The Mona Lisa and Later Works

In 1499, a significant political shift occurred in Milan, which directly affected Leonardo da Vinci's position and safety in the city. Duke Ludovico Sforza, Leonardo's primary patron, faced a military invasion by the French.

The French forces, led by King Louis XII, wanted to lay claim to the Duchy of Milan based on Louis XII's assertion of his descent from the Visconti family, which had earlier ruled Milan.

Ludovico Sforza tried to resist, but by the end of 1499, Milan was captured by French forces, and Ludovico was taken prisoner in France, where he died in captivity.

Given Leonardo's close association with the Sforza court, the fall of the Duke and the consequent shift in power made Milan a less hospitable place for the artist, and Leonardo decided to leave Milan for a period of travel in Italy, including his native Florence in 1500.

During this time, Florence was undergoing its own set of changes, having transitioned from the rule of the Medici family to the Republic after the expulsion of Piero de' Medici in 1494.

In this Florentine setting, around 1503, Leonardo began work on the portrait of Lisa Gherardini, wife of Florentine silk merchant Francesco del Giocondo, which we today know as the 'Mona Lisa' or 'La Gioconda.'

It was possibly a commission, though we do not know this for certain.

This period in Florence was particularly fruitful for Leonardo artistically, with him undertaking several significant works, the 'Mona Lisa' being the most iconic among them.

It’s generally believed that Leonardo painted the “Mona Lisa” or “La Gioconda” between 1503 and 1506, but that he continued to refine it intermittently until as late as 1519.

This extended period of work on a single painting is indicative of Leonardo's meticulous character and his relentless pursuit of perfection.

It also suggests that the Mona Lisa was a project of great personal significance to him, one that he was unwilling to rush or compromise on, casting some degree of doubt over its status as a mere commission.

The Mona Lisa is unusual in several respects, but one of the most obvious differences is the format of the painting: the Mona Lisa is a half-length portrait.

This was unusual for the time, as most portraits were either full-length or busts. It was not unheard of for Leonardo, however. The 'Lady with an Ermine,' is another prominent example of this format in his work.

By depicting Lisa del Giocondo from the waist up, Leonardo was able to convey her personality and presence more vividly. The half-length format allowed him to depict her hands and the intricate folds of her dress.

Despite its fuller view of Lisa Gherardini, when visitors first see the 'Mona Lisa' at the Louvre Museum in Paris, many are surprised by its overall small size, especially when juxtaposed against its large frame, as well as the vast crowds that typically gather around it.

The painting measures just 77 cm in height and 53 cm in width (about 30 x 20.9 inches).

The natural landscape in the background of the Mona Lisa is an important element of the painting, often overlooked. However, closer examination reveals a plethora of detail and a deep appreciation for the natural world. The landscape is rendered in impressive detail, incorporating mountains, water, and winding paths. It does a wonderful job of enhancing the presence of the subject, providing a backdrop against which she stands out.

The natural background also demonstrates Leonardo's mastery of “atmospheric perspective”, a technique that involves creating the illusion of depth by subtly changing the color and clarity of objects as they recede into the distance. This technique contributes to the overall sense of realism and depth in the painting, making the landscape seem like a tangible, three-dimensional space.

The Mona Lisa's smile is one of the most discussed and analyzed aspects of the painting. It has intrigued viewers for centuries and has sparked much debate and speculation.

Many viewers believe that the Mona Lisa’s expression appears to change when observed from different angles. From some perspectives, she appears to be simply smiling, while from others, her expression seems more neutral or sullen. Some believe it reflects Leonardo's understanding of human psychology, while others see it as a clever artistic trick designed to engage the viewer.

The eyes of the Mona Lisa are renowned for being remarkably lifelike, mysterious and expressive, and an excellent example of sfumato at its best.

This technique allowed him to capture the subtle play of light on the eyeballs as well as the surrounding skin. It also contributed to their sense of transparency and depth, resembling real eyes and even making them appear to follow the viewer as they move around the room.

He also managed to add a touch of luminosity and realism to the eyes by adding a small, bright highlight in the center of the iris.

Initially, the Mona Lisa was admired primarily by artists and scholars as part of Leonardo’s relatively small collection of surviving artwork. However, its high-profile theft from the Louvre in 1911 and subsequent return to the Louvre brought it to the attention of the general public.

This event, which was widely reported in the media, transformed the Mona Lisa from a respected work of art into a cultural phenomenon.

Over time, the Mona Lisa has become a symbol of high culture and is often used in popular culture to represent art itself. It has been reproduced, parodied, and referenced in countless ways, from advertisements to movies to internet memes.

Other notable works of Da Vinci date to the period in which the artist was known to be working on the Mona Lisa.

'The Head of a Woman' (often referred to as 'La Scapigliata") is an unfinished artwork by Leonardo da Vinci, created around 1508.

This delicate piece, executed using oil on wood, is renowned for its intimate portrayal of a young woman with disheveled hair, which lends the work its name 'La Scapigliata,' translating to 'disheveled' in Italian.

Measuring 24.7 cm x 21 cm, 'La Scapigliata' is characterized by soft, smoky gradations. The painting can be seen as a study or experiment in naturalism. The tousled hair, delicate features, and incomplete nature of the work suggest spontaneity and keen observation.

Presently, it is housed in the Galleria Nazionale di Parma, Italy.

Leda and the Swan' is a lost work by Leonardo da Vinci, believed to have been created between 1503 and 1506. Based on the mythological tale, the artwork depicted the seduction of Leda, the queen of Sparta, by Zeus, who took the form of a swan.

While no original versions survive, its significance is underlined by the numerous copies and sketches made by other artists of the time, preserving its composition and details.

It's known that Leonardo represented Leda in a standing position, tenderly embracing the swan with an accompanying backdrop of nature, emphasizing themes of fertility and union.

Leonardo's constant experimentation with materials and techniques, leading to the instability of some pieces, might have contributed to the work's eventual deterioration and loss.

'Saint John the Baptist' is one of Leonardo da Vinci's later works, believed to have been painted between 1513 and 1516. Currently, 'Saint John the Baptist' is housed in the Louvre Museum in Paris.

The artwork portrays a youthful Saint John in isolation, depicted with Leonardo's characteristic sfumato technique, where sharp outlines are eschewed in favor of soft, smoky transitions.

In the dim light, Saint John gestures upward with one hand, while holding a cross made of reeds in the other, symbolizing his role in baptizing Jesus and foretelling Christ's crucifixion. His enigmatic smile and direct gaze have drawn comparisons with the 'Mona Lisa.'

Created during the last years of Leonardo's life, the painting reflects the culmination of his artistic evolution, showcasing a mature application of his techniques and a deep understanding of human form and emotion.

Moreover, the androgynous depiction of Saint John, with his long curls and soft features, is a testament to Leonardo's interest in blurring the lines between masculinity and femininity, a theme seen in other works as well.

Leonardo spent the last years of his life in France, having been invited by King Francis I. He moved to the Château du Clos Lucé in Amboise, which is located in the Loire Valley, in 1516.

This invitation from Francis I was a testament to the high regard in which he was held, not just as a painter but as an all-around intellectual and innovator.

Leonardo is believed to have taken several of his paintings, including the 'Mona Lisa,' with him when he moved to France. Upon his death in 1519, his apprentice and companion, Francesco Melzi, inherited his artistic and scientific collections.

The 'Mona Lisa' was eventually acquired by King Francis I and has remained in France ever since. Today, it is housed in the Louvre Museum in Paris.