Mona Lisa

The initial statements regarding the St Anne and Mary with the infant Christ c. 1502-1539 Louvre as a material object refer to the masterpieces dimensions, orginally and after structural support was added. The current condition of the painting is appraised as ‘mediocre’ due to a highly visible crack running vertically along the front of the painting and the later use of vanish having aged, darkening the overall tone of the painting. The masterpiece is considered unfinished in parts, noticeably ‘the heads of the figures and parts of the landscape.’
This information is worthwhile recording due to the prospect of a material object, such as an artwork, being changed or manipulated either through unforeseeable circumstances or alterations. Zollner has described St Anne and Mary with the infant Christ in its current condition at the time of publication. Through time its structural support has been altered as well as its appearance through varnish. Currently the topic of restoration is being debated, which if received well could mean that this masterpiece will be commented on differently relating to how it is referred to as a material object.

The provenance of St Anne and Mary with the infant Christ is established by Zollner through a diverse range of documentation. Initially witnessed within Leonardo’s workshop, its journey through various hands over the next century is formalized by transactions receipts, estate inventories, biographical accounts and literature over the period. More accurate information is recorded after it is gifted by Cardinal Richelieu of Italy to the King of France in 1636. From this point onwards it appears in all the inventories of the royal and subsequently the Louvre collection. This vast record of ownership allows art historians to track the provenance of a work. This allows art historians to create a fuller picture of the work whilst eliminating any imitations which may arise.          

Zollner documents Leonardo’s preparation... [continues]

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