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La Giaconda

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Material Information

Title:
La Giaconda
Alternate title:
Mona Lisa
Physical Description:
Photograph
Language:
English
Creator:
Leonardo, da Vinci, 1452-1519 ( Painter : artist )
Prado. ID=SMP

Subjects

Subjects / Keywords:
Madrid, Spain
Italy (Milan or Rome)
Style: Renaissance
School: High Renaissance
Movement: High Renaissance
Italian
Painting
Genre:
Painting
Painting
picture   ( marcgt )

Notes

Summary:
Painted on a thin backing of poplar wood, the modeling of the face is astonishingly realistic. After preparing the wooden panel with several layers of coating, he first of all drew his motif directly onto the picture, before painting it in oil, adding very weak turpentine, which enabled him to paint on inumerable layers of transparent colour, known as glaze, and to endlessly remodel the face. The glaze, skilfully worked, heightens the effects of light and shade on the face, constituting what Leonardo himself called "sfumato". This technique enables the perfect imitation of flesh, due to refined treatment of the human figure plunged into half-obscurity or chiaroscurro, and enabled Leonardo to satisfy his preoccupation with realism.
General Note:
Beginning Date: 1503
General Note:
Completion Date: 1506
General Note:
Inventory: 504

Record Information

Source Institution:
University of South Florida Library
Holding Location:
University of South Florida
Rights Management:
All applicable rights reserved by the source institution and holding location.
Resource Identifier:
usfldc doi - A01-LIF0426
usfldc handle - a1.lif0426
System ID:
SFS0034557:00001

Full Text
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record xmlns http:www.loc.govMARC21slim xmlns:xsi http:www.w3.org2001XMLSchema-instance xsi:schemaLocation http:www.loc.govstandardsmarcxmlschemaMARC21slim.xsd
leader nkm 22 a 4500
controlfield tag 007 kh|mo|
008 s flunnn| ||||ineng
datafield ind1 8 ind2 024
subfield code a A01-LIF0426
040
FHM
049
FHmm
1 100
Leonardo, da Vinci, 1452-1519
e Painter : artist
0 245
La Giaconda
2 246
Mona Lisa.
260
g 1503-1506
340
b 76 x 57 cm.
c Oil on wood
500
Beginning Date: 1503
Completion Date: 1506
Inventory: 504
520
Painted on a thin backing of poplar wood, the modeling of the face is astonishingly realistic. After preparing the wooden panel with several layers of coating, he first of all drew his motif directly onto the picture, before painting it in oil, adding very weak turpentine, which enabled him to paint on inumerable layers of transparent colour, known as glaze, and to endlessly remodel the face. The glaze, skilfully worked, heightens the effects of light and shade on the face, constituting what Leonardo himself called "sfumato". This technique enables the perfect imitation of flesh, due to refined treatment of the human figure plunged into half-obscurity or chiaroscurro, and enabled Leonardo to satisfy his preoccupation with realism.
4 651
Madrid, Spain
Italy (Milan or Rome)
653
Style: Renaissance
School: High Renaissance
Movement: High Renaissance
Italian
Painting
655
Painting
710
Prado. ID=SMP
773
t Art and Art History Collection (Saskia)
787
Copy