Mona Lisa’nın Gülüşü, okul-öğrenci-öğretmen ilişkisi bağlamında kadın eğitimini işleyen bir filmdir. Eğitim konusunun sinemaya yansıtıldığı örnek yapımların sayısı oldukça fazla olmakla birlikte bu ...filmde 1950’ler Amerikasının kadın eğitimi anlayışı, kadınların eğitimi konusunda köklü bir kurum olan Wellesley Koleji örneğinden hareketle işlenir. Wellesley Koleji, kuruluşundan günümüze dek kadın eğitimi konusunda çok önemli faaliyetler gerçekleştirmiştir. Bu açıdan kolejin tarihsel gerçekliğinin yanı sıra eğitim ilkeleri de konservatist ve liberalist eğitim anlayışlarının filmin senaryosunda en önemli çatışma unsuru olarak işlenmesine olanak sağlar. Filmin olay örgüsü ve tematik yapısı, söz konusu karşıt eğitim anlayışlarının çatışması üzerine inşa edilen fiktif evrenin analizi çerçevesinde tahlil edilmiştir. Filmde özgürlükçü eğitim anlayışı özellikle kadın eğitimi konusunda feminist bir karakter göstermektedir. Mona Lisa’nın Gülüşü, ilk bakışta kadın haklarına odaklanan bir film olarak görülebilir. Ancak filmde örtük olarak işlenen başka izlekler de vardır. Bu çalışmanın amacı, Mona Lisa’nın Gülüşü filmine dair yapılan çalışmalarda feminist yöntemle yapılan söylem analizlerine, eğitim odağında içerik çözümlemesi yaparak katkı sağlamaya çalışmaktır.
Mona Lisa's ambiguous expression, oscillating between melancholy and contentment, has captivated viewers for centuries, prompting diverse explanations. This article proposes a novel interpretation ...grounded in the psychological theory of perceptual organisation. Central to the investigation is the "Ambiguity-Nuance", a subtly shaded, blended region framing the upper part of the lips, hypothesised to influence perceived expression due to perceptual organization. Through carefully crafted artwork and systematic manipulations of Mona Lisa reproductions, experiments reveal how alterations in the perceptual relationships of the Ambiguity-Nuance yield significant shifts in perceived expression, explaining why Mona Lisa's appearance changes and under which conditions she looks content versus melancholic based on perceptual organization. These findings underscore the pivotal role of psychological principles in shaping ambiguous expressions in the Mona Lisa, and extend to other Leonardo's portraits, namely La Bella Principessa and Scapigliata. This study sheds light on the intersection of psychology and art, offering new perspectives on timeless masterpieces.
The aim of this article is to develop a different approach to the study of the material world, one that takes seriously the seemingly banal fact that things are constantly falling out of place. ...Taking this fact seriously, the article argues, requires us to think about the material world not in terms of ‘objects’, but ecologically, that is, in terms of the processes and conditions under which certain ‘things’ come to be differentiated and identified as particular kinds of ‘objects’ endowed with particular forms of meaning, value and power. The article demonstrates the purchase of this ecological approach through the example of the Mona Lisa. It does so by exploring the rather extraordinary processes of containment and maintenance that are required to keep the Mona Lisa legible as an art object over time.
Whether for optimizing the speed of microprocessors or for sequence analysis in molecular biology — evolutionary algorithms are used in astoundingly many fields. Also, the art was influenced by ...evolutionary algorithms — with principles of natural evolution works of art that can be created or imitated, whereby initially generated art is put through an iterated process of selection and modification. This paper covers an application in which given images are emulated evolutionary using a finite number of semi-transparent overlapping polygons, which also became known under the name “Evolution of Mona Lisa”. In this context, different approaches to solve the problem are tested and presented here. In particular, we want to investigate whether Hill Climbing Algorithm in combination with Delaunay Triangulation and Canny Edge Detector that extracts the initial population directly from the original image performs better than the conventional Hill Climbing and Genetic Algorithm, where the initial population is generated randomly.
The historical-artistic and technical-analytical study, concerning and taking up again the “Mona Lisa”, covered the comparison of some art works executed by different au- thors at different times. In ...relation to this, it is necessary to distinguish two versions of the “Mona Lisa” of Isleworth and the Louvre, both executed by Leonardo in different periods, from the copies of one version or the other or a combination of both.
