Stop Press: Isleworth Mona Lisa Declared Authentic!
After exhaustive tests experts have just declared the so-called ‘Isleworth Mona Lisa’ as Leonardo Da Vinci’s original version of the famous ‘Mona Lisa’ now in the Louvre in Paris.
David Feldman, vice-president of the Mona Lisa foundation, an international group set up to demonstrate the painting’s authenticity said, “When we add these new findings to the wealth of scientific and physical studies we already have, I believe anyone will find the evidence of a Leonardo attribution overwhelming.”
Much of this new evidence was provided by Italian geometrist Alfonso Rubino. He had made extended studies of the geometry of Leonardo’s ‘Vitruvian Man’. When he compared his findings with the geometry of the ‘Isleworth Mona Visa’ he was convinced that both paintings were by the same artist.
Carbon dating tests on the painting by the Federal Institute of Technology in Switzerland also confirmed that its canvas was almost certainly manufactured between 1410 and 1455, refuting claims that the painting was a late 16th century copy.
The ‘Isleworth Mona Lisa’ is so called because it was kept in Isleworth by art connoisseur Hugh Blaker who found it in a country house in Somerset in 1913.
For the full background story please read The Isleworth Mona Lisa published by the St Margarets Community Website on 4th October 2012.
— from Martyn Day
14 February 2013 | Category » news
Comments
Когда был в Париже в 2005г., я не мог не посетить Лувр. Но в Лувр пришёл со звукозаписывающей техникой, которую любезно предоставили французы. Нашёл «Мону Лизу» и стал записывать звуковой фон, создаваемый многочисленными посетителями, пришедшими посмотреть на шедевр. Логика была проста. Позволю себе отметить, что любой шедевр обладает свойством высокоструктурированного информационного поля. Человек - это тоже, в своей основе, полевая структура. Происходит контакт двух полевых структур - человека и шедевра. В этом, вероятно, сила искусства. Те звуки, которые
издавали люди, находясь в поле шедевра(разговоры, шарканье ног и др.), были очень ценны для меня, они коррелятивно были связаны с ним. Подвергнув эти записи сложнейшей трансформационной обработке, мне удалось получить совершенно невероятные звучания. Многих они приводили в шок, - в этих звуках наблюдалась чёткая идентификация с портретом «Моны Лизы». Подобные записи я сделал и у знаменитой скульптуры Венеры. В результате, на
основе этих записей, у меня родилось три произведения - «Знание», «Поток» и «Общение».
studiomusicnew.blogspot.com
MIHAIL at 17 February 2013 8:23 AM
This is what Microsoft Translator offered as an interpretation…!
When I was in Paris in 2005, I could not fail to visit the Louvre. But in the Louvre came with the recording equipment, which kindly donated. Found the “Mona Lisa” and began recording the audio background created by the many visitors who came to see the masterpiece. The logic was simple. Let me point out that any masterpiece has the property of fine-grained information field. Man is, at its core, the field structure. Contact is made two-person field structures and masterpiece. This is probably the power of art. Those sounds that make people in the masterpiece (conversations, shuffling their feet, etc.), were very valuable to me, they were associated with the property. Subjecting these records complex transformational processing, I managed to get some incredible sound. Many of these have led to the shock-in these sounds were clear identification with the portrait of the “Mona Lisa.” Such records I made in the famous sculpture of Venus. As a result, on the basis of these records, I have had three productions-“knowledge”, “stream” and “communication”.
Everybody clear on this?
Martyn Day at 19 February 2013 4:46 PM