Step 2 copy of “Monnalisa” Gioconda by Leonardo da Vinci

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a sinistra originale della Gioconda, al centro copia di Sandro Ferrucci e a destra copia del Prado

to the original left of Gioconda, at the center copy of Sandro Ferrucci and to the right copy of the Prado

Continue my studio / copy of the hereafter documented other mistakes that Leonardo did not expect because of the decorative geometries and in the other photo document the scar of the copy maker of the Prado.

errore nella decorazione del vestito della Gioconda

mistake in the dress of Gioconda

in the picture above error in the original of the Gioconda where the decoration sequence at one point has 4 octagons between a cross-decoration and the other instead of every 3 octagons com indicates instead the frequency.

dettaglio copia del Prado

copy detail of the Prado

above from the copy of the Prado we can notice how the decoration of the gown is reproduced more coarse than the original, where the weaving of the octagons above is clearly smaller and realized of larger size, the same is true for the decoration under the weave of octagons interspersed with 5 crosses rather than 7 as in the original.

The design of the copy is exactly the same as the original (only the right hand 8/9 mm higher than the original one) because the original cardboard transferred to dust will most likely have been used on the copy as well.

About Sandro Ferrucci

– Sandro Ferrucci was born in Pisa in 1965. Artistic maturity obtained in 1983 at the Liceo Artistico Firenze 1 (today Leon Battista Alberti) with the masters Arrigo Dreoni, Gianni Cacciarini(in turn, student of Pietro Annigoni), Bruno Rosai (nephew of Ottone Rosai), Paolo Lauri, Maurizio Mariani, Franco Lastraioli, Mario Agostini and Art historian Piero Adorno. Considered “too academic” already in school and personally in contrast to the “poetics of art” advocated by Adorno, derived from his studies also by a vision favored by his own high-born origins (his mother at a young age was a private student of Painter Giovanni Fattori), takes the drastic decision: “Art is not for me” While continuing to have the utmost respect and esteem for Adorno and his vast culture not only in art history but also in music, and of which I have always admired and envied dialectics. Since then he has been working in the field of communication, graphics and silk screening, and still directs his own advertising agency with custom embroidery labs and digital prints of small and large format and professional photography. Taken from a frenetic life where besides work he is engaged in amateur activities such as: guitar, violin, football (soccer), cycling on the road, sailing, mountaineering and climbing, he misses only the inspiration and the time to paint. In 2017 she became grandfather for the first time and perhaps mature enough to inspire her own pictorial production. Still playing soccer … but as a player has always been worth it!