anyone know any good info on di vinci's painting of the last supper, I have a paper to write?

Answer 1

these days it is hard to weed through the conspiracy thoeries, to get to the truth regarding "The Last Supper", there are many things may people would want you to believe.......it is up to you to decide for yourself the truth of the matter.....but here are some facts for you anyway, take what you want leave the rest.

The Last Supper (Italian: Il Cenacolo or L'Ultima Cena)

15th century mural painting in Milan, created by Leonardo da Vinci for his patron Duke Lodovico Sforza. It represents the scene of The Last Supper from the final days of Jesus as depicted in the Bible. The painting is based on the account, in John 13:21, of Jesus announcing that one of his twelve disciples would betray him. The painting is one of the most well known and valued in the world; unlike many other valuable paintings, however, it has never been privately owned because it cannot easily be moved.

The painting measures 460 × 880 centimetres, and can be found in the refectory of the convent of Santa Maria delle Grazie in Milan, Italy.

The theme was a traditional one for refectories, but Leonardo's interpretation gave it much greater realism and depth. The lunettes above the main painting, formed by the triple arched ceiling of the refectory, are painted with Sforza coats-of-arms. The opposite wall of the refectory is covered by a Crucifixion fresco by Donato Montorfano, to which Leonardo added figures of the Sforza family in tempera. (These figures have deteriorated in much the same way as has The Last Supper.) Leonardo began work on The Last Supper in 1495 and completed it in 1498 — however, he did not work on the piece continuously throughout this period.

The Last Supper specifically portrays the reaction given by each apostle when Jesus said one of them would betray him. All twelve apostles have different reactions to the news, with various degrees of anger and shock. From left to right:

Bartholomew, James the Lesser and Andrew form a group of three, all are surprised. Andrew holds both of his hands up in a "stop!" gesture.
Judas Iscariot, Peter and John form another group of three. Judas is wearing green and is in shadow, looking rather withdrawn and taken aback by the sudden revelation of his plan. He is clutching a small bag of silver, given to him as payment to betray Jesus. Peter looks angry; perhaps foreshadowing Peter's reaction in Gethsemane. Peter is holding a knife, which is pointed away from Christ, also a foreshadowing of Peter's violent protection of Christ in Gethsemane. The youngest apostle, John, appears to swoon.
Thomas, James Major and Philip are the next group of three. Thomas is clearly upset; James the Greater looks stunned, with his arms in the air. Meanwhile, Philip appears to be requesting some explanation.
Matthew, Jude Thaddeus and Simon the Zealot are the final group of three. Both Jude Thaddeus and Matthew are turned toward Simon, perhaps to find out if he has any answer to their initial questions.

In common with other depictions of the Last Supper from this period, Leonardo adopts the convention of seating the diners on one side of the table, so that none of them have their backs to us. However, most previous depictions had typically excluded Judas by placing him alone on the opposite side of the table from the other twelve. Another technique commonly used was placing halos around all the disciples except Judas. Leonardo creates a more dramatic and realistic effect by having Judas lean back into shadow. He also creates a realistic and psychologically engaging means to explain why Judas takes the bread at the same time as Jesus, just after Jesus has predicted that this is what his betrayer will do. Jesus is shown saying this to Saints Thomas and James to his left, who react in horror as Jesus points with his left hand to a piece of bread before them. Distracted by the conversation between John and Peter, Judas reaches for a different piece of bread, as, unseen by him, Jesus too stretches out with his right hand towards it. All of the angles and lighting draw attention to Christ.

The painting contains several references to the number 3, which may be an allusion to the Holy Trinity. The Apostles are seated in groupings of three; there are three windows behind Jesus; and the shape of Jesus' figure resembles a triangle. There may have been many other references that have since been lost to the painting's deterioration.

Leonardo painted The Last Supper on a dry wall rather than on wet plaster, so it is not a true fresco. Because a fresco cannot be modified as the artist works, Leonardo instead chose to seal the stone wall with a layer of pitch, gesso and mastic, then paint onto the sealing layer with tempera. Because of the method used, the piece has not withstood time very well – within several years of completion it already began showing signs of deterioration.

