The mystery of the painting "Mona Lisa" by Leonardo da Vinci. "La Gioconda" (Mona Lisa) by Leonardo da Vinci - a brilliant creation of the master
IN Royal castle Amboise (France) Leonardo da Vinci completed the famous "La Gioconda" - "Mona Lisa". It is generally accepted that Leonardo is buried in the Chapel of St. Hubert at Amboise Castle.
Hidden in Mona Lisa's eyes are tiny numbers and letters that cannot be seen with the naked eye. Perhaps these are the initials of Leonardo da Vinci and the year the painting was created.
"Mona Lisa" is considered the most mysterious picture ever created. Art experts are still unraveling its secrets. At the same time, the Mona Lisa is one of the most disappointing attractions in Paris. The fact is that huge queues line up every day. Mona Lisa is protected by bulletproof glass.
On August 21, 1911, the Mona Lisa was stolen. She was kidnapped by Louvre employee Vincenzo Perugia. There is an assumption that Perugia wanted to return the painting to its historical homeland. The first attempts to find the painting led nowhere. The museum administration was fired. As part of this case, the poet Guillaume Apollinaire was arrested and later released. Pablo Picasso was also under suspicion. The painting was found two years later in Italy. January 4, 1914 painting (after exhibitions on Italian cities) returned to Paris. After these events, the picture gained unprecedented popularity.
In the DIDU cafe there is a large plasticine Mona Lisa. It was sculpted over the course of a month by ordinary cafe visitors. The process was led by artist Nikas Safronov. Mona Lisa, which was sculpted by 1,700 Muscovites and city guests, was included in the Guinness Book of Records. It became the largest plasticine reproduction of the Mona Lisa made by people.
During World War II, many works from the Louvre collection were hidden in the Chateau de Chambord. Among them was the Mona Lisa. The photographs show emergency preparations for sending the painting before the Nazis arrived in Paris. The location where the Mona Lisa was hidden was kept a closely guarded secret. The paintings were hidden for good reason: it would later turn out that Hitler planned to create “the world’s largest museum” in Linz. And he organized a whole campaign for this under the leadership of the German art connoisseur Hans Posse.
According to the History Channel movie Life After People, after 100 years without people, the Mona Lisa is eaten by bugs.
Most researchers believe that the landscape painted behind the Gioconda is fictitious. There are versions that this is the Valdarno Valley or the Montefeltro region, but there is no convincing evidence for these versions. It is known that Leonardo painted the painting in his Milan workshop.
Leonardo da Vinci. Mona Lisa painting.
What's the secret magical influence this portrait? Until the end of his days, Leonardo did not part with this portrait. Portrait Mono Lisa (Mona- this is the lady), also known as Gioconda, written in wooden board from poplar. Dimensions: 77 by 53 cm. There is no signature or date of creation on the painting, as on all other works of Leonardo.
At first glance, the picture looks very simple: it does not amaze us with the brightness of the colors, or the luxury of the clothes of the woman depicted here, or, in fact, with the beauty of the model herself. Nothing distracts our attention from Gioconda’s gaze, riveting to you. It is here that the intrigue arises, which is the main attraction of this portrait. What emerges is how the artist builds contact between the model and the viewer. The more we look at her, the more we have a desire to penetrate her inner world. But this is extremely difficult to do, because, on the one hand, it attracts us, on the other hand, it sets, as it were, an exact boundary that we cannot cross. This is one of the main intrigues of this portrait. It is no coincidence that it is said: “We are not looking at Gioconda as much as she has been looking at us for 500 years, at many generations of those who admired her.” A smile and a look are the main thing, therefore, the main thing here is a woman’s face. Everything else is like details that are subordinate to this main thing, including the hands, which are also extremely important in this portrait. The compositional structure is distinguished by rigor, precision and extreme simplicity, as well as mathematical precision, which is present here in the way the composition is constructed. The lower part of the figure is projected onto a dark background. She sits on the balcony, loggia, is projected onto this dark background and seems to merge with it in a not very clearly identified way. While the upper part stands out clearly against the background of the distant landscape. On the right and left there are very narrow stripes, parts of the columns of their edges, which are always covered by the picture frame. These columns support the loggia. The figure dominates the landscape. And the landscape is understood here as a kind of universal image of nature. Following the principle of harmony, the artist achieved a feeling of freedom and naturalness in the model’s pose. She is not posing, she is simply present here as the absolute dominant figure in the picture. Thus, the idea is felt when the human figure dominates in this picture over the landscape, over this image of the world, it seems to conquer space and time. The upper and lower parts of the composition are