The Mona Lisa Italian: Monna Lisa or La Gioconda  French: La Joconde is a half-length portrait painting by the Italian artist Leonardo da Vinci. It is considered an archetypal masterpiece of the Italian Renaissance, and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world". The painting's novel qualities include the subject's expression, which is frequently described as enigmatic, the monumentality of the composition, the subtle modeling of forms, and the atmospheric illusionism.
The painting is likely of the Italian noblewoman Lisa Gherardini, the wife of Francesco del Giocondo, and is in oil on a white Lombardy poplar panel. It had been believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. Recent academic work suggests that it would not have been started before 1513. It was acquired by King Francis I of France and is now the property of the French Republic itself, on permanent display at the Louvre Museum in Paris since 1797.
The Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known insurance valuation in history at US$100 million in 1962 (equivalent to $650 million in 2018).
The title of the painting, which is known in English as Mona Lisa, comes from a description by Renaissance art historian Giorgio Vasari, who wrote "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife." Mona in Italian is a polite form of address originating as ma donna – similar to Ma'am, Madam, or my lady in English. This became madonna and its contraction mona. The title of the painting, though traditionally spelled Mona (as used by Vasari), is also commonly spelled in modern Italian as Monna Lisa (mona being a vulgarity in some Italian dialects), but this is rare in English.
Vasari's account of the Mona Lisa comes from his biography of Leonardo published in 1550, 31 years after the artist's death. It has long been the best-known source of information on the provenance of the work and identity of the sitter. Leonardo's assistant Salaì, at his death in 1524, owned a portrait which in his papers was named la Gioconda, a painting bequeathed to him by Leonardo.
That Leonardo painted such a work, and its date was confirmed in 2005 when a scholar at Heidelberg University discovered a marginal note in a 1477 printing of a volume by ancient Roman philosopher Cicero. Dated October 1503, the note was written by Leonardo's contemporary Agostino Vespucci. This note likens Leonardo to renowned Greek painter Apelles, who is mentioned in the text, and states that Leonardo was at that time working on a painting of Lisa del Giocondo.
In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated "Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. About this, we are now certain. Unfortunately, we cannot be certain that this portrait of Lisa del Giocondo is the painting of the Louvre."
The model, Lisa del Giocondo, was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, La Gioconda, means 'jocund' ('happy' or 'jovial') or, literally, 'the jocund one', a pun on the feminine form of Lisa's married name, Giocondo. In French, the title La Joconde has the same meaning.
Before that discovery, scholars had developed several alternative views as to the subject of the painting. Some argued that Lisa del Giocondo was the subject of a different portrait, identifying at least four other paintings as the Mona Lisa referred to by Vasari. Several other women have been proposed as the subject of the painting. Isabella of Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Isabella d'Este, Pacifica Brandano, or Brandino, Isabela Gualanda, Caterina Sforza, Bianca Giovanna Sforza—even Salaì and Leonardo himself—are all among the list of posited models portrayed in the painting. The consensus of art historians in the 21st century maintains the long-held traditional opinion that the painting depicts Lisa del Giocondo.
