New light on Leonardo Da Vinci's faces
How did Leonardo Da Vinci manage to paint such perfect faces? For the first time a quantitative chemical analysis has been done on seven paintings from the Louvre Museum (including the Mona Lisa) without extracting any samples. This shows the composition and thickness of each layer of material laid down by the painter. The results reveal that, in the case of glazes, thin layers of 1 to 2 micrometers have been applied. The study, led by the team of Philippe Walter, of the Laboratoire du Centre de Recherche et de Restauration des Musées de France (LC2RMF, CNRS/Ministère de la culture et de la communication), with the collaboration of the ESRF and the support of the Louvre Museum, is published today in the journal Angewandte Chemie International Edition. Leonardo Da Vinci's paintings fascinate, partly due to a range of subtle optical effects that blur outlines, soften transitions and blend shadows like smoke. Known as "sfumato", this technique is not only the result of the genius of the artist but also of technical innovations at the beginning of the 16th century. Minute observations, optical measurements and reconstitutions have already described the sfumato, but new analysis can confirm the procedure of this technique, especially related to how the gradation is done.
For the first time, Philippe Walter (LC2RMF) and his team, in collaboration with the ESRF and the Louvre Museum, have brought new insight on the sfumato thanks to a quantitative chemical study of the different painted layers. Seven paintings of Leonardo Da Vinci have been analysed without extraction, directly in the rooms of the Louvre Museum (Virgin of the Rocks, Mona Lisa, Saint John the Baptist, Annunciation, Bacchus, Belle Ferronnière, Saint Anne, the Virgin, and the Child). The scientists concentrated on the study of the faces because they have the characteristics of the sfumato. They used a technique called X-ray fluorescence to determine the composition and thickness of each layer in nine faces (including Mona Lisa's) painted by Da Vinci throughout 40 years of career.
The scientists have also found different recipes used by Da Vinci to do the shadows on the faces. These recipes are characterized by a technique (the use of glaze layers or a very thin paint) and by the nature of the pigments or additives. In the case of the glazes, thin layers of 1 to 2 micrometres were applied to obtain a total thickness of no more than 30 to 40 micrometres. The results obtained in this study help to understand Da Vinci's search towards making his art look alive.
- Da Vinci Decoded: Experts Crack Artist's Secretsfrom CBSNews - ScienceFri, 16 Jul 2010, 17:42:11 EDT
- One Mona Lisa Mystery Solvedfrom C&ENFri, 16 Jul 2010, 16:35:24 EDT
- Da Vinci Decoded: Experts Crack Artist's Secretsfrom CBSNews - ScienceFri, 16 Jul 2010, 14:42:14 EDT
- Da Vinci Decoded: Experts Crack Artist's Secretsfrom CBSNews - ScienceFri, 16 Jul 2010, 13:14:08 EDT
- French scientists crack secrets of Mona Lisafrom MSNBC: ScienceFri, 16 Jul 2010, 12:42:08 EDT
- French scientists crack secrets of Mona Lisafrom AP ScienceFri, 16 Jul 2010, 12:14:18 EDT
- New light on Leonardo Da Vinci's facesfrom Science CentricFri, 16 Jul 2010, 8:56:13 EDT
- New light on Leonardo Da Vinci's facesfrom PhysorgThu, 15 Jul 2010, 15:14:23 EDT
- New light on Leonardo Da Vinci’s facesfrom Science DailyThu, 15 Jul 2010, 11:28:22 EDT
- Mona Lisa gives up more secretsfrom BBC News: Science & NatureThu, 15 Jul 2010, 7:14:13 EDT
Latest Science NewsletterGet the latest and most popular science news articles of the week in your Inbox! It's free!
Learn more about
Check out our next project, Biology.Net
From other science news sites
Popular science news articles
- From reverberating chaos to concert halls, good acoustics is culturally subjective
- Mapping poaching threats: York ecologists and WCS develop new method
- New survey shows 36-percent increase in pediatric patients treated with proton therapy
- Cognitive impairment predicts worse outcome in heart failure
- Partly human yeast show a common ancestor's lasting legacy