Leonardo da Vinci has opened the gates to the subtly welcoming sensuality of Mona Lisa in the right half of the face, which is not so large due to perspective. He has represented himself in the other half, which is larger, by increasing the left eye until it was out of proportion.
In an academic face seen from the front, the 2 diagonals drawn from the centre of the eye to the opposite corner of the mouth cross each other on a horizontal line going through the tip of the nose.
In order to harmonize the left eye which is much larger, he has lowered the tip of the nose and increased the volume to the top left of the head. He also has increased the size of the cheekbone as well as the arch of the eyebrow from the left side.
On the small black and white photo on page 89 of GEO, it is very easy to see the first outline of the top of the skull, in a curve, just under the brightest area. This has nothing to do with a removed bonnet. He has painted a veil with volume in this place. Her hair flattened on top would not have made it possible to add a mass of hair to disguise the increase in volume at the top of the skull. You will also notice the slight relief of a beginning firm cheek, only on the left, which marks the masculine side of a specific character.
All this, added to the perspective that enlarges the left half of the face, produces an impression of spatial expansion. The other half, lesser wide, with a smaller eye gives the impression of spatial retraction.
From this perfectly harmonized voluntary opposition, there emanates a breathing of expression as timeless as the universe. The gaze becomes so alive that you get the feeling that it reaches the depths of your heart.
Mona Lisa offers her very sensual gentleness. Her gaze (right side of the face) makes the plenitude chord vibrating as if erasing time and space. The high degree of convergence of Mona Lisa's right eye shows that Leonardo da Vinci could have made a mental note of it, as if they would have been very close to each other, while sharing a kiss of eternal love. Mona Lisa had been contemplating her beloved painter, while Leonardo da Vinci's reassuring gaze had crossed over the light mist of her eyes.
Leonardo da Vinci contemplates Mona Lisa with slight reserve. From this gaze (left side of the face) emanates a calm feeling in front of the eternal gates. He wrote, « even though I believed I was learning to live, I was learning to die » . Their exchange rose well above the sphere of language and movement. Their spirits could thus travel in silence, held by the hand of their gaze.
=> Enigmatic Smile of the Mona Lisa.
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