Last Supper
Leonardo da Vinci. c. 1494-1498 C.E. Oil and Tempera
The Last Supper is remarkable because the disciples are all displaying very human, identifiable emotions. The Last Supper had certainly been painted before. Leonardo's version, though, was the first to depict real people acting like real people.
Form:
Oil and tempura was an experimental combo
Used lead white as a base instead of traditional wet plaster to achieve more brilliant colors but the paint never adhered to the wall and began immediately deteriorating
Added a double layer of dried plaster to achieve greater detail
Things that have contributed to its terrible condition:
Location (side of a cafeteria building), materials, techniques used, humidity, dust, poor restoration efforts, bomb hit monastery in ’43, destroying large section of the refectory, air pollution in postwar Milan, tourists and overcrowded viewing
42.5% of the surface is Leonardo’s work, 17.5% is lost, and 40% is the additions restorers
Perfect perspective is achieved at Christ’s level using linear perspective
This view is 15 feet in the air
Strong sense of depth conveyed
Vanishing point right behind Christ’s head draws the viewer's eye to this central figure
Christ’s body forms an equilateral triangle
Very unified composition (it is intentional, mathematical, and precise)
Faces are individualized and figures are realistic with accurate proportions and light and shadow (chiaroscuro)
Use sfumato technique (use of glazes in slightly different tones of color creating an almost imperceptible transition from light to dark)
Great emotion, gesture, action (clamour and reaction of the figures), and interaction between figures
Function:
Monks would eat silently while looking at this painting.
Used to teach and inspire contemplation about this pivotal moment in the religion
Shows unity between the earthly, mortal world and the eternal and divine but also shows the chaos and flaws of humanity and greatness of the divine
Content:
The 12 apostles sit at a long table placed parallel to the picture plane in a simple, spacious room and react to Christ saying, “one of you will betray me” during seder at Passover (christ’s mouth is still open)
The apostles have highly emotional reactions
In the center, JC appears isolated and composed while his apostles freak out around him, showing his divinity and ethereal nature. He is reaching for the bread and wine, the sacrament of communion
Calm center with a window framing Christ’s head draws attention to Christ with a realistic halo of the window and curved pediment (the only curve in the entire painting) Chaos surrounds him and all lines converge behind him- he is a divine center
4 groupings of figures create a clustered, chaotic sense to the scene
Judas to the right of Christ has head down in shame and holds the bag of silver. He is reaching for the same bowl as Christ
Peter is rushing to Jesus, pushing Judas back in need of knowing the betrayer, and he is holding a knife ready to defend Jesus foreshadowing that Peter will sever the ear of a soldier as he attempts to protect Christ from arrest. Peter was known as his protector
John closes his eyes
Simon, Thadeus, and Matthew to JC’s far left demonstrate the force and extent of the impact of the news
Thomas, to JC left points upward, questioning God
Philip points to himself with a face of grief
James spreads himself out to calm people down
Through windows is a lush green landscape symbolizing heaven, which frames JC showing his divinity over all the others
3 windows, 4 groups of 3 apostles, Christ body forms a triangle = holy trinity and divinity
Painted on the side of the refectory of Santa Maria delle Grazie in Milan.
Context:
Da Vinci, born in Florence, was a painter, sculptor, engineer, architect, and scientist
Trained with the prestigious Andrea del Verrocchio
High renaissance (rebirth of classical ideal of beauty, use of shading, naturalism, and humanism)
Centralized in Rome, art was commissioned by popes
Missing halo distinguishers like early renaissance, but it is obviously the last supper because of da Vinci’s complete mastery of skill
Fascination with the body to show beauty of nature and convey the soul
Narrative style of painting common where the body and emotion reflects the mind
Da vinci had desire to depict humanity and convey individual emotions and reactions to represent their character and humanity
Idealized geometry of Jesus is in line with the Renaissance’s rediscovery of Neo-Platonism (humanist revival combining Greek philosophy with Christian theology)
Plato believed that the mortal realm was imperfect, and the divine can be seen in heavenly, geometric perfection
Da vinci practiced with live models, and therefore had a deep understanding of the observable world which is reflected in the highly individualized and proportionally correct apostles
Cross Cultural Connections
The Calling of Saint Matthew
Ludovisi Battle Sarcophagus
Justinian Panel
Wall Plaque from Oba’s Palace
