My summer holiday destination has to be the Paris image Expo because of my love for art. I accompanied my colleague at work for the month-long recess. My colleague, Carragher, was an arrogant being who never bothered respecting and appreciating things. As we entered the Expo that morning, we were attracted by the below fine art at the venue. He rapidly responded, “My kid is capable of doing that.” Little did he know that the portrait had inner meaning. I had a hard time to convince Carragher about the image and its complexity.
No signature or date is given to Mona Lisa. The title is derived from a biography by Giorgio Vasari, an artist from the 16th century. As normal, Leonardo always procrastinated the painting-especially the location of the hands of the subject. He managed to focus on this for another 20 years until it was eventually finished around 1550. The artwork is now in the temperature-regulated protection box at the Louvre. The artwork is possibly the finest example ever of a portrait. This is among the largest 15th as well as 16th-century renaissance art pieces. The image depicts the subject in a chair, sitting sidewards, with her face as well as chest facing the viewer slightly; a pose extracted from the pyramid picture of a sitting Madonna. The left arm rests comfortably upon the chair’s armrest and therefore is clutched by the right arm hand, which crosses the front. The positioning of her arms and the armrests creates a feeling of a gap between the fan and the sitter.
The ultimate feeling depicted by Mona Lisa’s image is that of great serenity and mystery. The serenity emerges from the calm color scheme, the calming sfumato tone and the balance produced by the pyramid and understated drapery of the sitter. There are several aspects to the mystery: first, her mysterious half-smile; next, the look directed to the viewer’s right hand; her hands that are slightly surreal, lifeless like belonging to a different entity. Leonardo ‘s contribution to oil painting art is exemplified by Mona Lisa, namely his brilliance of sfumato. The painting process includes the gentle and almost imperceptible change, by ultra-subtle gradation tones, from one color to another. The use of sfumato in Leonardo ‘s soft contour around the face of Lisa Gherardini, eyes and mouth is noticeable throughout the sculpture.
The backdrop scenery was created from aerial perspectives with all its smoky blues as well as not obvious defined point of vanishing. It has considerable compositional complexity, but its specifics show a substantial difference between both the (greater) right rock horizon and the (lesser) left flatlands. This disequilibrium adds to the minimally surreal picture’s atmosphere. The Mona Lisa’s eyelash and eyebrows lack is another somewhat surreal element. That wasn’t the artist’s deliberate act, as scans reveal that both of them were initially given. The color pigment used for such facial features might have blurred or been lost unintentionally during washing.