why did davinci draw the mona lisa???

Question

why did leornardo davinci paint the mona lisa nad how many other paintings did he have???

Answer 1

The Mona Lisa is a portrait of Lisa del Gherardini, the wife of Francesco del Giocondo, a successful Florentine silk merchant.

Like most portraits during the Renaissance, the painting was ordered as a commission from the artist for the patrons. The painting was commissioned by the Giocondos for their new home and to celebrate the birth of their second son, Andrea. However, the painting was never delivered to the commissioners, as Leonardo left the painting unfinished for several years. He took the painting with him to France when he received a commission from the French King Francis I. He did not complete it until sometime in 1515-1519, shortly before he died, having sold the completed work to the French King.

It's unknown exactly how many paintings Leonardo produced, although most of his works date from the forty year period of the 1480s-1510s.

Hope this helps,
Peace.

Answer 2

How To Draw Mona Lisa

Answer 3

Hmmm...I was going to answer, but I am thinking better of it now. But FYI, it was a portrait. So, you are being very hard on the woman. It is a french treasure that has so much rich history behind it. It even came to America on loan during the Kennedy Administration, and even THAT history is fascinating. Maybe before you make flip comments you could take a second to look up the Mona Lisa on a search engine. Perhaps my dear, you think that you can draw better, but I have never heard of you. Hmmm...maybe in the future I will? Or perhaps you are too self important?

Answer 4

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Answer 5

davinci draw mona lisa

Answer 6

He worked on commissions for the rich families in the country. They wanted portraits made or pictures done and he was commissioned to do them.

Nobody knows how many he did,not all of them survived through history (remember there were two world wars that went through that area, plus local wars, flood, fire, mice/rats, theft, etc., all that takes a toll on artwork).

Answer 7

http://en.wikipedia.org/wiki/Mona_Lisa
http://en.wikipedia.org/wiki/Leonardo_Da_Vinci

Answer 8

CUZ HIS ART TEECHER MADE him o **** caps

Answer 9

The Mona Lisa, painted between 1503 and 1506 by Italian artist Leonardi da Vinci is often described as the most famous piece of art in the world. It is quite possibly the most romanticized, analyzed and reproduced paintings of all time. Indeed, da Vinci himself was so enamored of the painting that he supposedly carried it with him wherever he went.

Just 31 x 21 inches in size, the Mona Lisa is an oil painting on a poplar wooden panel. It is painted using the sfumato method, a term coined by Leonardo referring to a painting technique in which translucent layers of paint are applied so subtly that there is no perceptible transition. In Italian sfumato means "blended" and is derived from the Italian word fumo meaning “smoke.”

The Mona Lisa is a portrait of a woman, dressed in the Florentine fashion of her day, seated in a dreamy, mountainous background. Besides the fact that the painting is considered a prototype of Renaissance portraiture, it is probably her smile, which seems both alluring and aloof, that has given the portrait universal fame.

Who is the woman in the portrait? There are several speculations. Often called La Gioconda, because of a text referring to the work as a "half-figure portrait of a certain Gioconda," some believe that she is a young Florentine woman, Monna Lisa, wife of Francesco del Giocondo. But it should be noted that in Italian gioconda means a light-hearted woman.

Dr. Lillian Schwartz of Bell Labs suggests that the Mona Lisa is actually a self-portrait, based upon a digital analysis of both a Leonardo self-portrait and that of the famous painting. Critics of this theory suggest that there are similarities between the portraits because they were both painted by the same person using the same style.

Maike Vogt-Lüerssen believes that the Mona Lisa is actually Isabella of Aragon because the pattern on her dark green dress indicates that she is a female member of the house of Visconti-Sforza. She also sees a resemblence between Mona Lisa and other pictures of Isabella. "

"Lisa del Giocondo (1479–1542 or c. 1551)
Mona Lisa is named for Lisa del Giocondo who was most likely the sitter.[7] Lisa was a member of the Gherardini family of Florence and Tuscany who married Francesco del Giocondo, a successful silk merchant. The painting was commissioned for their new home and to celebrate the birth of their second son, Andrea.[8] The title stems from the description of the painting by Giorgio Vasari in his biography of Leonardo da Vinci, published 31 years after the artist's death. "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife...."[5] (one version in Italian: Prese Lionardo a fare per Francesco del Giocondo il ritratto di mona Lisa sua moglie).[9]
In Italian, ma donna from donna meaning woman became madonna, and its contraction mona. Mona is thus a polite form of address, similar to Madam or my lady in English. In modern Italian, the short form of madonna is usually spelled Monna, so the title is sometimes Monna Lisa, rarely in English and more commonly in Romance languages such as French and Italian.
At his death in 1525, Leonardo's assistant Salai owned the portrait named in his personal papers la Gioconda which had been bequeathed to him by the artist. Italian for jocund, happy or jovial, Gioconda was a nickname for the sitter, a pun on the feminine form of her married name Giocondo and her disposition.[7][1] In French, the title La Joconde has the same double meaning."