As early as 1517 the painting was starting to flake. By 1556 — less than sixty years after it was finished — Leonardo's biographer Giorgio Vasari described the painting as already "ruined" and so deteriorated that the figures were unrecognizable. In 1652 a doorway was cut through the (then unrecognizable) painting, and later bricked up; this can still be seen as the irregular arch shaped structure near the centre base of the painting. It is believed, through early copies, that Jesus' feet were in a position symbolizing the forthcoming crucifixion. In 1768 a curtain was hung over the painting for the purpose of protection; it instead trapped moisture on the surface, and whenever the curtain was pulled back, it scratched the flaking paint.

A first restoration was attempted in 1726 by Michelangelo Bellotti, who filled in missing sections with oil paint then varnished the whole mural. This repair lasted very poorly and another restoration was attempted in 1770 by Giuseppe Mazza. Mazza stripped off Bellotti's work then largely repainted the painting; he had redone all but three faces when he was halted due to public outrage. In 1796 French troops used the refectory as an armory; they threw stones at the painting and climbed ladders to scratch out the Apostles' eyes. The refectory was then later used as a prison; it is not known if any of the prisoners may have damaged the painting. In 1821 Stefano Barezzi, an expert in removing whole frescoes from their walls intact, was called in to remove the painting to a safer location; he badly damaged the centre section before realising that Leonardo's work was not a fresco. Barezzi then attempted to reattach damaged sections with glue. From 1901 to 1908, Luigi Cavenaghi first completed a careful study of the structure of the painting, then began cleaning it. In 1924 Oreste Silvestri did further cleaning, and stabilised some parts with stucco.

During World War II, on August 15, 1943, the refectory was struck by a bomb; protective sandbagging prevented the painting being struck by bomb splinters, but it may have been damaged further by the vibration. From 1951 to 1954 another clean-and-stabilise restoration was undertaken by Mauro Pelliccioli.

From 1978 to 1999 Pinin Brambilla Barcilon guided a major restoration project which undertook to permanently stabilise the painting, and reverse the damage caused by dirt, pollution, and the misguided 18th century and 19th century restoration attempts. Since it had proved impracticable to move the painting to a more controlled environment, the refectory was instead converted to a sealed, climate controlled environment. Then, detailed study was undertaken to determine the painting's original form, using scientific tests (especially infrared reflectoscopy and microscopic core-samples), and original cartoons preserved in the Royal Library at Windsor Castle. Some areas were deemed unrestorable. These were re-painted with watercolour in subdued colours intended to indicate they were not original work, whilst not being too distracting.

This restoration took 21 years and on May 28, 1999 the painting was put back on display, although intending visitors are required to book ahead and can only stay for 15 minutes. When it was unveiled, considerable controversy was aroused by the dramatic changes in colours, tones, and even some facial shapes. James Beck, professor of art history at Columbia University and founder of ArtWatch International, has been a particularly strong critic.

A common legend surrounding the painting is that the same model was used for both Jesus and Judas. The story often goes that the innocent-looking young man, a baker, posed at nineteen for Jesus. Some years later Leonardo discovered a hard-bitten criminal as the model for Judas, not realizing he was the same man. There is no evidence that Leonardo used the same model for both figures and the story usually overestimates the time it took Leonardo to finish the mural.[1]

There is a theory, first publicized in 1997 in the pseudohistorical book The Templar Revelation by Lynn Picknett and Clive Prince, that the person to the left of Jesus (to His right) is actually Mary Magdalene, rather than the apostle John (as most art historians identify the figure). This theory is central to Dan Brown's popular 2003 novel The Da Vinci Code.

In the novel, it is said that John/Mary Magdalene has a womanly bosom, feminine facial features, and is swaying gracefully toward Peter. Peter appears to be making a threatening gesture across John/Mary's throat. The author uses this theory to advance his view that Leonardo da Vinci was once the head of a secret society, the Priory of Sion, which protects the secret of Jesus' royal bloodline, and the location of his modern descendants.

