​Project:  Monna Lisa, "the smiling lady"
Objective: To recreate the Leonardo DaVinci’s enigmatic masterpiece, as he would have last viewed it in 1519.
To render in the original colors, vivid and soft.
​I have begun my quest and started educating myself starting in May, 2016, studying the history, technique and methods & materials used by the master with the help of the scientific studies from the Louvre laboratories and correspondence with a pioneer scientist Pascal Cotte who has revealed some of the mysteries of this masterpiece in the  under-layers.
One question lead to an answer, which lead to more questions as I searched and found a continuous scattering of pieces of information which I placed together into the final recreation. I'm sure not all of the mysteries were found, but I'm sure that the vast majority were discovered and implemented into this new masterpiece.

​Based on the research known at this time, thru modern scientific study. I was able to ascertain the lost images of the original composition, places in the painting that are no longer visible -   I was able to put back the original composition as Leonardo intended.  
​It took some 80 laborious hours to copy the exact original image, using a three step method of graphite application in the exact size of 77 x 53 cm. 
In the summer of 2016, I constructed a 24 mm thick poplar wood panel using keyed ledges as perpendicular battens to stabilize and hold the wood panel. The poplar wood panel was then sized with protein collagen and multi layered with true gesso (calcium carbonate & protein collagen). Then multiple layers of a white lead ground was applied. It was set aside for months to dry before the first layer of oil paint was applied.

In August 2017 - The painting process begins with a dead layer in raw umber wash. The mono color "dead-color" value painting took 3 weeks to complete - as this is an exact copy of the masters hand - I had to learn and execute this painting technique.
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It took a few months to acquire all the original pigments. Then in September 2017, the color begins.  Using some of the original pigments – real Lapis Lazuli (Lazurite), Vermilion (Cinnabar-Mercuric Sulfide), Azurite, White Lead, Raw Umber, Lead Tin Yellow, Red Ochre, Yellow Ochre, Terra Verde, Malichite, Verdigris, Realgar,  Lamp Black & La Gaude. Leonardo’s invention of the Sfumato effect – vanishing into smoke was produced with nearly 30 layers of a combination of scumbling and glazing.

​It took Da Vinci nearly 4 years to complete, Science has reveal it took longer 1503 to 1517. What we see today is the fourth painting on the panel. 

As I started to paint, I knew what DaVinci used in pigments, but there was no real information on how he applied it or how he mixed the pigments into the colors he wanted.
DaVinci was also very experimental, using herbs and roots and other unknown things to try and make pigments. I could only use what science revealed and what we know was available at that time. 
I experimented mixing colors with those pigments, I used my 45 yrs. of artist skills and experience.   I used all of DaVinci's other know paintings as reference to his colors and application. I studied published restoration papers from gallery restorers of the Milan schools.  I understood his under-painting methods, using a mat tonality and the use of lamp carbon black as darkening agent of color perspective. 
The discovery of the many mixed colors to acquire some of the colors with these ancient pigments was magical. The more I practiced, the more I learnt, nothing modern comes close to these beautiful colors combination. (DaVinci always termed his color mixes as "beautiful")

I had to use a new paint medium for glazing and thinning out the paint. DaVinci used in those days Vernis Liquida ( a combination of Sandarac tears, heated oil, lead salts and sometimes Venetian turpentine (natural Balsam or Larch). It is a wondrous smooth flow and leveling agent. I had to experiment on many formulas until I acquired the right combination of ingredients. 

The magic happened in the application, the use of color mixes with these ancient pigments,  the use of the new Vernis Liquida. And the "wow" moments when I achieved the subtle scumbled tonal gradations, the translucent compound glazed colors, the flow of the intricacies of this  masterpiece design. 
I know my effort will never be as good as Leonardo's original, however, I know, that my effort was an education in itself. I achieved more than what I set out to accomplish, starting from my question "what did the colors look like originally" At those moments I felt I was with Leonardo in his studio,over 500 years ago, learning and executing a standard of skill that has stood the test of time. 

The project of recreating the Mona Lisa in its original colors was completed in late July 2019. it took nearly 2 years to learn to paint in the methods and materials of  Leonardo Da Vinci and 1 year previous to that for research.
This is the painting with a restored solid wood frame that was restored and gilded with 23 kt gold.   I believe this is the only copy of the Mona Lisa in the world that has the original colors and painted in the same materials and methods as DaVinci pioneered some 500 years ago. Now a modern master has brought it back to its intended originality. Everyone who has seen it says, "its just beautiful"
Professionally Appraised @ $75,000 Jan.2023

I plan to put together a documentary film about the process and write a book on how it was all done. Those items to come in the future.  Meanwhile I shall work on my own paintings and use the experiences and knowledge from this endeavor.  Nov.1st, 2019

​ While methodically working on the "Mona Lisa Project", I'm continuing to work on my own creations, learning some of the lost secrets and implementing them into my new oil paintings. The Tradition continues, a master artist never stops learning.​

​Currently working on recreating 5 more da Vinci paintings in their original color with period pigments, substrate and techniques. March.2023

I teach students and paint & render in various mediums daily at my STUDIO 77, using best practices in technique and education. Many admirers of my artwork, ask me, which is my best or favorite painting.
​I quote them " the next one" just as Rembrandt said.