The early stages of my copy of The Mona Lisa which I began today. My drawing, once finished, was then transferred to a triple primed wooden panel which I had cut to size and prepared earlier. Once this process was complete I ‘fixed’ the drawing with an appropriate fixative. Once dry, I then carefully applied an imprimatura, which in this case was a lean wash of raw umber.
Once this was dry, I started blocking in the larger masses being careful not to lose any of the detail, particularly regarding the eyes, nose and mouth. Nevertheless, I always find that however particular I am with my preliminary drawing, I invariably end up having to make minor adjustments as inconsistencies or inaccuracies become increasingly apparent with the further application of paint. I intend to post more pictures as the painting progresses and to keep an accurate record of the working process. This is my second ‘copy’ of Leonardo’s and I initially shied away from The Mona Lisa as I felt it would present a greater challenge due to the extent of the ageing process as opposed to that of ‘The Lady with an Ermine’. Although it would be folly to try to emulate the full extent of the ageing and damage the painting has suffered over the centuries, it is my aim to make it as accurate a rendition as is reasonably possible. Much of what is visible in this photo of the work is just under painting so it should be interesting to keep a visual record of the painting as it progresses over the next few weeks, even months perhaps.

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