Mona Lisa Gaze Principle
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Hekking's Mona Lisa at Christie's Paris
« PRESS RELEASE - PARIS – THURSDAY 27 MAY 2021 - FOR IMMEDIATE RELEASE Hekking’s Mona Lisa at Christie’s Paris Online sale from 11 to 18 June 2021 EARLY 17TH CENTURY ITALIAN SCHOOL, FOLLOWER OF LEONARDO DE VINCI Hekking’s Mona Lisa Oil on canvas Estimate : €200,000-300,000 Paris - Christie's is pleased to present a famous early replica of the Mona Lisa in this beautiful interpretation known as the Hekking's Mona Lisa, named after its owner in the 1950s, Raymond Hekking (1866-1977), who acquired it from an antique dealer in a small village in the Nice area. This work and its history illustrate the fascination that the Mona Lisa and the aura of Leonardo da Vinci have always held. Consigned in the south of France through our regional representative Fabienne Albertini, this spectacular work of art with its incredible history and quality of execution is estimated at €200,000- 300,000. Pierre Etienne, International Director of Old Master Paintings: "Art challenges, fascinates, sometimes obsesses. Hekking's Mona Lisa that we are pleased to present bears the name of its owner and inventor, Mr Raymond Hekking (1886 - 1977). She is the perfect illustration of the fascination the Mona Lisa has always inspired and which she exerts more and more. She is the dream of a man with a passion for art. She is his Ideal. Raymond Hekking was her staunch defender among art historians and the world's media in the 1960s. She will be his Muse, he will be her Poet.” Raymond Hekking fascinated the world's media by trying to cast doubt on the authenticity of the original, on panel, preserved in the Louvre Museum in favour of his work. -
Il Caso Di Studio Della Mona Lisa
E DIVERSE POSSIBILITÀ DI VALUTAZIONE LDI UN’OPERA D’ARTE: IL CASO DI STUDIO DELLA MONA LISA Salvatore Lorusso Foreign Member of the Russian Academy of Natural Sciences con la collaborazione di Angela M. Braida e Andrea Natali Premessa Il presente scritto ha lo scopo di evidenziare l’importanza nel mondo dell’arte di alcuni aspetti da ritenere fondamentali per pervenire ad un giudizio corretto sull’opera d’arte oggetto di valutazione [1-10]. Essi sono: • il rispetto della “historia” che accompagna l’oggetto d’arte; • la correttezza della terminologia che, come tale, implica concetti e significati da osservare e seguire; • il percorso metodologico da impiegare allo scopo di fornire la risposta allo speci- fico quesito proposto, coinvolgendo necessariamente varie e sinergiche competenze scientifiche nel rispetto del valore olistico del bene culturale. Di seguito, quindi, in riferimento all’attuale e discusso tema dell’attribuzione e au- tenticazione delle opere d’arte, si discute su: a. le diverse possibilità di valutazione di un’opera d’arte distinguendo i differenti gradi di certezza nell’attribuzione; b. il corrispondente e completo percorso metodologico di valutazione; c. il caso di studio che si riferisce all’opera di Leonardo da Vinci considerata fra le più prestigiose di tutti i tempi “Mona Lisa – Gioconda”, un unicum nel mondo dell’arte; d. la sequenza riassuntiva che comprende le varie versioni e copie dell’opera vinciana come da fonti archivistico-bibliografiche; e. quale esempio emblematico di quanto in precedenza evidenziato, la trattazione sintetica dell’indagine di carattere storico e diagnostico-analitico del dipinto ad olio su tela “Gioconda con Colonne di San Pietroburgo” condotta allo scopo di fornirne la corretta attribuzione. -
ARSC Journal
HISTORICAL VOCAL RECORDINGS ROSSINI: Le Comte Ory. Michel Roux, basso (Robert); Jeannette Sinclair, soprano (Alice); Juan Oncina, tenor (Count Ory); Monica Sinclair, con tralto (Ragonde); Ian Wallace, baritone (The Governor); Cora Canne Meijer, mezzo-soprano (Isolier); Sari Barabas, soprano (Countess Adele); Dermot Troy, tenor (A Young Nobleman); The Glyndebourne Festival Or chestra and Chorus; Vittorio Gui, conductor. EMI RLS 744. "The delicious Comte Ory," wrote Chorley in 1854, "has, with all the beauty of its music, never been a favorite anywhere. Even in the theater for which it was written, the Grand Oplra of Paris, where it still keeps its