Isabella Flores
The Italian Renaissance painter and art historian Giorgio Vasari wrote a biography of Leonardo da Vinci, published in 1550, 31 years after the artist's death. In it, Vasari included a detailed description of the Mona Lisa, which has since been scrutinized by art historians and scholars. Vasari's description of the painting as unfinished has been disputed, as the Mona Lisa appears highly polished and complete. However, his account of the painting as a masterpiece, with its subtle gradations of light and shadow, and the subject's enigmatic expression, has contributed to its enduring fame.
| Characteristics | Values |
|---|---|
| Date of publication | 1550, 31 years after Leonardo's death |
| Description | "In the pit of the throat, if one gazed upon it intently, one could see the beating of the pulses; in truth it may be said that it was painted in such a manner as to induce trembling and fear in every valiant craftsman, whoever he is..." |
| Subject | Lisa del Giocondo, wife of Florentine merchant Francesco di Bartolomeo del Giocondo |
| Status of painting | Unfinished |
| Location of painting | In the possession of King Francis I of France, at Fontainebleau |
| Details | "That luster and watery sheen" in the lady’s eyes; her mouth, which "unite [s] the red of the lips to the flesh-tints of the face"; her nose, with its "beautiful nostrils, rosy and tender" |
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What You'll Learn
Vasari's description of the Mona Lisa's eyes and mouth
Giorgio Vasari, the Renaissance art historian, is known for his descriptive writing about the Mona Lisa, which has been regarded as one of the most beautiful passages ever written about a painting. Vasari's description of the painting is so detailed that it is likely he had seen the work himself.
Vasari's description of the eyes of the enigmatic woman in the Mona Lisa is that they have "that lustre and watery sheen". This description is said to be spot on, especially when referring to the Isleworth Mona Lisa, which is thought to be an earlier version of the famous painting. Vasari also describes the eyebrows of the subject in detail, although the painting itself does not feature any clearly visible eyebrows or eyelashes.
The mouth of the subject is described by Vasari as "uniting the red of the lips to the flesh-tints of the face". This description is also said to be accurate, particularly when observing the Isleworth Mona Lisa. Vasari's description of the mouth adds to the idea that the painting is a realistic portrait, with the subject's restrained smile only being regarded as mysterious in the 19th century.
Vasari's writing about the Mona Lisa has been under vigorous attack for two reasons. Firstly, it is generally accepted that Vasari never saw the Louvre Mona Lisa, as it was in France in the 1530s, a country Vasari never visited. Secondly, Vasari claims that the painting was left unfinished, despite the Louvre panel appearing to be one of Leonardo's most polished and complete works. However, it is argued that while Vasari may have embellished his narrative, he would not fabricate a description of a painting out of thin air.
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Vasari's account of the painting's provenance
Giorgio Vasari's account of the Mona Lisa, published in 1550, is the oldest and most well-known source of information on the provenance of the work and the identity of the sitter. Vasari describes the painting as a portrait of Florentine merchant Francesco del Giocondo's wife, Lisa del Giocondo, referred to as "M [ad] on [n] a Lisa" or "Madame Lise". He states that Leonardo da Vinci worked on the portrait for four years, leaving it unfinished, and that it was in the possession of King Francis I of France at Fontainebleau.
Vasari's description of the Mona Lisa is based on his assumption that the painting he had seen earlier in Milan, known as the "Earlier Mona Lisa", was the same as the one that entered the Royal collection. However, it is now believed that the Earlier Mona Lisa was a different painting, and that Vasari never actually saw the final version of the Mona Lisa now in the Louvre. Despite this, Vasari's account has been influential, and many experts agree that his description of the painting must be accurate.
In his biography of Leonardo da Vinci, Vasari introduces Francesco del Giocondo and his wife, and for the first time, mentions the name "Mona Lisa". He describes Leonardo as struggling with the portrait for four years before leaving it unfinished, a detail that is supported by other historical records. Vasari also provides a descriptive paragraph about the Mona Lisa's appearance, noting her fresh rosy colouring and her beautiful smile.
Overall, Vasari's account of the Mona Lisa, published in 1550, provides valuable information and insight into the painting's provenance, even if some of his assumptions have been later proven incorrect. His description of the painting's subject and its creation have shaped the way the Mona Lisa has been understood and interpreted by scholars, historians, and art critics alike.
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Vasari's description of the painting as unfinished
Giorgio Vasari, a Renaissance art historian, scholar, and writer, provided an early account of the Mona Lisa in 1550, 31 years after the artist's death. Vasari's description of the painting as unfinished has been a subject of debate and has been vigorously challenged for two main reasons. Firstly, it is generally believed that the Louvre version of the Mona Lisa, which is considered one of the most polished and complete of all Leonardo's paintings, is the same one that was in Vasari's possession. Secondly, Vasari's description includes details such as eyelashes that are absent from the painting, and he fails to discuss the landscape, suggesting that the work was unfinished at the time of his writing.
