Altri Filtri
A Second Mona Lisa?

A Second Mona Lisa?

Challenges of attribution and authentication and various possibilities for evaluating a work of art

  • Series: LermArte, 30
  • Pages and Illustrations: 202, 10 b/w ill, 79 colour ill.
  • Publication Year: 2021
  • Available soon
Condividi su:

Preface
PART ONE
Attribution and authentication of art works
Introduction
1.Art forgery
1.1Forgery in the art market
1.2Legislation
1.3How to recognize a forgery
2.Attribution and authentication
2.1The challenges of art attribution
2.2Different degrees of certainty in the attribution of art works
2.3Some case studies relating to artefacts of historical-artistic, sculptural and book interest
2.3.1Madonna with child and devotee (painting)
2.3.2Madonna with child (sculpture)
2.3.3Dante Codex (manuscript)
PART TWO
Copies and versions of the Mona Lisa (Gioconda)
3.Analytical-diagnostic study of the painting Mona Lisa with columns
3.1Introduction
3.2Macroscopic examination
3.3Evaluation of the conservation state and identification of previous conservation interventions
3.4Scientific investigations
3.4.1Textile support
3.4.2Preparatory layer (ground)
3.4.3Imprimatura
3.4.4Paint layer
3.5Considerations
4.A comparison of the copies and versions
4.1Introduction
4.2Selected Mona Lisas: Prado, Reynolds, Isleworth (or Earlier Mona Lisa)
4.3Comparative analyses of the Isleworth and Louvre versions
4.3.1Findings
4.3.2A comparison of the columns and the embroidery of the dresses
4.3.3Considerations
4.4Conclusions

BIBLIOGRAPHY
5.Why did Leonardo paint the Mona Lisa?
by Jean-Pierre Isbouts

6.Comparative analysis of Mona Lisa portraits by means of image processing
by John Asmus and Vadim Parfenov

APPENDIX
Why and whether a reproduced work of art should be vetted rather than vetoed

From the same author or series

Sign up for our Newsletter

To stay up-to-date with our publications