What steps painters should follow during their training — including copying the works of the great masters — was one of the most debated topics in Italian Renaissance art literature. Leonardo da Vinci (c. 1452-1519) had conflicting views on the matter, but allowed his students to reproduce, each in his own style, not only his paintings and drawings, but also his ideas. Based on the copy of Mona Lisa kept in the Museo Nacional del Prado, this book analyzes this and other matters related to the practices of the artist's workshop.
The work includes three essays by Vincent Delieuvin, Ana González Mozo and Philippe Walter in which recent reflections and theoretical and scientific approaches are exposed that have allowed us to delve into the pictorial procedures of Leonardo, his figure as a teacher, the importance he gave to education of the look, the way in which his disciples assimilated his teachings or what the imitation of nature meant to him. The publication also includes two unique analyzes, by Diego S. Garrocho and Juan de Oñate, on the idea of mimesis and its impact on the Italian Renaissance and on the extraordinary fame achieved by the Mona Lisa in the Louvre at the beginning of the 20th century, after his robbery in the museum.