related to each other according to the rule of the “golden ratio”, like 3 to 5. It was Leonardo who discovered this rule, which Raphael and other masters followed High Renaissance. The figure is constructed in such a way that it forms a fairly clear pyramid (algebra and geometry). If you draw a vertical line exactly in the center, then this vertical line will pass through the pupil of Mona Lisa, exactly through the pupil of the left eye. Thus, the artist clearly knew how to orient a figure that would clearly look at us, and here the contact with the viewer became clearly expressed, perhaps in revealing the model, her character, her individual traits. This mathematical law worked. The shape of a circle is repeated many times here. Mona Lisa's head fits exactly into the circle, then different lines repeat the shape of a semicircle, echoing the circle: this is the neckline of the dress, the positions of the hands and other details. Further, this correlates in one way or another with motives, with movement, with the rhythms of the landscape that we see from afar. Moreover, mathematical accuracy did not exclude naturalness. This is the amazing skill of Leonardo, and the miracle that he was able to embody in this portrait. This model is in certain contact with us in certain relationships. She attracts, she fascinates, she draws us into her field and at the same time does not let us in. This is one of the magic of this portrait. Gioconda is very natural: natural face, simple hairstyle, hair hanging down to her shoulders in loose strands, her head covered with a transparent veil, a very simple dark-colored dress, no jewelry, the fashion of the time, everything is very simple. The relationship between landscape and figure, the relationship between figure and background is very interesting. Firstly, we see them from different points of view, we see the figure frontally, and we see the landscape background as if from above. The horizon line is different: on the left side it is high, because the horizon line is covered by a line high mountains. These mountains end high in relation to the image of the head of Gioconda. We turn our gaze to the right, and there we see the horizon line, which seems to be descending. If on the left side Leonardo seems to blur the border of the figure with a landscape, i.e. we do not see a clear outline of the border, then when our gaze rises up and then begins to smoothly fall down from right side, here the contours of the border of Mona Lisa’s head acquire clarity, clarity, clearly appear against the background of the sky and on the right side are more clearly separated from the landscape. What effect does this create? Gioconda begins to dominate the world that is located around her. Different points of view: frontal and top view reinforce this. It is assumed that the landscape is a northern landscape, a Lombard landscape in the vicinity of Milan, or rather north of Milan. The landscape was made by Leonardo in the second Milanese period, painted under the impression of a completely different Lombard nature. It is northern, it is mysterious, the distances do not have such clarity, the mountains are high and have completely different outlines than the gentle contours of the Tuscan hills. High mountains in Tuscany ( West Coast central Italy) is not, therefore the atmosphere of mystery of the landscape, where there is such a creeping fog, a winding surface of water, either a river, or a lake that is lost somewhere in a gorge, snow-capped mountain peaks - all this can be seen in Lombardy north of Milan in near the town of Varesi. Leonardo, while in Milan, having already painted the portrait, he continued to work on it and completed the landscape there. Leonardo creates a portrait not just from life, but puts into it more serious, more general and deeper concepts. The main thing remains, of course, the figure for all significant moments of the landscape and general structures. And here his main means of expression is light and shadow. Because light-shadow allows the artist to create mobility of facial expression, which is why they say that this face can express joy, sadness, and completely different shades of human emotions. Leonardo knew how to emphasize with shadow, in some places to reveal a form, and in other places, on the contrary, to sort of level it out. Leonardo has no boundaries of shadows with clear contrasting shadows. Everything is movement, and this movement of light and shadow gives rise to internal movement, the movement of the internal state of the model. It is light that becomes for Leonardo the main means of dramatic construction of the picture and psychological revelation of character. The color of the painting is changed due to the yellowed varnish, for example, the landscape is not green, this is the result of the interaction of the yellow varnish with the blue pigment in which the landscape is painted, giving a green color. Leonardo used one very important technique: he made color preparation for painting below on the levels of the parapet (a wall enclosing something) - in red, i.e. warm, and blue in the upper part. Thus, the upper part, where the face turned out to be more luminous, is coolish, while below, where there is more shadow, the warm lower layer shines through. Leonardo put his soul into this portrait. It seems that the woman is alive, that she is broadcasting something to us, that she wants to say something. Who is this woman?
