The “Isleworth Mona Lisa”
Evidence for New Mona Lisa Mounts
What at first seemed highly improbable – even ludicrous – is now closer to becoming a reality: The evidence in favor of a second, older Mona Lisa by Leonardo is growing.
New tests and scholarly attributions are moving in favor of attributing a recently re-discovered painting to Leonardo da Vinci. Advocates of the “Isleworth Mona Lisa” claim this to be the original, painted when the sitter, Lisa del Giocondo, was in her youth.
Since the painting’s revelation in Geneva in September 2012, the Zurich-based Mona Lisa foundation has spear-headed efforts to demonstrate the painting’s authenticity (though it claims to have no financial interest in the work).
One strong piece of evidence came from a carbon-dating test performed by The Swiss Federal Institute of Technology (ETH). The test results directly refute arguments that the “Isleworth Mona Lisa” is a later, 16th-century copy of the Louvre’s painting. ETH determined that the painting was almost certainly created between 1410 and 1455 (95.4% probability), and most likely between 1425 and 1450 (68.2% probability).
A second argument was made by Professor John Asmus, a nuclear physicist who conducted four tests on the “Isleworth Mona Lisa” and the Louvre’s “Gioconda.” By digitizing the brushstrokes of both paintings, Asmus determined that they would have been painted by the same artist.
Alfonso Rubino’s application of Vitruvian geometry to the “Isleworth Mona Lisa”
Further support has come from Italian geometrist Alfonso Rubino, who, after studying Leonardo’s “Vitruvian Man” in relation to the artist’s paintings, determined that Leonardo incorporated Vitruvian geometry into his other artwork. Rubino has studied the “Isleworth Mona Lisa” and concluded that its similar proportions and structure serve as incontrovertible evidence of Leonardo’s authorship.
The Isleworth Mona Lisa still has notable detractors in the world of art history. British Leonardo specialist Martin Kemp has argued vehemently against the painting’s acceptance, as has U.S. scholar Richard Spear.
You can see my artwork at http://www.dianakingsley.net
Leonardo will always attract seekers!
Composer Mihail Afanasiev
When I was in Paris 2005, I could not visit the Louvre. But the Louvre came with sound recording equipment, which were kindly provided by the French. Found the “Mona Lisa” and began recording background sound created numerous visitors who came to see the masterpiece. The logic was simple. Allow myself to be noted that any masterpiece has the property of highly structured information field. Man – this is also, at its basis, the field structure. There is a contact of two field structures – human and masterpiece. This is probably the power of art. The sounds published the people who were in the masterpiece (talk, the shuffling of feet, etc.) were very valuable to me, they were correlated associated with him. Subjecting these records complicated transformation process, I managed to get some incredible sound. Many are led into shock – these sounds there is a clear identification with the portrait of “Mona Lisa.” Similar records I’ve made in the famous sculpture of Venus. As a result, based on these records, I had three works – “Knowledge”, “Flow” and “Communication”.
studiomusicnew.blogspot.com
http://youtu.be/rUDsL8Rg4uo
MONA LISA_VENUS(Опыт работы с шедеврами) .avi
Structure of presented video: sound background at Mona Lisa – result of transformational processing of a background, a sound background at Venus – result of transformational processing of a background, a work “Knowledge” fragment (the transformed sounds are used only).
Full details can be found on my master class
Academia of Music, Kishinev MOLDOVA
(sorry, translated by google)
Very nice blogg you have here