In 2012 the Prado Museum announced that
its 'Mona Lisa' was the oldest
existing
copy
of the original piece by Leonardo da Vinci that the Louvre Museum conserves.
And, in addition, it was painted in parallel to the best-known work of the Italian artist.
Furthermore, it could have been copied by a disciple of the painter with free access to his workshop and his creative processes.
After the restoration works that 'revitalized' the Prado piece, it has become
a
Leonardesque
study space
.
Until 2012 the figure was cut out on a black background.
When that repaint was removed from the board, a wonderful landscape similar to Da Vinci's original appeared.
Once the alarms were activated, the Mona Lisa in the Prado continued to 'grow'.
Hence the accurate and exquisite exhibition that the museum dedicates until next January 23 to the revelations of this panel:
Leonardo and the copy of Mona Lisa.
New approaches to the practice of the Vinciano workshop
, of which Ana González Mozo is the curator, Senior Technician of Museums in the Cabinet of Technical Documentation of the art gallery.
"Through this work and the studio work," he explains, "we get closer to
Leonardo's creative process
, since the artist of the 'Mona Lisa' in the Prado was someone very close to him. Hence the details hallmarks of Leonardo's workshop ".
Along with the
Vincian
copy
, the Prado also hangs the
replica of the
Salvator Mundi
, by the same unknown author.
There is still not enough documentary evidence to know who it is.
"The copies, many of which are considered important works since the 16th century," explains Miguel Falomir, director of the Prado, "were sometimes more valued than the originals."
This is not the case of the
Mona Lisa
in Madrid, but it has an exceptional value even if Da Vinci's hand did not intervene in this table.
What is clear is that he had to see it.
That he had her close.
According to the criteria of The Trust Project
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