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"Mona the Fox" is the portrait of the quean, from which figure beats the quiet refinement; has the mysterious smile, bears the modest dress.
"Eyes her have a brightness and a moisture lively. Round eyes become visible red-blue veins and brows, which only with the greatest lightness one can perform . Is visible eye-lashes growing out of of eyelids, rare and bent which cannot be painted more naturally. The nose, with all beautiful its own shadows, pink and soft, seems to be lively. Mouth in angles and in the curve, there where the red of lips meets with the colour of the face, trust to be true, as the body { and the blood. Who well will look to the depression of the neck, will see the knock of the pulse" - the comment Vasarego in translation K. Estreichera.
In the portrait Leonarda was found so enchanting smile that seemed to be more heavenly than human. The picture attended is for the most splendid work , almost lively. Treated as the symbol of the femininity, fascinates with the mysterious smile, to ambiguously interpreted.
The background to the state the half- real scenery the rocky, passing for result of mountainous studies Leonarda. Anybody wants to see, how the clever art is to imitate the nature, here will behold this pressureless. Because least devoted details are with the possible delicacy.
Mona the Fox is really the wife Francesco di Bartolomeo di Zanoli del Giocondo. Not for the heck of it is so called Giocondą. According to the dictionary Italianly - Polish: gioco are the entertainment, the party , and giocondo is joyful, good-humoured. To be perhaps so the name of the picture stays also in the close union with most mysterious witch an element: with the smile of painted woman. Found one of most celebrated pictures in history of the art and being with the first modern portrait.
The life history of the Florentine townswoman, Foxes del Giocondo, the third wife of the dealer Francesca, cover twilight of the ignorance. Instead the history of her posthumous career is pretty well well-known and richly supplied documentary evidence in the European literature and the art . With difficulty to say to what so really owes Mona of the Fox the triumph which saint from several ages and which paradoxically contributed to her fall. She was not a classical beauty, though some ninieteenth-centry admirers with pleasure would see in her the new canon of the feminine beauty. Not with difficulty to find examples of more beautiful models in the painting. She was not a well-known figure nor important in her own epoch. However her likeness, closed in the not large rectangle about measurements 76x53 cm, for several hundred years strikes records of the popularity in the face which pale most brighter film stars.
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