Giorgio Vasari 1568 gives a detailed description: Francesco del Giocondo invited Leonardo to paint a portrait of his wife Mono Lisa. This painting is in France, writes Vasari. The portrait itself is unusual because life itself could not be different. In 1538, her husband died, the children and Mono Lisa herself and numerous relatives were alive. Her real name was Lisa Geraldini, born in 1579. Her husband is 14 years older than Lisa. This was his second marriage. Gioconda in Italian means cheerful, joyful. She is 16 and he is 30. Francesco del Giocondo was a wealthy man and was friends with Leonardo’s father. In 1502, the second son of Mono Lisa was born, (Andrea) in 1503. The portrait was begun shortly after this event. The information provided by Vasari is reliable. Results: this is a portrait of a real person, no matter who the model is, the portrait itself does not change 1503-1505. did not bring it to perfection, the landscape was painted in Milan, returning to the portrait more than once, willy-nilly he moved further and further away from the model, more and more generalizing and filling the image with his ideas about the world. As a result, the portrait of Gioconda turned into an almost symbolic image: a brilliant idea of a person in general, in the unity of his physical, mental and mental properties. The true miracle of this work lies in the fact that the artist managed to unite the soul and body of the depicted woman and make them live one life. And this life is happening before our eyes - this is the main miracle of this picture.
The painting is located in France in the Louvre Museum.
In 1517, Cardinal Louis of Aragon visited Leonardo in his studio in France. A description of this visit was made by the secretary of Cardinal Antonio de Beatis: “On October 10, 1517, Monsignor and others like him visited in one of the remote parts of Amboise visited Messire Leonardo da Vinci, a Florentine, a gray-bearded old man, more than seventy years old, the most excellent artist of our time . He showed His Excellency three pictures: one of a Florentine lady, painted from life at the request of Friar Lorenzo the Magnificent Giuliano de' Medici, another of St. John the Baptist in his youth, and the third of St. Anne with Mary and the Christ Child; all extremely beautiful. From the master himself, due to the fact that he was paralyzed at that time right hand, one could no longer expect new good works.”
According to some researchers, “a certain Florentine lady” means the “Mona Lisa”. It is possible, however, that this was another portrait, from which no evidence or copies have survived, as a result of which Giuliano Medici could not have any connection with the Mona Lisa.
According to Giorgio Vasari (1511-1574), the author of biographies of Italian artists, Mona Lisa (short for Madonna Lisa) was the wife of a Florentine man named Francesco del Giocondo, whose portrait Leonardo spent four years on, but still left its unfinished.
Vasari expresses a very laudatory opinion about the quality of this painting: “Any person who wants to see how well art can imitate nature can easily see this from the example of the head, since here Leonardo has reproduced all the details... The eyes are filled with brilliance and moisture, like living people... The delicate pink nose seems real. The red tone of the mouth harmoniously matches the color of her face... No matter who looked closely at her neck, it seemed to everyone that her pulse was beating...". He also explains the slight smile on her face: “Leonardo allegedly invited musicians and clowns to entertain the lady, who was bored from posing for a long time.”
This story may be true, but most likely Vasari simply added it to Leonardo’s biography for the amusement of readers. Vasari's description also contains an accurate description of the eyebrows, which are missing from the painting. This inaccuracy could only arise if the author described the picture from memory or from the stories of others. The painting was well known among art lovers, although Leonardo left Italy for France in 1516, taking the painting with him. According to Italian sources, it has since been in the collection of the French king Francis I, but it remains unclear when and how he acquired it and why Leonardo did not return it to the customer.
Vasari, born in 1511, could not see Gioconda with his own eyes and was forced to refer to information given by the anonymous author of the first biography of Leonardo. It is he who writes about the uninfluential silk merchant Francesco Giocondo, who ordered a portrait of his third wife Lisa from the artist. Despite the words of this anonymous contemporary, many researchers still doubt the possibility that the Mona Lisa was painted in Florence (1500-1505). The refined technique indicates a later creation of the painting. In addition, at this time Leonardo was so busy working on the “Battle of Anghiari” that he even refused Princess Isabella d’Este to accept her order. Could a simple merchant then persuade famous master paint a portrait of your wife?
