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Les Mystères Jocondais au Code de Vinci © David G. Wilson Painting

David G Wilson

United States

Painting, Acrylic on Other

Size: 14.2 W x 18.9 H x 1 D in

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About The Artwork

Description: In his writings, Leonardo da Vinci suggested that the artist could enhance his creative faculties by staring at a stain on the wall and perceiving therein whatever he wished to see. Having read that in 1980, I embarked on a quest to find whether there were images hidden in the Mona Lisa. "Les Mystères Jocondais au Code de Vinci" is the result of a twenty-six year quest. This revelation is based on the Da Vinci Code and Leonardo's suggestion that the artist who wishes to enhance his faculties for creative invention may stare at a stain on a wall and therein perceive whatever he wishes to see. Fascinated by the story, The Da Vinci Code, albeit fictitious, I reveled in the possibility that Leonardo da Vinci's paintings may be replete with codes, hidden imagery and messages; something that I have always wanted to believe since my discovery of his above mentioned suggestion, but I have never found satisfactory proof to substantiate that belief. Since discovering this statement in 1980, I have however repeatedly scoured the Mona Lisa's image in search of plausible hidden imagery. Finally, the da Vinci Code provided me with some literary justification to prolong my speculation on that possibility and to continue to dabble in my search for a rational solution of the Mona Lisa's mystery. I was, and still am, obsessed with the existence of plausible hidden imagery, which my mind's eye finds when I look for them. However, they frequently prove to be figments of my own imagination and are based on my own idiosyncrasies, grasping for evidence of Leonardo's input. I now feel that, in spite of a lack of solid proof that Leonardo consciously included those possibilities, I have come up with a plausible explanation. So, in Leonardo's version, I perceive her hair as a row of cypress trees, which are numerous in Italy, Leonardo's birth place. Her eyes are a broken bridge with its reflection in the golden sun kissed waters of the Arno River, Florence, tinted with crepuscular hues of the Tuscan evening. The shadow beneath her nose mimics a Venetian gondola adrift, like Leonardo in his errant search for work, along the Italian landscape. Her lips are a canoe. If one scrutinizes the background landscape one may perceive a fish, Ichthus, about to devour a snake, Satan, which has just crawled across the neck of a dead pope, Gregory V, who condemned Mary Magdalene to a reputation of ill repute. In the upper part of the painting one may perceive another dead pope, St Peter, with his hands clasped, dead. The body of St Peter creates a T shaped cross with the form of the Mona Lisa; could she possibly have been Leonardo's covert Mary Magdalene? That form created by her body and the dead Pope above, St Peter, also create the shape of a scale which may weigh the souls that approach the Pearly Gates. Her upper body is a director's chair upon which is draped a length of blue silk fabric. Her left arm is congruent with that of the director's chair. The hand of bananas which is usually a deferential reference to my own father - the hand that fed me- is now the delicate hand of the Mona Lisa (Mary Magdalene). Her right arm is a loaf of bread. There is a pear which serves as the back of her hand and the grapes which yield the wine are in a basket. Both bread and grapes are placed in that basket on her lap, suggestive of the conception of Saint Sarah. There are two animals in Leonardo's version that few people have noticed hidden in plain sight. If one follows the outline of the neck and chest of Leonardo's Mona Lisa one will see the outline of a kitten. Over her left shoulder, one will see the head of a growling dog, created by the meandering river which is traversed by an aqueduct or bridge. I have transformed the dog into a baby's crib and in the crib a dark skinned baby girl stands. Could she possibly be Saint Sarah, the "rumored" offspring of Mary Magdalene and Jesus? Is there any significance to the dog and cat? These two do not usually get along. One traditionally chases the other like the quest for the Holy Grail. The plot of the da Vinci code consists of a chase, seeking what is hidden in the bosom of the Magdalene. What I have sought to do in this painting is to show that I can replicate the Mona Lisa, creating therein an alternative reality -A Parallel Universe- within the three dimensional illusionary space where she exists. My objective here is to search for another dimension beyond our three dimensional terrestrial space.

Details & Dimensions

Painting:Acrylic on Other

Original:One-of-a-kind Artwork

Size:14.2 W x 18.9 H x 1 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

My name is David G. Wilson. I was born in 1953 in the English and French Creole speaking Caribbean Island, The Commonwealth of Dominica. I have been painting for over forty-five (45) years. However, my artistic inclination has been lifelong. I immigrated to the United States in 1976 where I obtained a bachelor's degree in Economics with a minor in foreign languages (French & Spanish). I am a self-taught artist whose interest in painting intensified on my arrival in the United States. By visiting the numerous museums at my disposal in the USA, I have been able to learn more about Art and Art History than if I had attended art school. I live in New York City with my wife of thirty-eight (38) years, Yvonne. ANTHROPOMORPHIC PERCEPTION. I paint in a style that I call "Anthropomorphic Perception." It reflects "An exercise in Ultra-Perceptive Plausible Juxtaposition." Anthropomorphic Perception demonstrates my cultivated ability to perceive hitherto unseen alternative realities within any image that I behold. The "mnemonic" objects and images that I perceive therein are reminiscent of the trinkets with which my African ancestors were equated. By strategically juxtaposing inanimate objects to create human form I try to graphically approximate the cruel and reductive equation to which slavery devalued the image of my African ancestors and it serves to illustrate the degree of dehumanization to which my ancestors were subjected. By strategically juxtaposing commonplace anthropomorphic still-life objects that collectively create a human form, I can portray the obvious humanity that the slave-master refused to acknowledge, but instead chose to see my ancestors as merchandise to be bought and sold at the auction. From childhood, my exposure to images of European art has left me with an unapologetic predilection for Western aesthetics. In short, I love European Old-master paintings and have had a life-long infatuation with the work of Leonardo da Vinci. In 1980, shortly after discovering the works of Salvador Dal, and by extension that of Guiseppi Arcimboldo, I read a quote from Leonardo,the artist who wishes to enhance his faculties for creative invention can stare at a stain on the wall and perceive therein, whatever he wishes to see. I was instantly taken back to my childhood when my mother was teaching my late brother, Eddie, and me to read.

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