Summary of Natasha Solomons's I, Mona Lisa

By IRB Media

Please note: This is a companion version & not the original book. Book Preview:

#1 Leonardo was a beautiful man at 51. He wore a short, rose-colored tunic and a cloak of deepest green velvet, which was given to him by Ludovico Sforza, Duke of Milan. He visited the barber regularly and his cheeks were smooth.

#2 Leonardo’s studio is always cool, but Lisa constantly needs to have a fire lit. She is always searching for something, but she doesn’t like me. Leonardo is more diplomatic, and he tries to explain to her that a painting is visual poetry.

#3 I am not like the other artists who have come before me, who glance demurely at the floor or their clasped hands. I am a revolutionary, and I will change the world, but only for those who wish to see.

#4 When Leonardo was drawing my hands, he was constantly making adjustments to the angles of my fingers. He was also drawing and redrawing Niccolò Machiavelli’s hands.

• Language: English
• Publisher: IRB Media
• Release date: Aug 27, 2022
• ISBN: 9798350018028

IRB Media

With IRB books, you can get the key takeaways and analysis of a book in 15 minutes. We read every chapter, identify the key takeaways and analyze them for your convenience.

Book preview

Insights on Natasha Solomons's I Mona Lisa

Contents

Insights from Chapter 1

Insights from Chapter 2

Insights from Chapter 3

Insights from Chapter 4

Insights from Chapter 5

Insights from Chapter 6

Insights from Chapter 7

Insights from Chapter 8

Insights from Chapter 9

Insights from Chapter 10

Insights from Chapter 11

Insights from Chapter 12

Insights from Chapter 13

Insights from Chapter 14

Insights from Chapter 15

Insights from Chapter 16

Insights from Chapter 17

Insights from Chapter 18

Insights from Chapter 19

Insights from Chapter 20

Insights from Chapter 1

#1

Leonardo was a beautiful man at 51. He wore a short, rose-colored tunic and a cloak of deepest green velvet, which was given to him by Ludovico Sforza, Duke of Milan. He visited the barber regularly and his cheeks were smooth.

#2

Leonardo’s studio is always cool, but Lisa constantly needs to have a fire lit. She is always searching for something, but she doesn’t like me. Leonardo is more diplomatic, and he tries to explain to her that a painting is visual poetry.

#3

I am not like the other artists who have come before me, who glance demurely at the floor or their clasped hands. I am a revolutionary, and I will change the world, but only for those who wish to see.

#4

When Leonardo was drawing my hands, he was constantly making adjustments to the angles of my fingers. He was also drawing and redrawing Niccolò Machiavelli’s hands.

#5

Machiavelli wanted to divert the Arno and deprive Florence of its route to the sea. He wanted to create the designs, and promised to see them implemented. Leonardo was excited and wanted to believe him.

#6

After Leonardo leaves, the studio feels empty without him. The other assistants are irritable and indolent, and they lack any purpose. They are all irritable and indolent, and they lack any purpose.

#7

The studio was becoming a building site. The boys were gluing paper together, and the smell of rancid and boiling rabbit skin was revolting. Salaì had moved me to an