The Mona Lisa portrait, by Leonardo da Vinci, is one of the most famous paintings in the world. Over the years, there have been a number of debated topics on the painting, including the valence of ...the emotion expressed on her face. Nevertheless, the most recent interpretations agree that Mona Lisa expression is happiness. The smile asymmetry of Mona Lisa is another remarkable feature of the painting. We here asked forty-two healthy raters to judge which of the six basic emotions (or neutral expression) was expressed by the chimeric images of the left or right lower hemi face. We collected chosen responses, confidence levels and reaction times. Our results indicate that happiness is expressed only on the left side. According to some influent theories of emotion neuropsychology, we here interpreted the Mona Lisa asymmetric smile as a non-genuine smile, also thought to occur when the subject lies. Given that Leonardo was a great observer of human physiognomy we speculate on the intriguing possibility that Leonardo already knew the true meaning of asymmetric smile. Thus, Mona Lisa asymmetric smile could represent a stratagem Leonardo deliberately used to hold cryptic and enigmatic messages. Although the Mona Lisa smile continues to attract the attention of its observers, the true message it conveys remains elusive and many unsolved mysteries remain to be elucidated, perhaps via the knowledge of emotion neuropsychology.
The literature describes that the renowned artwork of the genius of human anatomy, Leonardo da Vinci (1452-1519), known as Mona Lisa (1503-1506), is among one of the most enigmatic artworks in the ...History of Art. In this context, many details inserted on the composition of this artwork, including those related to Mona Lisa physical aspects' (anatomy) are controversial. The few known descriptions that provide some thorough indications about the woman who served as the model for this work, were written by Giorgio Vasari (1511-1574) in 1550. According to Vasari, the Mona Lisa is a portrait of Lisa del Giocondo (1479-1542) and although he has given a detailed description concerning Lisa's physical characteristics, some are not fully understood so far. In this context, the unequal size of her pupils stands out, a clinical condition known as anisocoria. On this detail, this Letter presents unprecedented pieces of evidence that the anisocoria represented in Mona Lisa may be an indicator that Lisa del Giocondo had a neurological disorder known as Holmes-Adie Syndrome, which could have been caused by an endocrine disruption of the thyroid hormones. Thus, the pieces of information presented on this Letter are essential for further studies once, through them, it is possible to know more about the physical characteristics and also about the probable health condition of the renowned character of one of the most famous artworks of history.
Mona Lisa, the precious legacy of Leonardo da Vinci, represents a zenith of methodological innovations in painting. How the painter managed to obtain such delicacy of the tonal transitions still ...occupies the mind of contemporary art researchers. Based on published results of scientific analyses performed on the painting and relying on historical sources, a copy of the painting was made using materials that were identical or at least equivalent to the ones Leonardo used. This paper is an effort to provide an idea of the built-up of the paint layers at various stages as the painting evolved. The author discusses the detailed and painstaking method used by the painter at each step of the creation of the painting to obtain sfumato effect.
Actualmente existen tres versiones de la Gioconda de alta calidad, una en el Louvre, otra en el Prado y la tercera en la colección Isleworth. Tras la restauración de 2010 realizada en el Museo del ...Prado, se ha discutido mucho su autoría. En este trabajo, analizamos el estilo de los principales candidatos propuestos por la historiografía, centrándonos en Fernando Yáñez de la Almedina y Salai. Revisamos el modo de colaboración en el taller de Leonardo, apoyándonos en La Virgen del huso. Nuestras conclusiones apuntan a Fernando Yáñez como autor de la Mona Lisa de Isleworth, por su concordancia con obras conocidas de este pintor; y realizada en colaboración con Leonardo, por la calidad de su diseño, manos y rostro. La Gioconda del Prado sería obra de Salai, si bien su alta calidad nos sugiere una participación importante de Leonardo en su diseño y ejecución. Un análisis informatizado de los colores presentes en las dos versiones de la Gioconda y su comparación con obras de Yáñez y Salai podría confirmar estas hipótesis en el futuro.
We present results from two experiments aimed at studying the direction of
Mona Lisa
’s gaze and its affective expression. In experiment 1 we studied the effect of retinal image size on the ...perception of her gaze by manipulating observation distances of a high-quality print of the painting. Participants (
N
= 30) were asked to answer a simple question (is the person portrayed looking at you?) from six different distances ranging from 55 to 755 cm. One group of participants started evaluations from 55 cm; the other group did the opposite. Results show an effect of distance on the perception of Mona Lisa’s gaze as staring at the observer: from the furthest distances, the impression of a staring Mona Lisa is robust; from the nearest distances, such impression becomes ambiguous. Experiment 2 presents data concerning the direction of Mona Lisa’s gaze and whether this appears to be smiling, derived from an experiment aimed at studying the impression of gaze (direction and emotional content) in portraits (paintings and photographs). Only data concerning Mona Lisa are reported. Participants (
N
= 41) were randomly assigned to one of two groups: on a LCD screen, one group saw the entire head, and the other group saw only a section reproducing Mona Lisa’s eyes. Experimental sessions were two: in session 1 participants had to decide whether the image (whole-head or eyes only) was looking at them; in session 2 participants had to decide whether the head (or the eyes) was smiling. RTs from the two groups of participants were not statistically significant. Results for session 1 confirm experiment 1’s general findings. Results for session 2 clearly show that Mona Lisa is not only smiling with her face, but also with her eyes. Results are discussed in relation to the literature on Mona Lisa’s gaze and smile.
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