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Mona Lisa Digitally Restored
Watch middle picture restore
to original brilliance
The astonishing brilliance of
color and subtlety of modeling in Leonardo da Vinci's Mona Lisa has
been revealed by a remarkable combination of art and science. Sophisticated
computer imaging, application of color filters and tonal adjustments were
applied in this completely original digital restoration by the author to
reproduce the appearance of the original work of art in Leonardo's time.
The digital restoration here is based on a comprehensive study of
Renaissance-painting techniques and materials, and comparative adaptation to
early verified copies that are still in excellent condition today. You can now
see the rosy flesh tones and dazzling hues that so impressed Leonardo's
contemporaries. Details are revealed, such as the armrest of the chair on which
her forearm is placed.
Descriptions of the painting by Georgio Vasari, an art historian of the
Renaissance, mention the highly detailed realism, including individual eyebrow
hairs and eyelashes as well as the the natural sheen on the surface of the eye.
He mentions also the pearly tints of the surrounding canvas areas. A significant
portion of his description dwells on the rosy aspect of the skin tones, and
maintains that it is more like real flesh than pigment.
He suggests that one may even be
able to discern the beat of a pulse in the Mona Lisa's throat. Compare the work
by Leonardo's contemporary, Raphael, the well-preserved Portrait of
Maddalena Doni, inspired directly by the Mona Lisa. In it you can
see the vivid colors and naturalistic flesh tones that the Renaissance Masters
achieved. (link
to image) Yet, Leonardo da Vinci was considered the great master of the era.
.
Why then does the 'Lady of the Louvre' have such a dull, monochromatic
appearance today? When exposed to light, air and humidity, pigments age and
darken over time, and the mixed oil resins will yellow and loose transparency
with age. Restorative efforts included overcoats of varnish that also darkened
the overall tone. Subtle details such as the eyebrows and eyelashes, painted
with pigments mixed from organic dyes, have faded. The vivid reds and greens of
the silk and satin garments, which were achieved by layered oil glazing have
darkened into tones of deep brown and greenish black.
The color of the Mona Lisa's sleeves in da Vinci's original were red,
as shown in the verified Renaissance copy known as La Giaconda (image
link). The upper portion of the lustrous red sleeves show through the lacy
mantle. The dress is a contrasting deep forest green with elaborate brocades.
Included here also are the subtle patterns of the sheer lace veil that stands
out from the hair at the edge of her face. Mona Lisa's hair and eyes
are depicted in rich chestnut hues with golden highlights.
A notable feature in the Mona Lisa, according to early written
accounts, was the magnificent landscape of the background. Below a brilliant
blue sky was a series of verdant foothills receding to lofty, snow covered peaks
shrouded in mist. In this restoration we can see the atmospheric perspective
that lends volumetric form to the foreground and a deep dimension to the
painting as a whole. Visible also are the stone window sills, in front of which
the Mona Lisa sits.
Recent commentary on other reproductions that are based on scanned imagery
include a suggestion that the Mona Lisa holds a blanket that has all
but faded from view. However, it is clear in the digital restoration pictured
here that the left arm is resting on a plain wooden armrest with a lathed
upright support. The fingers of the hand are limp and relaxed, touching the edge
of the armrest, and clearly not gripping or holding anything.
The corroborated research and evidence referenced here reveal the best currently
available visual representation of the original brilliance of color, depth of
perspective, and subtlety of modeling achieved by Leonardo
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