July 17, 2010 by staff
Mona Lisa:It has taken scientists more than 400 years to reach the technology to discover the secret behind the works of the genius of Leonardo da Vinci. How did the great painter rudimentary use of pigments in 1503 to create these subtle shadows and light in the face of the mysterious woman in the Mona Lisa. Such was the brilliance that the faces depicted in the paintings have a dreamlike quality, vague about them. All of her paintings have a quality of life, the right mixture of colors and oil glazes combined with thin delicate fabric have all the magic in their works. The artist could make transitions from light to dark.
The research was published in Wednesday’s edition of Angewandte Chemie International Edition. Together with Mona Lisa scientists also studied Virgin of the Rocks, San Juan Bautista, the Annunciation, Bacchus, Belle Ferronniere, Santa Ana and the Virgin and Child. A total of nine faces (including the Mona Lisa), from seven paintings by Da Vinci for a period of 40 years in his career.
Researchers have finally found an idea of how the work was developed great teacher. Scientists at the Center for Research and Restoration of Museums of France used fluorescence spectroscopy X-ray of the Mona Lisa and six other paintings in the Louvre Museum. The project was developed in collaboration with the European Synchrotron Radiation Facility in Grenoble.
Spectroscopy is a noninvasive technique that was used to isolate and study each ultra-thin layer of paint and varnish on the painting. The work was done while the museum was closed and went successfully without even removing the paint from the wall.
Vinci was constantly testing new blends of colors and media, glazes used in some paints, but completely ignored in others. In the Mona Lisa, which mixed with manganese oxide paintings, but in others it uses copper.
Renaissance technology popularized by Vinci called “sfumato” through the years many artists have tried to work similar to yours, but the complexity is still unfinished. It took the artist a good four years to create the masterpiece.
Senior scientist Philippe Walter told CNN “We realize when glazed, for example, on the” Mona Lisa “, who managed to place layers as thin as one or two micrometers, which means one or two thousandths of a millimeter . By super-imposing layers very gradually and slowly, he managed to create the effect he wanted. ”
Vinci used up to 30 layers of paint in his works. But overall, just add a less than 40 micrometers thick paint – about half the width of a human hair.
But the secrets behind the slight smile on the face of Mona and his true identity still give historians to find out a lot.
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