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Magzoid Magazine - Luxury Magazine in the Creative Space | November 2021

Magzoid Magazine is a luxury magazine leading the creative space of the MENA region. The different genres covered by Magzoid Magazine include exceptional designs, arts & culture, interviews of influential business leaders and industry veterans, various creative and design aspects across different industry verticals, luxury lifestyle, fashion and jewelry brands, creative branding highlights from corporates, and many others. Magzoid Magazine is a leading media platform in the creative segment. The November issue of Magzoid Magazine features an amazing cover artwork by Nick Sider, an artist based in New York City. The magazine features An Exclusive Interview with Bruno Monnier and Gianfranco Iannuzzi - Infinity Des Lumières and Abu Dhabi International Boat Show 2021. The Aldar Headquarters Building and Cayan Tower have been featured in the Architectural Wonders. Editorial picks of luxury watches, jewelry, and lifestyle products have been featured in the designer’s corner along with an exclusive featured story of the logos of Walt Disney and Lacoste.

Magzoid Magazine is a luxury magazine leading the creative space of the MENA region. The different genres covered by Magzoid Magazine include exceptional designs, arts & culture, interviews of influential business leaders and industry veterans, various creative and design aspects across different industry verticals, luxury lifestyle, fashion and jewelry brands, creative branding highlights from corporates, and many others. Magzoid Magazine is a leading media platform in the creative segment.

The November issue of Magzoid Magazine features an amazing cover artwork by Nick Sider, an artist based in New York City. The magazine features An Exclusive Interview with Bruno Monnier and Gianfranco Iannuzzi - Infinity Des Lumières and Abu Dhabi International Boat Show 2021.

The Aldar Headquarters Building and Cayan Tower have been featured in the Architectural Wonders. Editorial picks of luxury watches, jewelry, and lifestyle products have been featured in the designer’s corner along with an exclusive featured story of the logos of Walt Disney and Lacoste.

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The Mysterious<br />

Smile<br />

of <strong>the</strong> Mona Lisa<br />

Mona Lisa, also known<br />

as La Gioconda, is <strong>the</strong><br />

wife of Francesco del<br />

Giocondo. This figure<br />

of a woman, dressed <strong>in</strong><br />

<strong>the</strong> Florent<strong>in</strong>e fashion of her day and<br />

seated <strong>in</strong> a visionary, mounta<strong>in</strong>ous<br />

landscape, is a remarkable <strong>in</strong>stance<br />

of Leonardo da V<strong>in</strong>ci’s sfumato<br />

technique of soft, heavily shaded<br />

model<strong>in</strong>g. The orig<strong>in</strong>al pa<strong>in</strong>t<strong>in</strong>g is<br />

owned by <strong>the</strong> Government of France<br />

and is on <strong>the</strong> wall <strong>in</strong> <strong>the</strong> Louvre <strong>in</strong><br />

Paris, France.<br />

For Mona Lisa, Leonardo used a<br />

th<strong>in</strong>-gra<strong>in</strong>ed piece of popular tree<br />

and applied an undercoat of lead<br />

white. Leonardo pa<strong>in</strong>ted with glazes<br />

that had a very small amount of<br />

pigment mixed with <strong>the</strong> oil. He used<br />

t<strong>in</strong>y or almost <strong>in</strong>visible brushstrokes,<br />

applied slowly over months, or <strong>in</strong><br />

Mona Lisa’s case, years. By contrast<br />

on her sk<strong>in</strong>, brush strokes were<br />

applied irregularly which makes <strong>the</strong><br />

gra<strong>in</strong> of <strong>the</strong> sk<strong>in</strong> look more life-like.<br />

The magic of <strong>the</strong> Mona Lisa’s<br />

smile is that it seems to react to our<br />

gaze. She smiles back mysteriously<br />

and when we glance away, <strong>the</strong><br />

enigmatic smile l<strong>in</strong>gers <strong>in</strong> our m<strong>in</strong>ds.<br />

