The Making Of An Icon

In an essay that explores why some works of art achieve legendary status while others languish in obscurity, Ian Leslie investigates why, exactly, the Mona Lisa became so famous only in the 20th century. It “wasn’t a scholarly re-evaluation,” he explains, “but a burglary”:

In 1911 a maintenance worker at the Louvre walked out of the museum with the “Mona Lisa” hidden under his smock. Parisians were aghast at the theft of a painting to which, until then, they had paid little attention. When the museum reopened, people queued to see the gap where the “Mona Lisa” had once hung in a way they had never done for the painting itself. The police were stumped. At one point, a terrified Pablo Picasso was called in for questioning. But the “Mona Lisa” wasn’t recovered until two years later when the thief, an Italian carpenter called Vincenzo Peruggia, was caught trying to sell it to the Uffizi Gallery in Florence.

The French public was electrified. The Italians hailed Peruggia as a patriot who wanted to return the painting home. Newspapers around the world repro­duced it, making it the first work of art to achieve global fame.

From then on, the “Mona Lisa” came to represent Western culture itself. In 1919, when Marcel Duchamp wanted to perform a symbolic defacing of high art, he put a goatee on the “Mona Lisa”, which only reinforced its status in the popular mind as the epitome of great art (or as the critic Kenneth Clark later put it, “the supreme example of perfection”). Throughout the 20th century, musicians, advertisers and film-makers used the painting’s fame for their own purposes, while the painting, in Watts’s words, “used them back”. Peruggia failed to repatriate the “Mona Lisa”, but he succeeded in making it an icon.

Although many have tried, it does seem improbable that the painting’s unique status can be attributed entirely to the quality of its brushstrokes. It has been said that the subject’s eyes follow the viewer around the room. But as the painting’s biographer, Donald Sassoon, drily notes, “In reality the effect can be obtained from any portrait.” [Sociologist] Duncan Watts proposes that the “Mona Lisa” is merely an extreme example of a general rule. Paintings, poems and pop songs are buoyed or sunk by random events or preferences that turn into waves of influence, rippling down the generations.

(Photo of the Mona Lisa in the Louvre by Thomas Ricker)