Leonardo’s early works begin with the Baptism of Christ painted in conjunction with Verrocchio. Two other paintings appear to date from his time at the workshop, both of which are Annunciations. One is small, 59 cms long and only 14 cms high. It is a “predella” to go at the base of a larger composition, in this case a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, 217 cm long.[4] In both these Annunciations, Leonardo has used a formal arrangement, such as in Fra Angelico’s two well known pictures of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio it is now almost universally attributed to Leonardo.[37]
In the smaller picture Mary averts her eyes and folds her hands in a gesture that symbolised submission to God’s will. In the larger picture, however, Mary is not in the least submissive. The beautiful girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise.[25] This calm young woman appears to accept her role as the Mother of God not with resignation but with confidence. In this painting the young Leonardo presents the Humanist face of the Virgin Mary, recognising humanity’s role in God’s incarnation.[q]


Unfinished painting of St. Jerome in the Wilderness, (c.1480), Vatican,
Paintings of the 1480s
In the 1480s Leonardo received two very important commissions, and commenced another work which was also of ground-breaking importance in terms of composition. Unfortunately two of the three were never finished and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings is that of St Jerome in the Wilderness. Bortolon associates this picture with a difficult period of Leonardo's life, and the signs of melancholy in his diary: "I thought I was learning to live; I was only learning to die." [7]
Although the painting is barely begun the composition can be seen and it is very unusual.[r] Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies.[20] Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted.


Virgin of the Rocks, National Gallery, London, possibly 1505–1508, demonstrates Leonardo's interest in nature.
The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, (see above [Magi]) a commission from the Monks of San Donato a Scopeto. It is a very complex composition about 250 cm square. For it Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture which makes part of the backdrop to the scene. But in 1482 Leonardo went off to Milan at the behest of Lorenzo de’ Medici in order to win favour with Ludovico il Moro and the painting was abandoned.[37][4]
The third important work of this period is the Virgin of the Rocks which was commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece, already constructed.[20] Leonardo chose to paint an apocryphal moment of the infancy of Christ when the Infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. In this scene, as painted by Leonardo, John recognizes and worships Jesus as the Christ. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild and rocky landscape of tumbling rock and whirling water.[38] While the painting is quite large, about 200 x 120 cms, it is nowhere as complex as the painting ordered by the monks of St Donato, having only four figures rather than about 50 and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished, one which remained at the chapel of the Confraternity and the other which Leonardo carried away to France. But the Brothers did not get their painting, or the de Predis their payment, until the next century.[4][9]
Paintings of the 1490s
Leonardo's most famous painting of the 1490s is The Last Supper, also painted in Milan. The painting represents the last meal shared by Jesus with his disciples before his capture and death. It shows specifically the moment when Jesus has said “one of you will betray me.” Leonardo tells the story of the consternation that this statement caused to the twelve followers of Jesus.[9]
The novelist Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat, and then not paint for three or four days at a time.[20] This, according to Vasari, was beyond the comprehension of the prior, who hounded him until Leonardo ask Ludovico to intervene. Vasari describes how Leonardo troubled over his ability to adequately depict the faces of Christ and the traitor Judas, telling the Duke that he might be obliged to use the prior as his model.[8]


The Last Supper (1498)—Convent of Sta. Maria delle Grazie, Milan, Italy.
When finished, the painting was acclaimed as a masterpiece of design and characterisation.[8] But the painting deteriorated rapidly so that within a hundred years it was described by one viewer as "completely ruined".[4] Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface which was subject to mold and to flaking.[4] Despite this, the painting has remained one of the most reproduced works of art, countless copies being made in every medium from carpets to cameos.
Paintings of the 1500s


Mona Lisa or La Gioconda (1503–1505/1507)—Louvre, Paris, France
Among the works created by Leonardo in the 1500s is the small portrait known as the Mona Lisa or “la Gioconda”, the laughing one. The painting is famous, in particular, for the elusive smile on the woman’s face, its mysterious quality brought about perhaps by the fact that the artist has subtly shadowed the corners of the mouth and eyes so that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called “sfumato” or Leonardo’s smoke. Vasari, who is generally thought to have known the painting only by repute, said that "the smile was so pleasing that it seemed divine rather than human; and those who saw it were amazed to find that it was as alive as the original".[8][s]
Other characteristics found in this work are the unadorned dress, in which the eyes and hands have no competition from other details, the dramatic landscape background in which the world seems to be in a state of flux, the subdued colouring and the extremely smooth nature of the painterly technique, employing oils, but laid on much like tempera and blended on the surface so that the brushstrokes are indistinguishable.[t] Vasari expressed the opinion that the manner of painting would make even "the most confident master...despair and lose heart."[8] The perfect state of preservation and the fact that there is no sign of repair or overpainting is extremely rare in a panel painting of this date.[4]
In the Virgin and Child with St. Anne (see below [StAnne]) the composition again picks up the theme of figures in a landscape which Wasserman describes as "breathtakingly beautiful"[20] and harks back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely-set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice.[9] This painting, which was copied many times, was to influence Michelangelo, Raphael, and Andrea del Sarto,[4] and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese.
Drawings
Leonardo was not a prolific painter, but he was a most prolific draftsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. [39] His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail.[7][39]


The Virgin and Child with St. Anne and St. John the Baptist (c. 1499–1500)—National Gallery, London
Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body, the Head of an Angel, for The Virgin of the Rocks in the Louvre, a botanical study of Star of Bethlehem and a large drawing (160×100 cm) in black chalk on coloured paper of the The Virgin and Child with St. Anne and St. John the Baptist in the National Gallery, London.[39] This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with St. Anne in the Louvre. [4]
Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that if Leonardo saw a person with an interesting face he would follow them around all day observing them.[8] There are numerous studies of beautiful young men, often associated with Salai, with the rare and much admired facial feature, the so-called "Grecian profile".[u] These faces are often contrasted with that of a warrior.[39] Salai is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernado Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de'Medici, in the Pazzi Conspiracy.[39] With dispassionate integrity Leonardo has registered in neat mirror writing the colours of the robes that Baroncelli was wearing when he died."