Vasari states that Leonardo worked on the Mona Lisa for four years and then left it unfinished. This statement sets a time limit on the period during which Leonardo worked on the portrait, suggesting that he did not work on it after 1506. This aligns with the belief that Leonardo likely worked on the painting intermittently, adding multiple layers of thin oil glazes at different times. It also corresponds with the discovery of a marginal note in a 1477 printing of a volume by ancient Roman philosopher Cicero, dated October 1503, which mentions Leonardo's contemporary Agostino Vespucci stating that Leonardo worked on the portrait of Lisa del Giocondo and left it unfinished.
Vasari's description of the Mona Lisa as unfinished has been interpreted as a compliment to Leonardo's profound knowledge of painting. Vasari suggests that Leonardo started many projects without finishing them because his skilled hands could never perfectly express the subtle and wonderful ideas of his imagination. This interpretation aligns with Leonardo's reputation for leaving works undone, as mentioned by Vespucci in his note.
While there is debate about the identity of the Mona Lisa's sitter, Vasari's description of the painting as a portrait of Lisa del Giocondo, the wife of Francesco del Giocondo, has been confirmed by recent scholarship. Vasari's detailed description, including specific details such as eyelashes, suggests that he may have seen the work, despite never visiting France where the Louvre portrait was located in the 1530s. Professor Pietro Marani, a Renaissance scholar, concurs that Vasari's description is too detailed to be considered purely imaginative.
Vasari's account of the Mona Lisa, published decades after Leonardo's death, has been a significant source of information on the provenance of the work and the identity of the sitter. His description of the painting as unfinished, along with external factors such as its home in the Louvre, has contributed to its fame and stature.
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Vasari's identification of the sitter
Giorgio Vasari, in his biography of Leonardo da Vinci, published in 1550, 31 years after the artist's death, identified the sitter of the Mona Lisa as Lisa del Giocondo, the wife of Florentine merchant Francesco di Bartolomeo del Giocondo. This was the first time that the name "Lisa" was associated with the painting. Vasari wrote that "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife." The Italian name for the painting, "La Gioconda," is a pun on the feminine form of Lisa's married name, Giocondo.
However, Vasari's account has also faced some scrutiny. It is generally accepted that Vasari never saw the Mona Lisa in the Louvre, as the painting was already in France in the 1530s, a country Vasari never visited. Vasari also describes the painting as unfinished, while the Louvre version appears to be one of Leonardo's most polished and complete works. Some scholars suggest that Vasari may have been describing an earlier version of the Mona Lisa, such as the Isleworth Mona Lisa, which more closely fits his description.
Despite the debates surrounding Vasari's identification of the sitter, his account has been influential and widely referenced. It has contributed to the enduring fascination with the Mona Lisa and continues to shape our understanding of this iconic work of art.
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Vasari's description of Leonardo's profound knowledge of painting
Giorgio Vasari, in his biography of Leonardo da Vinci, published in 1550, 31 years after the artist's death, wrote a detailed description of the Mona Lisa. Vasari's account of the painting has long been the best-known source of information on the provenance of the work and the identity of the sitter.
Vasari describes Leonardo's profound knowledge of painting, stating that he started many things without finishing them because his skills could never perfectly express the subtle and wonderful ideas of his imagination. He attributes Leonardo's unfinished works to his conviction that his hands, despite their skill, could not do justice to his imaginative ideas.
Vasari's description of the Mona Lisa is so detailed and vivid that it is likely he had seen the work himself. He describes the lady's eyes as having "that lustre and watery sheen," and her mouth as uniting "the red of the lips to the flesh-tints of the face." He also mentions her nose, with its "beautiful nostrils, rosy and tender," appearing to be alive.
Vasari's description of the painting's subject as having a "beating of the pulses" in the pit of her throat and inducing "trembling and fear in every valiant craftsman" adds to the sense of a living, breathing person. He further describes her as an elegant woman, dressed in timeless attire, with a vast inner life and a relationship to the world.
Vasari also mentions Leonardo's use of the sfumato technique, which involved blurring edges and contours to eliminate sharp outlines, giving the painting a three-dimensional quality. He notes the delicate veil, finely painted tresses, and carefully rendered folded fabric, all of which reveal Leonardo's patient observation and study.
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Frequently asked questions
In his biography of Leonardo da Vinci, published in 1550, Vasari described the Mona Lisa as having "that lustre and watery sheen" in her eyes, her mouth uniting "the red of the lips to the flesh-tints of the face", and her nose, "with its beautiful nostrils, rosy and tender", appearing to be alive. He also wrote that "after he had lingered over it for four years, [Leonardo] left it unfinished".
Vasari's description is significant as it is one of the earliest accounts of the Mona Lisa, providing valuable insights into the painting's history and provenance. It is also notable for its level of detail, suggesting that Vasari may have had the opportunity to view the painting first-hand.
Vasari's description of the Mona Lisa is generally consistent with the painting that hangs in the Louvre Museum. However, there is some debate over whether the painting was left unfinished, as Vasari claimed. Some scholars argue that the Louvre version is too polished and complete to support Vasari's assertion.