place - when Cinti-Damoreau was the heroine - giving to the music all the playfulness, finish, and sweetness which could possibly be given - the work was heard with but a tranquil pleasure ••• " He goes on to blame the libretto (by Scribe and Delaistre-Poirson) which in its day was indeed rather shocking, with Count Ory's "gang" gaining admission, disguised as nuns, to the castle of the Countess he is pursuing - male voices and all! The opera was rediscovered in the 1950's and enjoyed a real success at Glyndebourne in 1954. The recording was made two years later. The New York City Opera finally got around to Le Comte Ory a year or so ago. There are several obvious reasons for the neglect of this gem of an opera. Though the score is full of delights there is no Largo al facto tum or Una voce poco fa. The arias are brilliant but not sure fire. It is not a vehicle; the soprano and tenor roles call for virtuosity of a high order, but this is an ensemble opera and no one can take over the spotlight. -
Mona Lisa: a Comparative Evaluation of the Different Versions S
ONA LISA: A COMPARATIVE EVALUATION OF THE MDIFFERENT VERSIONS AND THEIR COPIES Salvatore Lorusso* Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Andrea Natali Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Keywords: “Mona Lisa”, versions, copies 1. Introduction In a previous study [1], which included stylistic and diagnostic analyses, it was found that the oil painting on canvas “Mona Lisa with columns”, part of a private collection in a museum in St. Petersburg (Figure 1), is a copy of the “Mona Lisa” by Leonardo (Figure 2) dating to a period between 1590 and 1660. Noteworthy features include the good quality, readability and expressiveness emanating from the work, which presum- ably is of Nordic influence, specifically German-Flemish. Figure 1. Photograph in the visible of the painting “Mona Lisa with Columns”, St. Petersburg (oil on canvas 63.2 x 85.2 cm ) CONSERVATION SCIENCE IN CULTURAL HERITAGE * Corresponding author: [email protected] 57 Figure 2. The Louvre “Mona Lisa” More specifically, given the importance of the subject, which includes Leonardo’s well-known masterpiece, the conclusion that was reached in defining the above paint- ing a copy of the original, involved examining, from a methodological point of view, investigations carried out in 2004 on the Louvre “Mona Lisa” by the “Center for Re- search and Restoration of the Museums of France”, and published in “Au coeur de La Joconde – Léonard de Vinci Décodé”. This sequence of investigations – which were certainly not aimed at authentication – were examined together with those of the Na- tional Gallery in London, thus enabling comparisons to be made with other works by Leonardo [2-3]. -
Mona Lisa LEON BOTSTEIN, Conductor
Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence. -
Puzzles Games What Am I 2
What Am I? GUESS THE MYSTERY THING Here are some clues: I was born in 1503 in Florence, Italy. page 1 My twin lives in Madrid, Spain. page 2 I owe my fame to the study of anatomy. page 3 My name implies happiness. page 4 I am a child of the Renaissance. page 5 My admirers sing my praises. page 6 In my youth, I made the long journey from Italy to France. page 7 I tend to pose in a three-quarter position. page 8 When I was absent, people became more interested in getting to know me. page 9 I once had the opportunity to meet Jackie Kennedy. page 10 People claim that I am priceless. page 11 I have resided at many royal palaces. page 12 People are often disappointed by my size. page 13 The hair around my eyes is blatantly absent. page 14 I am nervous about being hit with flying objects. page 15 During World War II, I was sent away for safekeeping. page 16 I am celebrated the world over. page 17 Under my public exterior lies secrets to my past. page 18 I was once abducted from my home. page 19 My fans frequently send me cards, letters, and emails. page 20 Pablo Picasso was accused of abducting me. page 21 My creator was a part of the last supper. page 22 I belong to the French government. page 23 Many people have speculated about my smile. page 24 If you visit the Louvre Museum in Paris, you will see me. -