In no o<strong>the</strong>r pa<strong>in</strong>t<strong>in</strong>g are motion and<br />

emotion, <strong>the</strong> paired touchstones of<br />

Leonardo’s art, so <strong>in</strong>tertw<strong>in</strong>ed.<br />

Leonardo uses <strong>the</strong> traditional<br />

pyramid-shaped composition<br />

that provides stability but most<br />

importantly a clear center of focus<br />

that directs your gaze. In Mona<br />

Lisa’s case, it is dragg<strong>in</strong>g us <strong>in</strong>to<br />

her face. Today if we see a Mona<br />

Lisa photo it seems normal but back<br />

<strong>the</strong>n it was <strong>in</strong>novative. Previously,<br />

subjects were strong and upright<br />

aristocrats, but Mona Lisa was<br />

relaxed, her hands rest<strong>in</strong>g gently<br />

on <strong>the</strong> arm of her chair as she<br />

turns towards us almost as if it’s<br />

a snapshot. The pa<strong>in</strong>t<strong>in</strong>g seems<br />

like we are directly look<strong>in</strong>g <strong>in</strong>to her<br />

eyes and she is look<strong>in</strong>g directly at<br />

us. Women <strong>in</strong> pa<strong>in</strong>t<strong>in</strong>gs just didn’t<br />

do that. They didn’t look boldly<br />

and directly at <strong>the</strong> viewer. The<br />

entire pa<strong>in</strong>t<strong>in</strong>g deviated from <strong>the</strong><br />

The magic of <strong>the</strong><br />

Mona Lisa’s smile is that<br />

it seems to react to our<br />

gaze. She smiles back<br />

mysteriously and when<br />

we glance away, <strong>the</strong><br />

enigmatic smile l<strong>in</strong>gers<br />

<strong>in</strong> our m<strong>in</strong>ds.<br />

traditional way women were pa<strong>in</strong>ted<br />

<strong>in</strong> Italy.<br />

When Leonardo was perfect<strong>in</strong>g<br />

Mona Lisa’s smile he became<br />

fasc<strong>in</strong>ated by how a smile works<br />

and analyzed every possible<br />

movement of each part of <strong>the</strong> face.<br />

Work<strong>in</strong>g out <strong>the</strong> orig<strong>in</strong>s of every<br />

nerve that controls every facial<br />

muscle, <strong>the</strong> f<strong>in</strong>e l<strong>in</strong>es at <strong>the</strong> end turn<br />

down slowly, lead<strong>in</strong>g us to believe<br />

<strong>the</strong> lips are smil<strong>in</strong>g. This simple<br />

anatomical draw<strong>in</strong>g is <strong>the</strong> beg<strong>in</strong>n<strong>in</strong>g<br />

of <strong>the</strong> Mona Lisa’s smile. Leonardo<br />

knows from <strong>the</strong> optic studies that<br />

light rays do not come to a s<strong>in</strong>gle<br />

po<strong>in</strong>t <strong>in</strong> <strong>the</strong> eye but <strong>in</strong>stead, hit <strong>the</strong><br />

world area of <strong>the</strong> ret<strong>in</strong>a and this is<br />

<strong>the</strong> key to her enigmatic smile.<br />

The delicately pa<strong>in</strong>ted veil, <strong>the</strong><br />

f<strong>in</strong>ely wrought tresses, and <strong>the</strong><br />

careful render<strong>in</strong>g of folded fabric<br />

demonstrate Leonardo’s studied<br />

observations and <strong>in</strong>exhaustible<br />

patience. The sense of overall<br />

harmony achieved <strong>in</strong> <strong>the</strong> pa<strong>in</strong>t<strong>in</strong>g—<br />

especially apparent <strong>in</strong> <strong>the</strong> sitter’s<br />

fa<strong>in</strong>t smile—reflects Leonardo’s<br />

idea of <strong>the</strong> cosmic l<strong>in</strong>k connect<strong>in</strong>g<br />

humanity and nature, mak<strong>in</strong>g this<br />

pa<strong>in</strong>t<strong>in</strong>g an endur<strong>in</strong>g record of<br />

Leonardo’s vision.<br />

-feature@magzoid.com<br />

www.magzoid.com <strong>November</strong> <strong>2021</strong> 31

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