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Reuters
A file photo of Leonardo da Vinci's original "Mona Lisa" (L) which hangs in the Louvre in Paris, and a recently discovered and restored copy of the "Mona Lisa" painting as it was displayed at Madrid's El Prado Museum is seen in this combination photo Feb. 1, 2012.
AP reports: A "Mona Lisa" copy owned by Spain's Prado Museum was almost certainly painted by one of Leonardo da Vinci's apprentices alongside the master himself as he did the original, museum officials said Wednesday.
The stunning find of what the Prado now says is probably the earliest known copy of La Gioconda will give art lovers and experts an idea of what the Mona Lisa looked like back in the 16th century, said Gabriele Finaldi, the museum's deputy director collections.
The copy has been part of the Prado collection for years and displayed occasionally but no one paid much attention to it because around the woman in the Mona Lisa was a stark black background, not the pretty landscape seen in the original.
An analysis demonstrated this painting was done at the same time as the real masterpiece. NBC's Brian Williams reports.
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A Mona Lisa replica hangs in our dining room, which I bought at a Flea Market about ten years ago. She was
a love child and smiled when she remembered her real father. I am not making it up, and TGIF!!!
This painting is extremely important, but it puzzles me why it has not gotten due recognition years ago. It is one of the better known period copies out there.
The colors in her garments prove that she is a member of the powerful Italian Sforza-Visconti dynasty. Leonardo was a court painter for the Milanese noble house for over 17 years. The long veil she is wearing is worn ONLY and specifically by the Milanese duchesses in mourning. There were only 4 Duchesses before the French overthrew the Milanese. Three were blond. Her identity is without dispute: Isabella of Aragon, daughter of King Alfonso II of Naples, and the young widow of Gian Galeazzo II Maria Sforza, Duke of Milan.
see kleio.org
Many people think the sitter in the painting is Leonardo or Gian Giacomo Caprotti, called Salai. If the sitter in the painting was really Salai or Leonardo in drag, why did not the French King, who became the owner of the painting and knew Leonardo’s face, make this conclusion? Why would he even want to own such a rediculous painting? Leonardo had just been aquitted of sodomy, why then would he paint himself in a dress? These assumptions were only started by 19th century biographers and pycho-analyst, and are now, in the 21st century accepted as politically correct facts though unsubstantiated by historical facts.
Neither is she the silk merchant’s wife. The myth of the silk merchant’s wife was fabricated to conceal her true identity and protect the honor of those involved. Ask yourself, ‘Is there any historical record of the Gherardini family legally claiming rightful ownership of this painting? Why didn’t Leonardo will this painting to the Gherardini family? Why did the many copies that were made during this time period end up only in noble houses in Italy and allying countries if she were merely a silk-merchant’s wife?
The mystery was solved 10 yrs ago, by historian and author Maike Vogt-Luerssen. It is time to stop the lies of the world’s most famous painting.
If you are tired of this long draw-out never-ending mystery and want true answers of Leonardo’s EPIC life, based in 100′s of historical facts and visual evidences left in the paintings of his closest contemporaries see the above website and follow the facebook link. – in English and German.
You might ask, “Why isn’t this common knowledge? Why have I (possibly) never heard of this before?” answer: Because the influential art historians and DaVinci ‘experts’ are less than willing to see the research of Mrs. Vogt-Luerssen widely accepted because it does not serve their own interest. Neither are they willing to admit that they have been on the wrong track.
There is an Italian 16th century copy that needs “discovering” too. It is my hope that many vital proofs will come forward that will prove to be further evidences into the true meaning and history of this painting and its painter. . To see the 16th C Italian copy, See:
http://www.apollo-magazine.com/september-2006/70322/reynoldss-mona-lisa.thtml (be sure to click the picture and select #17)
Thank you
Derrilynnee