Leonardo, Mona Lisa발음듣기
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Leonardo, Mona Lisa
87문장
100% 한국어
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출처 : 칸아카데미
Leonardo, Mona Lisa
[music playing] We thought we would start by looking at what is perhaps the most famous painting in the world, and whether we can actually even really still see it.
Right. 'Cause I have seen this before. I've even visited it at the "Louvre," and I'm pronouncing it wrong.
Yes, you're right. This is probably the most famous painting in the world.
And I just read that most people spend about 15 seconds in the Louvre looking at the painting, which is a funny statistic.
Well, it's stressful! Because there's people behind you.
And on top of that, it's actually surprisingly small, when you see it in real life.
I mean, now that I'm able to take my time and not worry about the tourists behind me, and I'm looking at it for real, I'm already . . . things are jumping out at me that I actually had never noticed before. Like what?
Well, it looks like the scenery is some kind of like Vulcan territory or something.
[chuckling] There's this, it's like mountainous, and there's a little bridge in there, there's a road;
I guess I never paid much attention to that before.
Yeah, actually I had never even noticed this chair she was on before, either, you can see her hand resting on.
Actually, and I never noticed that there's a ledge right behind her where there's like, jars. [chuckling]
I could probably keep going.
I like your analogy to Vulcan territory, as a Star Trek fan myself.
That landscape is otherworldly and very mysterious.
But it's interesting, isn't it, how the bottom part of the landscape at her neck and below looks like an inhabited landscape, with a winding road and a bridge; but the landscape that's at her neck and head is more mysterious and looks very much like another planet.
That's right. And actually, when you point that out, and how that painting is divided based on where those landscapes and the ledge divide the painting, I don't have my ruler out, but I would guess that it's pretty close to the "golden mean."
I think you're probably right.
Those things that look like jars are actually the bottom of columns cut off on either side of the painting.
So, so Leonardo da Vinci actually painted the columns, and it was cropped. That's right.
And so the space that she's in would have made a lot more sense as a balcony.
You know, all of this, actually, if you just take a step back, we started with this presumption that it's the - and it's true - that it's probably the most famous painting in the world, but I guess I've never quite gotten why.
I mean, is this just a case of marketing?
I think it happened in 1911 when the painting was stolen from the Louvre and disappeared for a couple of years, and became notorious at that point.
In the 19th century, the Mona Lisa was not the most popular painting at the Louvre.
Paintings by other artists like Titian and Raphael were much more popular, and even valued more highly for insurance purposes.
So, it really probably is only in the 20th century that she became as important as she is now.
If you go back 150 years ago, Mona Lisa was not something that was just ingrained in our culture.
She was important; people were interested in her, and people were writing about her, and they said some interesting things; but she wasn't as famous as she is now.
And also, don't forget that the technology to reproduce her existed only really in the 20th century, in terms of mass color reproductions.
And so, her currency has certainly increased, I think, in the last hundred years or so.
I see. If you go back 150 years, there was probably no such thing as super-famous paintings.
I think that might be true, actually.
There were paintings that were famous, or important, but not celebrities, in the way that the Mona Lisa is.
Right, right. Not something that every person on the street would recognize.
Yeah. And of course, now I think most people would say that what's so interesting about her is her look and her smile, which have been interpreted in many different ways.
Yeah, I know, and I know that's kind of what, I guess, one of the claims to fame of the painting.
And you see that, I mean, you know, people like to look at it, is she smirking, is she happy, is she sad, all of these things, is she looking at you, all of these things that people try to . . .
but I guess, trying to look at it without all of the social programming that I've had around this painting, it strikes me as an interesting painting, and it seems very technically well done, and there's something very bright, and there's kind of an aura around her face.
I don't know, if I wasn't programmed to really know this painting, and if I were to see this in the museum amongst many, many others, that I would . . . that it would really jump out at me.
Portraits really took off during the Renaissance, beginning in the 1400's in Italy, and Leonardo painted this in Florence; and that's because of Humanism.
And the way that we define Humanism is taking an interest in human beings and the things of this world and human achievement and individuality, all of those values becoming more important in the 15th century.
And so we begin to see a lot more portraits.
Also with the beginnings of a wealthy merchant class in Florence in the 15th century, people can afford portraits and begin to want them.
At first portraits were painted with the figure in profile.
But later, especially in Northern Europe, artists like Dürer or Memling started to put their figures in believable spaces.
And so, Leonardo is really the first artist in Italy to do those things: to make an oil painting, which is a relatively new medium, in Italy - What did people use before oil?
