Digital restoration reveals the original colors of Leonardo da Vinci's masterpiece, the Mona Lisa

What the Mona Lisa Originally Looked Like · 3:12 · Video: NOVA PBS Official · Watch at the source

In short: For centuries, the Mona Lisa has been obscured by layers of aged varnish, masking the vibrant intent of Leonardo da Vinci. Now, an engineer has utilized advanced imaging technology to digitally strip away these coatings, finally offering a glimpse of the painting exactly as the artist originally intended it to look.

The Mona Lisa, painted on a poplar wood panel, was created by Leonardo da Vinci between 1503 and 1519. While it is now the most famous painting in the world, housed in the Louvre Museum, its appearance has been altered by time. The work is characterized by the artist's mastery of sfumato, a technique enabled by the use of oil paint. Unlike tempera, which dries quickly, oil allowed Leonardo to apply translucent layers, creating subtle tonal shifts and blurring hard outlines to model the sitter's face with anatomical precision.

The painting's current state includes fine cracks known as craquelure, which are particularly visible on the hands where the glazes are thinnest. These layers were added intermittently over many years, reflecting Leonardo's inexhaustible patience. Because the painting remained in his studio until his death in 1519, it represents a long-term evolution of his vision. The recent digital restoration project, led by an engineer using high-powered lights and specialized software, allows viewers to bypass the yellowed varnish that has accumulated over the centuries, revealing the original hues and clarity of the composition.

Beyond its technical brilliance, the painting remains a subject of intense historical debate. Scholars have long speculated about the sitter's identity, with the most common theory—first proposed by Giorgio Vasari in 1550—suggesting she is Lisa del Giocondo. Other theories have linked the portrait to Leonardo’s mother, Caterina, or even proposed that the work is a disguised self-portrait. Despite 21st-century attempts to settle these questions through DNA analysis of potential remains, the sitter's identity remains unproven. The painting's journey from a private commission to a royal collection under King Francis I, and finally to the Louvre following the French Revolution, has only added to its status as an object of global fascination.

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