Mona Lisa replicas and reinterpretations
At the start of the 16th century, Leonardo da Vinci was commissioned by Florentine nobleman Francesco del Giocondo to paint a portrait of his wife, Lisa.
The painting is believed to have been undertaken between 1503 and 1506.
Leonardo's portrait of "Mona Lisa" ("Mona" or "Monna" being the Italian honorific for "Madame") has been on display as part of the permanent collection at Paris' Louvre museum since 1797. It is also known as "La Joconde" in French and "La Gioconda" in Italian, and has been known by other names in the past. There is a new study setting the beginning of the Mona Lisa to an earlier date that thought before, pre-1478, contrary to Vasari's narrative.
Replicas of "Mona Lisa" date back to the 16th century,
including sculptures and etchings inspired by the painting.
But even by the start of the 20th century, historian Donald Sassoon has stated, "Mona Lisa" was still "just a well-respected painting by a famous old master, hanging in one of the great museums of the world."
The image had yet to gain iconic status, and, Sassoon adds, was "not even the most valued painting in the Louvre."
The painting's theft on August 11, 1911, and the subsequent media frenzy surrounding the investigation and its recovery are contributing factors which ignited public interest and catapulted "Mona Lisa" to its current standing.
Portrait of Dorothea Berck
Portrait of Dorothea Berck is a 1644 painting by Frans Hals that is in the collection of the Baltimore Museum of Art. It depicts Dorothea Berck at age 51, the wife of the prosperous Haarlem merchant Joseph Coymans, whose portrait Hals also painted. Both paintings were executed on the occasion of their daughter Isabella's wedding, whose marriage pendants Hals also painted.
The painting, like many of Hals's portraits, is inscribed and signed, but there is no mention of the identity of the sitter, and it was only identified as Berck in 1908. 
The portrait is noted for its classical similarity to the Mona Lisa. Like the Mona Lisa, she sits upright in a dark chair and rests her hands on either a dark desk or perhaps a large dress that surrounds her. Her ungloved hand may be clasping a book or part of her sleeve. The loose brushwork is typical of Hals and shows a fleeting gesture with the casual way her finger is hooked over her wrist. Portraits of subjects with one glove on and one glove off are common in Dutch 17th-century marriage pendant portraits. Gloves symbolize the wedding vows where the husband and wife each hold one of a pair of gloves. In this case, her husband Joseph Coymans is wearing the "other glove" in his pendant portrait. In Hals' marriage pendant portraits, the husband is always situated on the left and the woman on the right, and the light always comes from the left, shining fully on the woman.