The secret of the Mona Lisa’s smile? She’s actually a vampire

When Bernard Berenson learned that Leonardo da Vinci’s Mona Lisa had been stolen from the Louvre Gallery in Paris, the art critic heaved an enormous sigh of relief. Finally, he reflected, he could remove himself once and all from the dangerous influence of the work. “She had simply become an incubus,” he recalled years later, “and I was glad to be rid of her.”

At long last, Berenson had freed himself from the vampiric face of the Mona Lisa.

Today Leonardo’s painting, happily recovered in 1913 for generations of visitors after its theft in 1911, still looms large as perhaps the definitive symbol of Italian Renaissance art.

French president Emmanuel Macron recently announced plans for a project titled Nouvelle Renaissance, which will see the artwork moved to its own exhibition room, relieving pressure on the main gallery space. One of the most visited artworks in the world, Berenson’s pronouncement of the enigmatically smiling figure as a male demon in female human form, sits oddly with her endless appearance on T-shirts and tea-towels.

But looking again at how the myth of the Mona Lisa emerged, I believe that her fame is due not just to the painting’s display of artistic ingenuity – but to the troubling vampirism and gender ambiguity that 19th-century critics saw in Leonardo’s work.

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