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Lesson Plan · Art History & Science

The Enigmatic Mona Lisa

Analyse Leonardo's most famous painting through technique, history, and current research. Students compare the Louvre Mona Lisa with the Isleworth version, explore the stereoscopic pair hypothesis, and practice sfumato drawing firsthand.

Grades 9–12 90 Minutes Art History · Science · Drawing

Grade Level

9–12

Duration

90 minutes

Subjects

Art History, Drawing, History of Science

Materials

Drawing paper, pencils, printed images

Learning Objectives

Students will be able to:

  1. Identify the key technical and compositional features of the Mona Lisa
  2. Explain sfumato — what it is, how it is achieved, and why it matters
  3. Compare the Louvre Mona Lisa with the Isleworth Mona Lisa and articulate specific differences
  4. Describe the stereoscopic pair hypothesis and evaluate evidence for and against it
  5. Demonstrate sfumato-like tonal blending in their own drawing

Materials Needed

  • High-resolution print of the Mona Lisa (Louvre version) — one per student or projected
  • Comparison print: Isleworth Mona Lisa — one per student or projected
  • Drawing paper, soft pencils (2B, 4B), blending stumps or cotton swabs, eraser
  • Optional: stereoscopic viewer or red-cyan 3D glasses
  • Printed FAQ excerpts relevant to the Mona Lisa

Background for the Teacher

The Mona Lisa (c. 1503–17, Louvre) is among the most technically analyzed paintings ever made. Scientific studies reveal up to 30 glaze layers in the face and hands, each thinner than 2 micrometres — the physical basis of sfumato. The Isleworth Mona Lisa (private collection) presents a younger sitter, wider panel, and different landscape; its status — earlier version, copy, or another portrait — remains contested.

The stereoscopic hypothesis (central to this site's research) proposes that the Louvre Mona Lisa and Isleworth Mona Lisa form a stereo pair — two slightly offset views designed for stereoscopic viewing. When combined correctly, they produce a three-dimensional composite. Students can explore this using the Mona Lisa Restored and Stereoscopic Viewer tools.

Lesson Sequence

Introduction — 15 minutes

  • Project or distribute the Mona Lisa image without caption or context
  • Silent looking: 90 seconds. Students write three specific observations (not "she looks mysterious" — specific: edge treatment, landscape, hands, light source)
  • Share and collect observations on board
  • Generate student questions — these will be answered through the lesson

Direct Instruction — 25 minutes

  • Context: Commissioned probably by Francesco del Giocondo (hence La Gioconda); worked on c. 1503–17; Leonardo never delivered it; died with it in France
  • Technical analysis: 77 × 53 cm, oil on poplar panel; sfumato technique; 30 paint layers in face; disappearing-edge composition; landscape recedes differently on left and right sides
  • Sfumato explained: No contour lines; tonal transitions so fine they are invisible; achieved by building dozens of translucent glaze layers. See Glossary: Sfumato
  • The mysteries: Identity of the sitter; the smile (depends on what part of the eye is looking); the asymmetric landscape
  • Stereoscopic hypothesis: Brief introduction — see research section for full details

Guided Comparison — 20 minutes

  • Distribute or project Isleworth Mona Lisa alongside Louvre version
  • Students complete a structured comparison chart: sitter's age, landscape, panel width, pose differences, style similarities
  • Discussion: Could these be two paintings of the same sitter? How does the stereoscopic hypothesis explain the differences? What evidence would you need to be convinced?
  • Optional: view stereo composite using the site's Stereoscopic Viewer

Drawing Practice — 20 minutes

  • Students practice sfumato tonal blending on a simple oval (egg shape) to represent a face
  • Rule: no hard lines — all transitions must be blended
  • Use 2B–4B pencil, layered gently; blend with fingertip or stump
  • Goal: shade one side darker (light coming from the left) with invisible transitions

Discussion & Closure — 10 minutes

  • Share drawings — discuss what was hard about blending without hard lines
  • Connect to Leonardo's patience: 30 glaze layers over possibly 14 years
  • Exit ticket: "What is one thing you noticed about the Mona Lisa that you never saw before?"

Assessment

  • Participation in opening observation and discussion
  • Comparison chart — depth and specificity of observations
  • Drawing demonstrating sfumato principle (even imperfectly)
  • Exit ticket response

Differentiation

  • Advanced: Research and present on one specific current theory (stereoscopic pair, landscape asymmetry, hidden symbols); evaluate the evidence
  • Support: Guided worksheet with labelled diagram and fill-in questions for the comparison section
  • ELL: Visual aids with bilingual key terms (sfumato, chiaroscuro, paragone explained); drawings shared without writing requirement

Extensions

  • Full Mona Lisa Restored exploration on this site
  • Compare with other Leonardo portraits: Lady with an Ermine, Ginevra de' Benci
  • Research modern imaging technologies used on the Mona Lisa (XRF, IR, multispectral)
  • Student essay: "Is the Mona Lisa the greatest painting ever made? What criteria would you use to evaluate this claim?"
Paired Activity: Sfumato Portrait → Education Hub