It is also interesting that in his description Vasari admires Leonardo's talent for conveying physical phenomena, and not the similarity between the model and the painting. It seems like this one physical feature masterpiece left a deep impression among visitors to the artist’s studio and reached Vasari almost fifty years later.
Composition
A careful analysis of the composition leads to the conclusion that Leonardo did not seek to create an individual portrait. “Mona Lisa” became the implementation of the artist’s ideas expressed in his treatise on painting. Leonardo's approach to his work was always scientific in nature. Therefore, the Mona Lisa, which he spent many years creating, became a beautiful, but at the same time inaccessible and insensitive image. She seems voluptuous and cold at the same time. Despite the fact that Gioconda's gaze is directed at us, a visual barrier has been created between us and her - the arm of a chair, acting as a partition. Such a concept excludes the possibility of intimate dialogue, as for example in the portrait of Balthazar Castiglione (exhibited in the Louvre, Paris), painted by Raphael about ten years later. However, our gaze constantly returns to her illuminated face, surrounded as if by a frame of dark hair hidden under a transparent veil, shadows on her neck and a dark, smoky background landscape. Against the backdrop of distant mountains, the figure gives the impression of being monumental, although the format of the painting is small (77x53 cm). This monumentality, inherent in sublime divine beings, keeps us mere mortals at a respectful distance and at the same time makes us strive unsuccessfully for the unattainable. It is not without reason that Leonardo chose the position of the model, very similar to the position of the Virgin Mary in Italian paintings XV century. Additional distance is created by the artificiality that arises from the impeccable sfumato effect (refusal of clear outlines in favor of creating an airy impression). It must be assumed that Leonardo actually completely freed himself from portrait likeness in favor of creating the illusion of atmosphere and a living, breathing body using a plane, paints and a brush. For us, Gioconda will forever remain Leonardo's masterpiece.
The detective story of the Mona Lisa
For a long time, Mona Lisa would have been known only to fine art connoisseurs, if not for her exceptional history, which made her world famous.
Since the beginning of the sixteenth century, the painting, acquired by Francis I after the death of Leonardo, remained in royal collection. From 1793 it was placed in the Central Museum of Arts in the Louvre. The Mona Lisa has always remained in the Louvre as one of the treasures of the national collection. On August 21, 1911, the painting was stolen by an employee of the Louvre, Italian mirror master Vincenzo Peruggia. The purpose of this abduction is not clear. Perhaps Perugia wanted to return La Gioconda to its historical homeland. The painting was found only two years later in Italy. Moreover, the culprit was the thief himself, who responded to an advertisement in the newspaper and offered to sell the Mona Lisa. Finally, on January 1, 1914, the painting returned to France.
Leonardo da Vinci's painting "Mona Lisa" was painted in 1505, but it still remains the most popular work art. Still an unsolved problem is the mysterious expression on the woman's face. In addition, the painting is famous for the unusual execution methods used by the artist and, most importantly, the Mona Lisa was stolen several times. The most notorious case happened about 100 years ago - on August 21, 1911.
16:24 21.08.2015
Back in 1911, the Mona Lisa, whose full name was “Portrait of Madame Lisa del Giocondo,” was stolen by an employee of the Louvre, the Italian mirror maker Vincenzo Perugia. But then no one even suspected him of stealing. Suspicion fell on the poet Guillaume Apollinaire, and even Pablo Picasso! The museum administration was immediately fired and the French borders were temporarily closed. Newspaper hype greatly contributed to the growth of the film's popularity.
The painting was discovered only 2 years later in Italy. Interestingly, due to the thief’s own oversight. He made a fool of himself by responding to an advertisement in the newspaper and offering to buy the Mona Lisa to the director of the Uffizi Gallery.
8 facts about Leonardo da Vinci's Mona Lisa that will surprise you
1.
It turns out that Leonardo da Vinci rewrote La Gioconda twice. Experts believe that the colors on the original versions were much brighter. And the sleeves of Gioconda’s dress were originally red, the colors just faded over time.
In addition, in the original version of the painting there were columns along the edges of the canvas. Later picture was probably cut by the artist himself.
2. The first place where they saw “La Gioconda” was the bathhouse of the great politician and collector King Francis I. According to legend, before his death, Leonardo da Vinci sold “Gioconda” to Francis for 4 thousand gold coins. At that time it was simply a huge amount.