The French History of Leonardo Da Vinci's Paintings
The French History of Leonardo da Vinci’s Paintings Laure Fagnart A TURSO, dove se dimorò per tucte le nove del mese, do The date is 10 October 1517. In his travel journal, Antonio de Beatis Dpoi pranso se andò ad Amboys distante VII leghe [...]. In uno recorded the meeting between his patron, Cardinal Louis of Ara- de li borghi el signore [Louis of Aragon] con noi altri andò ad gon, and Leonardo da Vinci, who, a few months earlier, had set up videre messer Lunardo Vinci firentino, vecchio de più de LXX anni home in the manor of Cloux. As we well know, this entry is a de- [the painter was 65 years old, actually], pictore in la età nostra excel- cisive one. It helps us to gain a clearer picture of the master’s daily lentissimo, quale mostrò ad sua Signoria Illustrissima tre quatri, uno life in the Loire Valley; it also helps us to deduce that the Italian di certa donna firentina, facto di naturale, ad instantia del quondam had brought part of his artistic and scientific equipment to France. magnifico Iuliano de Medici, l’altro di san Iohanne Baptista giova- The master actually showed his hosts certain paintings – a portrait ne, et uno de la Madonna et del figliolo che stan posti in gremmo of a Florentine lady, a young St. John the Baptist, and a Virgin and de sancta Anna, tucti perfectissimi. Ben vero che da lui per esserli Child with St. Anne – as well as projects involving machines and venuta certa paralesi ne la dextra non se ne può expectare più cosa anatomical studies. -
A Multidisciplinary Study of the Tongerlo Last Supper 0722
A Multidisciplinary Study of the Tongerlo Last Supper and its attribution to Leonardo da Vinci’s Second Milanese studio Jean-Pierre Isbouts, Fielding Graduate University, Santa Barbara, CA, and Christopher Brown, Brown Discoveries, LLC, North Carolina This article presents the findings from a two-year study of the Last Supper canvas in the Abbey of Tongerlo, Belgium, including a detailed review of its provenance as well as a digital analysis and multispectral study conducted by the Belgian company IMEC in the Spring of 2019. The design of the study is a composite multidisciplinary approach, with traditional connoisseurship and literary research being augmented by scientific examination, using new digital processing and multispectral imaging techniques. The article argues that based on the available evidence, the Tongerlo Last Supper was produced in Leonardo’s Milanese workshop between 1507 and 1509, as a collaborative project involving the Leonardeschi Giampietrino, Andrea Solario and Marco d’Oggiono under Leonardo’s supervision. Furthermore, the infrared spectography scans suggest that the face of John in the painting may have been painted by Leonardo himself. The study was funded by IMEC Belgium; Fielding Graduate University of Santa Barbara, CA; Brown Discoveries, LLC of North Carolina, and conducted with the gracious permission of the Premonstratensian Abbey of Tongerlo, Belgium. Key words: Leonardo da Vinci (1452-1519); Last Supper; Technical Art History; Multispectral Imaging; the art of the Leonardeschi. Fig. 1. Studio of Leonardo da Vinci, Last Supper (after Leonardo), known as the Tongerlo copy, 1507-1509. Introduction For the last 450 years, the Tongerlo canvas of the Last Supper has been quietly occupying a wall in a chapel on the grounds of the Premonstratensian Abbey of Tongerlo near Westerlo, about an hour’s drive from the Belgian city of Antwerp. -
The Mona Lisa, by Leonardo Da Vinci Keywords
Art Masterpiece: The Mona Lisa, by Leonardo da Vinci Keywords: Renaissance, sfumato, portrait Grade(s): 5th & 6th Activity: Portrait proportions About the Artist: Leonardo da Vinci was born in 1452 in a little town named Vinci (near Florence) Italy. His name translates to Leonardo from the town of Vinci. As a boy he loved to study and draw things he found outdoors in nature. He was from a wealthy family but had very little formal education. At 15 he worked as an apprentice to a famous Italian artist but Leonardo’s talent soon surpassed him. At 25 he left his mentor and set up his own business. Although we usually think of da Vinci as an artist, in truth he had considerable talents in almost