They used fresco and tempera painting.
Tempera for panel paintings.
So this is oil on wood, whereas before artists would paint tempera on wood.
Tempera tends to look more flat than oil paint, where you can really get a sense of modeling, and light and dark;
so Leonardo's making this three-dimensional figure, and he's using another technique called sfumato, which means a kind of smoky haziness; so he obscures the hard outlines around the forms, which tend to flatten them.
One of the things that's fun to talk about with the Mona Lisa, too, is all the things that people have said about her over the years.
You might not be aware of the fact that Sigmund Freud actually had a particular interpretation of the Mona Lisa.
Yes, I'm sure he did. [chuckling] I'm somewhat skeptical of it.
I would like to interpret his interpretation someday.
But yes. Freud said that the Mona Lisa's smile combined the two ways that we tend to look at women in our culture.
In one way she's very mothering and nurturing; and in the other way she seems very seductive.
I think that says more about Freud than about Leonardo.
You could be right. And later artists, another artist that you already know, Duchamp, Duchamp's, my favorite. your favorite, he took a reproduction of the Mona Lisa and drew a mustache on her.
I could imagine him doing that.
I think the mustache is interesting.
Because there is something not entirely feminine about her, something a little bit masculine.
Do you think it's that? or I mean, I guess that there's a certain, I mean, it's kind of old now, especially because Duchamp did it, I'm guessing, you know, 80, 90 years ago.
But there is something hilarious about drawing a mustache on a feminine form.
We all remember doing it as schoolkids, just getting a kick out of it.
And I could see it's especially funny for this painting.
Taking something that's so high art, and making it silly.
Exactly. Recently, the Prado in Madrid found what turns out to be, after some scientific testing, a copy of the Mona Lisa, which in and of itself is not that unusual.
But it turns out that their copy was made by another artist sitting right next to Leonardo, copying what he did stroke for stroke.
And they can tell this by analyzing the underdrawings.
She looks much younger. She has eyebrows . . .
Oh, that's right. I mean, it makes you appreciate it.
That's where the creepiness comes from, because the Mona Lisa we see looks jaundiced. It's yellow.
And so, the painting is a little bit different.
The face is a little bit different.
But we can assume that the colors might not have been that different.
Exactly. And it's a really interesting thing to think about what she would look like if she was cleaned, and if she would still mean what she means to us if she - Oh, I don't think she would.
Because when I look at this cleaned painting, it . . . it loses a lot of the mystery.
Yeah, I agree. And you can then understand the Louvre's decision not to clean her.
I mean, the cleaned one, she looks better, she looks younger.
She loses a lot of the motherly aspects that Freud seems to want to ascribe to her.
Yeah, because the colors are brighter, more vibrant; it's not as muted as the one that we've learned to like.
Yeah. Although, her reputation has grown over the years.
Who's to say that we won't care so much about her again.
There might be a post-celebrity world at some point. [laughing] [music playing]
번역
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[music playing] We thought we would start by looking at what is perhaps the most famous painting in the world, and whether we can actually even really still see it.발음듣기
대기중
Right. 'Cause I have seen this before. I've even visited it at the "Louvre," and I'm pronouncing it wrong.발음듣기
대기중
And I just read that most people spend about 15 seconds in the Louvre looking at the painting, which is a funny statistic.발음듣기
대기중
I mean, now that I'm able to take my time and not worry about the tourists behind me, and I'm looking at it for real, I'm already . . . things are jumping out at me that I actually had never noticed before. Like what? 발음듣기
대기중
[chuckling] There's this, it's like mountainous, and there's a little bridge in there, there's a road;발음듣기
대기중
Yeah, actually I had never even noticed this chair she was on before, either, you can see her hand resting on.발음듣기
대기중
Actually, and I never noticed that there's a ledge right behind her where there's like, jars. [chuckling]발음듣기
대기중
But it's interesting, isn't it, how the bottom part of the landscape at her neck and below looks like an inhabited landscape, with a winding road and a bridge; but the landscape that's at her neck and head is more mysterious and looks very much like another planet.발음듣기
대기중
That's right. And actually, when you point that out, and how that painting is divided based on where those landscapes and the ledge divide the painting, I don't have my ruler out, but I would guess that it's pretty close to the "golden mean."발음듣기
대기중
Those things that look like jars are actually the bottom of columns cut off on either side of the painting.발음듣기
대기중