Critics of the novel's theories also point out that:

While damage makes it impossible to be sure of the figure's gender, it appears to be wearing male clothing.
There are only thirteen figures in the painting, so if one is Mary Magdalene, an apostle is missing: somebody would have noted a missing male apostle earlier. Some have suggested that on the front of the figure of Simon Peter there is one hand with a dagger which is associated to nobody in the picture, but in clearer reproductions [1] this is seen to be Peter's right hand, resting against his hip with the palm turned outward; the knife points towards Bartholomew (far left) who was to be executed by being flayed. It may also indicate Peter's impulsive nature, as he cuts off a soldier's ear in John 18:10. A detailed preliminary drawing of the arm exists.[2]
Some of the painting's cartoons (preliminary sketches) are preserved, and none show female faces.
Other paintings from that period (Castagno’s 1447 and Ghirlandaio’s 1480) also show John to be a very boyish or feminine looking figure with long fair hair.[3] This was because John was supposed to have been the youngest and most unquestioningly devoted of the apostles. Hence he is often shown asleep against Jesus's shoulder. It was common in the period to show neophytes as very young or even feminine figures, as a way of showing their inferior position.
Leonardo also portrayed a male saint with similar effeminate features in his painting St. John the Baptist.
There have also been other popular speculations about the work:

It has been suggested that there is no cup in the painting, yet Jesus's left hand is pointing to the Eucharist and his right to a glass of wine. This is not the glorified chalice of legend as Leonardo insisted on realistic paintings. He often criticised Michelangelo for painting muscular, superhuman figures in the Sistine Chapel.
It is claimed that if one looks above the figure of Bartholemew, a Grail-like image appears on the wall.[2] Whether Leonardo meant this to be a representation of the Holy Grail cannot be known, since as pointed out earlier there is a glass on the table within Christ's reach. The "Grail image" has become noticed probably because it only appears when viewing the painting in small scale reproductions. Zooming in on the painting reveals a cluster of geometrical shapes, possibly intended to represent marble wall decoration, or more likely, panneling on a door.[4] They only appear to form a golden chalice when parts are deliberately occluded.
It is argued that the color of Jesus' and "Mary"'s clothes are inversions of each other, which suggest the two halves of marriage. However, there are other apostles with clothing of the same colors. Philip's clothing is also an inversion of Jesus's.
No credible researchers have ever supported the suggestion that the doorway was cut purposely to eliminate a sleeping apostle John from beneath the table, an image that would supposedly have proved that the figure appearing to the left of Jesus was Mary Magdalene. Several copies were painted before the door was cut. None show another figure, only table-legs and the sandled feet of Jesus.

Answer 2

I think Dan Brown's Da Vinci Code is a rip-off piece of sh**. But I agree with one thing he says - one of the 12 'disciples' in the painting is a woman. Have a look, there is no mistake! It's not an effeminate man, it is 100% a woman.

As for the painting itself, it is a frescoe, and there were very strict rules about painting frescoes - like you had to work on wet plaster so you had one day to do a complete piece of it before the plaster dried. Da Vinci ignored the rules, and as a result the painting has gradually eroded away and very little of the original remains. It was even covered up in the 18th Century, and then uncovered again. The building it is in got bombed in the second world war. It is a miracle there is anything at all left.

The painting must have been one of the most dramatic things ever when it was new. It was on the end wall of the monks' refectory - the perspective in the picture continued the perspective of the room it was in, so the monks would have seen something that looked like a continuation of their refectory - awesome. And for the first time in such a scene, the people in it are alive and dynamic and actively involved in the scene taking place, they are not just 'wooden' accessories there just to make Jesus look good.

You can use all this if you want. There was a great documentary on it last Easter which is why I know so much!

Answer 3

First of all, as others pointed out, there's no Mary Magdalene. It's fiction, Dan Brown is just a thriller author, no art historian. Anyway, the last supper is a common theme in art history, and during the Renaissance the most common version was the same, with all the Apostles and Jesus on the same side of the table. By the way, it's obviously wrong, since in the time of Jesus people dined sitting on the floor, or lying on triclinia, there was no table, and surely no table-cloth! The whole painting is an interpretation of the Last Supper by Leonardo, not a photo.

Answer 4

here are some things which pop into my muind:
perspective in the painting is central, and the center of it where all the lines of the perspective meer is in the head of Jesus.
Beside it is a triangular composition. One big triangle, having jesus on the top, and then small triangles made between heads of the apostoles.
It is a painting made on a wall of the diening room of a monastery. As Leonardo lkoved to experiemnt with painting techology, the painting started to "change" and be damaged, several years after it was painted. As monastery was partly ruined, it was exposed to the outisde weather for years.
It was restaurated in 80's if I rember well.
Well, this is in addition to the rest of answers.

