Seen one way, at risk of over-exercising the cliche we have of the French as world-class gourmets, the January 28 "soup attack" on the Mona Lisa was the most purely "French" of the long-suffering masterpiece's many dispiriting, and occasionally ridiculous, travails. The raison d'etre of the attack was, in fact, about food, carried out by activist foodies, who threw food at the painting. A protest trifecta, in other words.
Except for the choice of target. The fact that the luminous Italian Renaissance masterwork is wholly unrelated to with the current French government's food and/or land-use policies somehow went missing, and that glaring lack of connection makes the painting all the more absurd as a target, which has the effect of reducing, rather than enhancing, the protesters' point. Yes, the painting is owned by the Louvre, which became a French government institution in 1791, cresting into a public institution on the vast tsunami of the French Revolution. But that is a gossamer-thin pretext in seeking a target for a food-policy protest.
Obviously, there is another series of reasons that the target was selected. Call it: impact value. Stated crudely, the Mona Lisa is the most famous painting in the world, so, if you're out to make a splash for your cause, doing something in, around, or to the thing is one good way to stir up a flurry of attention. Obviously.
But there's a deeper level to the painting's target value that has inextricably to do with the extraordinary power and eloquence of da Vinci's expression — with its "art-ness," if you will. This particularly luminous, crucial painting, with the Arno valley serving as the backdrop, has, for the last two centuries in French possession, assumed a sort of magical place in the public imagination. In her portrait, da Vinci caught a chunk of the cosmic hum that works a little like a dog whistle on certain people, inspiring them them to steal, or at least to possess the iconic work, to destroy it, to embrace it, to smear it with food.
Bottom line: Looking at or studying the Mona Lisa has never been enough to sate every desire the public has engendered in response to this work. The Mona Lisa has become a lightning rod for attacks — including a two-year hiatus when it was stolen from the Louvre by a disgruntled Italian emigre in Paris, Vincente Peruggia, who tried to repatriate the work to its (and his) home country. Pictured above, Signor Peruggia's 1881 mug shot, after his arrest.
The backstory of Sunday's attack is this: Emanating from the southwest of the country since January 18, "go-slow" caravans of tractors driven by France's most tetchy and passionate small- and/or organic farmers have staged roadblocks that have inspired, and been applauded by,
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This as-told-to essay is based on a conversation with John Martin, who previously worked in the aluminum industry, and his wife Beverly, both 60, who have been traveling the United States and the world since 2019. The conversation has been edited for length and clarity.
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