The king placed the painting in the bathhouse not because he did not realize what a masterpiece he had received, but quite the opposite. At that time, the bathhouse at Fontainebleau was the most important place in the French kingdom. There, Francis not only had fun with his mistresses, but also received ambassadors.
3. At one time, Napoleon Bonaparte liked the Mona Lisa so much that he moved it from the Louvre to the Tuileries Palace and hung it in his bedroom. Napoleon knew nothing about painting, but he highly valued da Vinci. True, not as an artist, but as a universal genius, which, by the way, he considered himself to be. After becoming emperor, Napoleon returned the painting to the museum in the Louvre, which he named after himself.
4. Hidden in the eyes of the Mona Lisa are tiny numbers and letters that are unlikely to be visible to the naked eye. researchers suggest that these are the initials of Leonardo da Vinci and the year the painting was created.
5. During World War II, many works from the Louvre collection were hidden in the Chateau de Chambord. Among them was the Mona Lisa. The location where the Mona Lisa was hidden was kept a closely guarded secret. The paintings were hidden for good reason: it would later turn out that Hitler planned to create the world's largest museum in Linz. And he organized a whole campaign for this under the leadership of the German art connoisseur Hans Posse.
6. It is believed that the painting depicts Lisa Gherardini, the wife of Francesco del Gioconda, a Florentine silk merchant. True, there are also more exotic versions. According to one of them, Mona Lisa is Leonardo’s mother Katerina, according to another, it is a self-portrait of the artist in a female form, and according to the third, it is Salai, Leonardo’s student, dressed in a woman’s dress.
7. Most researchers believe that the landscape painted behind the Gioconda is fictitious. There are versions that this is the Valdarno Valley or the Montefeltro region, but there is no convincing evidence for these versions. It is known that Leonardo painted the painting in his Milan workshop.
8. The painting has its own room in the Louvre. Now the painting is inside a special protective system, which includes bullet-resistant glass, a complex alarm system and an installation to create a microclimate that is optimal for preserving the painting. The cost of this system is $7 million.
For decades, historians, art critics, journalists and simply interested people have been arguing about the mysteries of the Mona Lisa. What is the secret of her smile? Who is really depicted in Leonardo's portrait? Over 8 million visitors come to the Louvre every year to admire its creations.
So how did this modestly dressed woman with a light, subtle smile take pride of place on the podium among the legendary creations of other great artists?
Well-deserved glory
Let's first forget that Leonardo da Vinci's Mona Lisa - brilliant creation artist. What do we see in front of us? An already middle-aged, modestly dressed woman looks at us with a barely noticeable smile on her face. She's not a beauty, but there's something about her that catches your eye. Fame is an amazing phenomenon. No amount of advertising will help promote a mediocre picture, but La Gioconda business card famous Florentine, known throughout the world.
The quality of the painting is impressive; it brings together all the achievements of the Renaissance at the highest level. Here the landscape is subtly combined with the portrait, the gaze is directed at the viewer, the famous “counterposto” pose, the pyramidal composition... The technique itself is worthy of admiration: each of the thinnest layers was applied to the other only after the previous one had dried. Using the “sfumato” technique, Leonardo achieved a melting image of objects; with his brush he conveyed the outlines of air, resurrecting the play of light and shadow. This is the main value of da Vinci’s creation “Mona Lisa”.
Universal recognition
It was the artists who were the first fans of Leonardo da Vinci's La Gioconda. 16th century painting is literally filled with traces of the influence of the Mona Lisa. Take, for example, the great Raphael: he seemed to be sick of Leonardo’s painting, the features of Gioconda can be caught in the portrait of a Florentine, in “The Lady with the Unicorn”, and what is most surprising, even in portrait of a man Baldasara Castiglione. Leonardo, without knowing it, created a visual aid for his followers, who discovered a lot of new things in painting, taking the portrait of the Mona Lisa as a basis.
The artist and art critic was the first to translate the glory of “La Gioconda” into words. In his “Biographies of Famous Painters...” he called the portrait more divine than human, and moreover, he gave such an assessment without ever seeing the painting in person. The author only expressed everyone’s opinion, thus giving “La Gioconda” a high reputation in professional circles.
Who posed for the portrait?