You know, all of this, actually, if you just take a step back, we started with this presumption that it's the - and it's true - that it's probably the most famous painting in the world, but I guess I've never quite gotten why.발음듣기
대기중
I think it happened in 1911 when the painting was stolen from the Louvre and disappeared for a couple of years, and became notorious at that point.발음듣기
대기중
Paintings by other artists like Titian and Raphael were much more popular, and even valued more highly for insurance purposes.발음듣기
대기중
So, it really probably is only in the 20th century that she became as important as she is now.발음듣기
대기중
If you go back 150 years ago, Mona Lisa was not something that was just ingrained in our culture.발음듣기
대기중
She was important; people were interested in her, and people were writing about her, and they said some interesting things; but she wasn't as famous as she is now.발음듣기
대기중
And also, don't forget that the technology to reproduce her existed only really in the 20th century, in terms of mass color reproductions.발음듣기
대기중
I see. If you go back 150 years, there was probably no such thing as super-famous paintings.발음듣기
대기중
There were paintings that were famous, or important, but not celebrities, in the way that the Mona Lisa is.발음듣기
대기중
Yeah. And of course, now I think most people would say that what's so interesting about her is her look and her smile, which have been interpreted in many different ways.발음듣기
대기중
Yeah, I know, and I know that's kind of what, I guess, one of the claims to fame of the painting.발음듣기
대기중
And you see that, I mean, you know, people like to look at it, is she smirking, is she happy, is she sad, all of these things, is she looking at you, all of these things that people try to . . . 발음듣기
대기중
but I guess, trying to look at it without all of the social programming that I've had around this painting, it strikes me as an interesting painting, and it seems very technically well done, and there's something very bright, and there's kind of an aura around her face.발음듣기
대기중
I don't know, if I wasn't programmed to really know this painting, and if I were to see this in the museum amongst many, many others, that I would . . . that it would really jump out at me.발음듣기
대기중
Portraits really took off during the Renaissance, beginning in the 1400's in Italy, and Leonardo painted this in Florence; and that's because of Humanism.발음듣기
대기중
And the way that we define Humanism is taking an interest in human beings and the things of this world and human achievement and individuality, all of those values becoming more important in the 15th century.발음듣기
대기중
Also with the beginnings of a wealthy merchant class in Florence in the 15th century, people can afford portraits and begin to want them.발음듣기
대기중
But later, especially in Northern Europe, artists like Dürer or Memling started to put their figures in believable spaces.발음듣기
대기중
And so, Leonardo is really the first artist in Italy to do those things: to make an oil painting, which is a relatively new medium, in Italy - What did people use before oil?발음듣기
대기중
Tempera tends to look more flat than oil paint, where you can really get a sense of modeling, and light and dark; 발음듣기
대기중
so Leonardo's making this three-dimensional figure, and he's using another technique called sfumato, which means a kind of smoky haziness; so he obscures the hard outlines around the forms, which tend to flatten them.발음듣기
대기중
One of the things that's fun to talk about with the Mona Lisa, too, is all the things that people have said about her over the years.발음듣기
대기중
You might not be aware of the fact that Sigmund Freud actually had a particular interpretation of the Mona Lisa.발음듣기
대기중
But yes. Freud said that the Mona Lisa's smile combined the two ways that we tend to look at women in our culture.발음듣기
대기중
In one way she's very mothering and nurturing; and in the other way she seems very seductive.발음듣기
대기중
You could be right. And later artists, another artist that you already know, Duchamp, Duchamp's, my favorite. your favorite, he took a reproduction of the Mona Lisa and drew a mustache on her.발음듣기
대기중
Because there is something not entirely feminine about her, something a little bit masculine.발음듣기
대기중
Do you think it's that? or I mean, I guess that there's a certain, I mean, it's kind of old now, especially because Duchamp did it, I'm guessing, you know, 80, 90 years ago.발음듣기
대기중
Exactly. Recently, the Prado in Madrid found what turns out to be, after some scientific testing, a copy of the Mona Lisa, which in and of itself is not that unusual.발음듣기
대기중
But it turns out that their copy was made by another artist sitting right next to Leonardo, copying what he did stroke for stroke.발음듣기
대기중
That's where the creepiness comes from, because the Mona Lisa we see looks jaundiced. It's yellow.발음듣기
대기중
Exactly. And it's a really interesting thing to think about what she would look like if she was cleaned, and if she would still mean what she means to us if she - Oh, I don't think she would.발음듣기
대기중
Yeah, because the colors are brighter, more vibrant; it's not as muted as the one that we've learned to like.발음듣기
대기중
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