsibility has been revealed like work of some of the disciples of the Florentine teacher who were employed at its workshop and realized at the same time that the original version.

 

The table of walnut used as support, as well as the preparation of the same one with a double layer of plaster and oil of linen (instead of the plaster traditional one) has made the excellent conservation state possible. One, the table, and other one, the preparation, they were habitual in numerous works of Leonardo's workshop it gives-Vinci. Between others they were used for The Lady of Ermine or La Belle Ferronière.

 

«It is the most ancient and important copy of the work of Da Vinci. The differences rest on that The Gioconda “of the Meadow” has eyebrows and a different smile».

 

Thanks to the technological advances applied to the study of the art as the infrared reflectografía joined to the examination of the surface with light rasante it was discovered that a scenery existed under the black fund. Chemical analyses concluded that it was a question of one they repeat not previously to 1750.

 

Comparing the figures, the woman of enigmatic smile, it is observed that it has almost the same size and the most surprising thing is that each of the corrections of the underlying drawing of the original, recur in the work of the Meadow.

 

The conclusion of the studies they aim at a possible responsibility to a habitual collaborator of Leonardo like Boltraffio, Marco d'Oggiono or Ambrogio di Predis, who have a very definite personality. Nevertheless, it is possible to place it stylistically in an environment milanés, next to Salaï (1480-1524) or perhaps to Francesco Melzi (1493-1572/73), the pupils of more confidence of the teacher, heirs of its work.

 

The technical study has been realized by investigative Ann González Mozo of the Office of Technical Papers of the Prado Museum and the intervention has been executed by Almudena Sánchez Martín, restorer of the Prado Museum. Miguel Falomir Faus, chief of the department of Italian Painting (until 1700) of the Prado Museum, has coordinated the works.

 

These works do not contribute any thesis of the porqué of this exceptional copy. I appeal Juan Adriansens to whom, recently, I listened, in the radio, to a thesis on The Gioconda. The Gioconda was an order of Franceso Giocondo. But this portrait, the original, never came to its hands. Leonardo fell in love with its picture and all its life remained with him. Logically an order had to answer the same one to the being. For it he entrusts to one of its best disciples the copy that the same one supervises.

 

The painter and biographer Giorgio Vasari, in its work life of the most excellent architects, painters and Italian sculptors from Cimabue to our times, wrote:

 

It did for Francesco del Giocondo the portrait of its wife Mona Lisa and, in spite of dedicating the efforts of four years, it made it unfinished. This work has today king Francisco of France in Fontainebleau.

 

 

Against what the people could think, the work “of the Meadow” has not been discovered now. The Gioconda belongs to the collections of the Meadow from its foundation in 1819. The exact fact of its revenue is not known but he was already arranging to meet in the inventory of the Gallery of the Midday of the Citadel realized in 1666 like «a feminine portrait linked to Leonardo».

 

This work one can contemplate from February 21 until March 13 in the room 49 of the Prado Museum in Madrid. This is an opportunity. In the following days The Gioconda it goes away of trip to return along with its model, its original: five hundred years later! (and if there they have the copy and is this the original?). It moves to the head office of the Museum of the Louvre to inform in the exhibition of the Gallic capital that goes for title “L'ultime chef-d'œuvre of Léonard de Vinci, the Sainte Anne” (March 29 – June 25, 2012). Good trip, beautiful, and see you soon!

 

 

 

I recommend to you to throw a glance to this linkage for major information:

 

http://domuspucelae .blogspot.com/2012/02/museo-del-prado-sorpresa-en-la-limpieza.html

 

 

And also the visionado of two interesting videos:

 

Where Ann González Mozo, researcher of the Office of Technical Papers of the Museum and Almudena Sánchez Martín, restorer of Painting, comment on the technical study and the restoration of the copy of The Gioconda of the Prado Museum.

 

 

 

Where Gabriele Finaldi presents The Gioconda to us.

 Square Luisjo


Bookmark

Filed file: Exhibitions

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