The only confirmation of how the creation of the portrait went is the words of Giorgio Vasavi, who claims that the painting depicts the wife of Francesco Giocondo, a Florentine tycoon, the 25-year-old Mona Lisa. He says that while da Vinci was painting the portrait, the girls around them constantly played the lyre and sang, and the court jesters supported good mood, it is precisely because of this that Mona Lisa’s smile is so gentle and pleasant.
But there is plenty of evidence that Giorgio was wrong. Firstly, the girl’s head is covered with a mourning widow’s veil, and Francesco Giocondo lived long life. Secondly, why didn’t Leonardo give the portrait to the customer?
It is known that the artist did not part with the portrait until his death, although he was offered a lot of money for those times. In 1925, art historians suggested that the portrait belongs to Giuliano Medici’s mistress, the widow Constancia d’Avalos. Later, Carlo Pedretti put forward another possibility: it could be Pacifica Bandano, another of Pedretti's mistresses. She was the widow of a Spanish nobleman, was well educated, had a cheerful disposition and graced any company with her presence.
Who is the real Mona Lisa by Leonardo da Vinci? Opinions vary. Perhaps Lisa Gherardini, or perhaps Isabella Gualando, Philibert of Savoy or Pacifica Brandano... Who knows?
From king to king, from kingdom to kingdom
The most serious collectors of the 16th century were the kings; it was their attention that the work needed to win in order to break out of the close circle of respect among artists. The first place where the portrait of the Mona Lisa was seen was the bathhouse of the king. The monarch did not place the painting there out of disrespect or ignorance of what a brilliant creation he received; on the contrary, the most important place in the French kingdom was the bathhouse in Fontainebleau. There the king rested, had fun with his mistresses, and received ambassadors.
After Fontainebleau, the painting “Mona Lisa” by Leonardo da Vinci visited the walls of the Louvre, Versailles, and the Tuileries; for two centuries it traveled from palace to palace. Gioconda has darkened greatly; due to multiple not entirely successful restorations, her eyebrows and two columns behind her have disappeared. If it were possible to describe in words everything that Mona Lisa saw behind the walls of French palaces, then the works of Alexandre Dumas would seem like dry and boring textbooks.
Have you forgotten about La Gioconda?
In the 18th century, luck turned against the legendary painting. “Mona Lisa” by Leonardo da Vinci simply did not fit into the parameters of the beauties of classicism and frivolous shepherdesses of rococo. She was first transferred to the ministers' rooms, gradually falling lower and lower in the court hierarchy until she found herself in one of the darkest corners of Versailles, where only cleaners and minor officials could see her. The painting was not included in the collection best paintings French king, presented to the public in 1750.
The situation changed French revolution. The painting, along with others, was confiscated from the king's collection for the first museum in the Louvre. It turned out that, unlike the kings, the artists were not for a minute disappointed in Leonardo’s creation. Fragonard, a member of the Convention commission, was able to adequately evaluate the painting and included it in the list of the most valuable works of the museum. After this, not only kings and everyone could admire the picture. the best museum peace.
Such different interpretations of Mona Lisa's smile
As you know, you can smile in different ways: seductively, sarcastic, sad, embarrassed or happy. But none of these definitions fit. One of the “experts” claims that the person depicted in the painting is pregnant, and is smiling in an attempt to catch the movement of the fetus. Another says that she is smiling at Leonardo, her lover.
In one of known versions it is said that La Gioconda (Mona Lisa) is a self-portrait of Leonardo. Recently, using a computer, they compared the anatomical features of the faces of Gioconda and da Vinci based on the artist’s self-portrait drawn. It turned out that they match perfectly. It turns out that Mona Lisa is the female form of a genius, and her smile is the smile of Leonardo himself.
Why does Mona Lisa's smile fade away and then appear again?
When we look at the portrait of Gioconda, it seems to us that her smile is fickle: it fades away, then appears again. Why is this happening? The fact is that there is central vision, which focuses on details, and peripheral vision, which is not so clear. Thus, if you focus your gaze on Mona Lisa’s lips, the smile disappears, but if you look into the eyes or try to take in the whole face, she smiles.
Today Leonardo da Vinci's Mona Lisa is in the Louvre. For an almost perfect security system, they had to pay about 7 million dollars. It includes bulletproof glass, latest system alarms and a specially developed program that maintains the necessary microclimate inside. On this moment The cost of insuring the painting is $3 billion.