Answer 5

I heard that there was a woman in the original painting...
count the people.
You have to look it up.
I was subbing as an art teacher when DaVinci was being taught and I found the man intriguing.
Did you know that he wrote things so that he could read them in a mirror?
He was a genius so I guess he did that to avoid boredom, much like I read.
The Last Supper Painting was very intriguing.
Like I said, you have top look it up...here's one link to get you started
http://www.davincispeaks.net/chapter-3.htm
Good luck.

Answer 6

Leonardo was asked to paint The Last Supper on the wall of the Refectory of Santa Maria delle Grazie by Ludovico Sforza (Il Moro) as part of a larger comission. You can see evidence of the patron (Ludovico Sforza) if you look at the lunettes above the fresco. There Leonardo has included his coat of arms. Wreaths of leaves and fruit for example the pear a symbol of crucifiction, the palm a symbol of martyrdom, and the apple which means salvation. Ludovico apparently wished to be buried in the monastry.

Leonardo's painting was to appear on one of the short walls of the refectory and Giovanni Donato di Montorfano's work was already complete on the other wall. Georgio Vasari acually calls Giovanni's painting 'old fashioned'.

The Last Supper was a very popular painted subject and such religious allegories were expected to be depicted in the traditional manner. Before we move on I would suggest you look at da Vinci's version and also Ghirlando's Last Supper and make a few comparrisons. Ghirlando's was a very traditional depiction whereas Leonardo wanted to portray the apostles reaction when jesus says to them 'one of you will betray me'. This is the famous Leonardo 'moti mentali' or motions of the mind and moti dell'animo, motions of the soul.

Luca Pacoli in 1498 commends the work. He was a mathmatician and it is probable that Leonardo studied geometry with him in Milan for a time. He mentions the work in the dedication of his paper on the divine proportion. He says, 'it is impossible to imagine the apostles displaying any greater shocked attention at the sound of the voice of the ineffable truth'. Each apostle is depicted exposing their own reaction to Christ's words. Carlo Pedretti say that 'only the sound is missing'. Leonardo says 'no figure can be deemed praiseworthy unles it expresses through its acts, as far as possible, the passion of its soul'.

The apostles are divided into groups of three. From the left we have Bartholemew, James the Minor and Andrew who Leonardo says 'with hands open, showing his palms, he raises his shoulders towards his ears and makes a mouth of astomishment'. The next group includes Judas, Peter and John. Traditionally Judas is portrayed alone but here is is with the other apostles holding his silver coins. Peter is portrayed traditionally as an old man and John as a pretty almost femine boy. John is the apostle whose appearance now causes much controversy. The Mary Magdalene theory much rejected by art hostorians who are used to his femine depiction. To the right, close to Christ is the group which includes Thomas (pointing upward), Philip pointing to himself and James the Major with his arms open. Jame's gestures are in effect a repoussior device as they direct the viewer's eye from the right, back to the Christ at the centre of the work.

If we look at the perspective of the work, all of lines of perspective converege in a single point behind Christ. This streses the importance of Christ the icon at the centre of the work framed in front of the window through which his earthly world is visible.

Leonardo used an experimental painting tecnique for this fresco, tempra and oil over a dry previously preparred wall and the painting deteriorated during his own lifetime. I can understand why Leonardo wanted to use a method like this as if he had used fresco he would have had to have worked quickly. In fresco painting enough plaster would have been made up for a day (giorno) and then cartooned and painted upon while still damp. The artist had to be quick and there are reports from his contemporaries that he like to come into the refectory, gaze at the incomplete work and then paint say a piece of drapery or highlight a face. Fresco would have rushed this process and although the oil/tempra failed, its use can be understood.

Answer 7

Take a good look at the disciples to Jesus' right. There is one that's suppose to be a man, but a good close look, it actually resembles a woman. Legend has it, "could that be Mary Magdalen"?

Answer 8

For your paper, it is Da Vinci.

Answer 9

I like Mel Brooks skit on that.

All you guys will have to go to the same side of the table to be in the picture, etc.

Answer 10

You could go to wikipedia for this one

Answer 11

http://ccat.sas.upenn.edu/~lbianco/project/home.html