anything he did. He was an artist, inventor, musician, scientist, mathematician, physicist and botanist. Because da Vinci was so interested in different subjects; painting was not usually his main focus. He was also a procrastinator! There are only 17 paintings attributed to him and many of them are unfinished. Chandler Unified School District Art Masterpiece Program, Chandler, Arizona, USA Leonardo da Vinci is considered a Renaissance artist. The Renaissance is a period of European history that bridges the end of the Middle Ages and the beginning of the Modern world. One of the distinguishing features of Renaissance art was its development of highly realistic artwork and linear perspective. Artists also developed other techniques, studying light, shadow, and, famously in the case of Leonardo da Vinci, human anatomy. Renaissance artists wanted to show the beauty of nature. -
Leonardo Da Vinci's Gioconda and the Yellow Shawl Observations On
Knauer:ambrosini 14-02-2010 18:15 Pagina 1 1 LEONARDO DA VINCI’S GIOCONDA AND THE YELLOW SHAWL OBSERVATIONS ON FEMALE PORTRAITS IN THE RENAISSANCE ELFRIEDE R. (KEZIA) KNAUER Dedicated to Almut Mutzenbecher Abstract Interest in Leonardo’s Gioconda – l’illustre incomprise as André Chastel once described her – has ebbed and surged over the years. A high tide is just receding after the publication of a document in 2008 which appeared to settle the question of the sitter’s identity once and for all: a handwritten note in an incun- able, dated 1503, states that the artist has begun to paint a head of “Lise del Giocondo”. For many scholars and certainly for a large public, she is now incontrovertibly the wife of a Florentine silk merchant. However, doubts remain and have been expressed by some experts, if only briefly. In this study I propose to approach the identity of the Gioconda by determining first the social position of the person depicted. By presenting and interpreting distinctive sartorial ele- ment in images of females of Leonardo’s time, we shall reach Knauer:ambrosini 14-02-2010 18:15 Pagina 2 2 Raccolta Vinciana firmer ground on which to proceed. The elements – foremost a shawl – are specifically prescribed in contemporary legal docu- ments as is their color, multiple shades of yellow. The color con- notations are informed by traditions going back to antiquity. The same holds true for certain facial traits and bodily poses of the individuals depicted; they are standardized features that deprive these paintings of the claim to be portraits in the accepted sense yet intentionally add tantalizing touches. -
Redalyc.Pablo Picasso, Art Thief: the “Affaire Des Statuettes” and Its Role
Arte, Individuo y Sociedad ISSN: 1131-5598 [email protected] Universidad Complutense de Madrid España Charney, Noah Pablo Picasso, art thief: the “affaire des statuettes” and its role in the foundation of modernist painting Arte, Individuo y Sociedad, vol. 26, núm. 2, 2014, pp. 187-198 Universidad Complutense de Madrid Madrid, España Available in: http://www.redalyc.org/articulo.oa?id=513551291001 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Pablo Picasso, art thief: the “affaire des statuettes” and its role in the foundation of modernist painting Pablo Picasso, ladrón de arte: “el caso de las estatuillas” y su papel en la fundación de la pintura moderna NOAH CHARNEY Professor of Art History, American University of Rome and Founder and President, ARCA (Association for Research into Crimes against Art) [email protected] Recibido: 28 de agosto de 2012 Aceptado: 23 de enero de 2014 Abstract When the Mona Lisa was stolen in 1911 by the Italian handyman Vincenzo Peruggia, both Pablo Picasso and Guillaume Apollinaire were brought in by the Paris police for questioning. They were in- nocent of having stolen the Mona Lisa, but they were in fact guilty of having stolen other art from the Louvre—for in Picasso’s dresser lay hidden several ancient Iberian statue heads that had been stolen from the Louvre in 1907 by Apollinaire’s secretary, Honore-Joseph Gery Pieret, almost certainly on commission from Picasso himself, who may also have assisted in the theft. -
Mona Lisa Key of Db Sheet Music
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