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 regarding this painting, placing the Louvres St Anne and Mary with the infant Christ within its final stages. Prior to this, Leonardo executed several preparatory drawings, followed by several preliminary paintings before settling on the final design. The studious trial and error nature used by Leonardo to perfect the final design details has been closely examined by art historians revealing Leonardo’s method in executing complex masterpieces.

The seemingly unlimited and diverse documentation on the origins of the St Anne and Mary with the infant Christ has compromised the ability of art historians to cement an absolute comprehension of the iconography comprised within this work. Without specific details to why this work was commissioned, categorizing the work is limiting thus allowing for multiple interpretations of the iconographical values woven within it. Historically it has been linked to various patrons including Louis XIII who had a particular adoration for St. Anne. It has also been thought to be executed as a statement of Leonardo as an artist to the people of the Florentine Republic with whom St. Anne is associated. However these mere speculations allow for a broader, generalized interpretation which focuses on the values and ideals of the society during the period in which it was painted. The painting encapsulates the periods ideals of religious paintings, coinciding with a �revival