Leonardo Da Vinci's The Last Supper
“The Last Supper” is exemplary of the High Renaissance and the mastered work of Leonardo Da Vinci. The fresco in the church refectory (cafeteria) of Santa Maria della Grazie in Milan was finished between 1495 and 1498. Although the subject matter of “The Last Supper” is not new, the way that Da Vinci depicts it at the height of the revelation of betrayal is original which allows Da Vinci to discover how to emotionally divulge each apostle’s reaction and personality. The naturalism in Da Vinci’s rendering of human emotion and responses speaks to the climax of the narrative and symbolism. Like most High Renaissance artist there was an emphasis on science and mathematics to create balance and harmony in artwork. Da Vinci is no different as the religious narrative displays his vast knowledge of mathematics and science. For example, the scientific or one-point linear perspective is seen through the use of orthogonal as inferred by the coffered ceiling and wall tapestries. This technique creates the appearance of depth in the two-dimensional painting. It is also used to reflect the newfound awareness of a person’s place in the world, using Christ as the vanishing point
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and depicting him detached to the rest of the group of apostles. The geometry also refer to the High Renaissance’s interest in Neo-Platonic ideas from ancient Greek philosophy. There is also a sense of balance with the twelve apostles in four groups of three around Christ who has a pyramidal form. The use of three is representative of the holy trinity. Another popular technique of the High Renaissance called sfumato was employed in the fresco which is highly sophisticated as shown in the contours of the figures, their clothing and the atmosphere.
Not only is Christ the center focal point, he is also the center of the hierarchy. This is unique in the way the scene is depicted where Christ announced the revelation that one of them has betrayed him. We see this in the humanized way that each apostle holds a different gesture and distinct reaction. However, Christ remains composed with his palms facing up as to accept his outcome. This is where the symbolism takes hold, especially with the interpretation of Judas. All of the apostles look to question which of them is the betrayer showing a variety of responses from sadness to protest to questioning if it was themselves. However, Judas grasps the money he was paid to betray Christ in one hand while they both reach for the same plate of bread. Symbolism is also present in the pediment arch that is over the center window and above Christ’s head showing a subtle halo.
“The Last Supper” as commissioned by the Duke of Milan, allowed monks of the church to consider the ultimate sacrifice Christ made.
Due to this Da Vinci seated all of the apostles on the opposite side of the table with Christ as to ask viewers to engage in the action of the painting. This fresco is Da Vinci’s own version by applying plaster onto existing plaster and then adding tempera, so that it would become one with the wall surface. He did this to improve the detail and quality, but this was unsuccessful as it began to peel away from the wall months later. This horizontal fresco is large, which shows the monumentality and ambitious undertaking this piece was. Stylistically this classifies as one of Da Vinci’s greatest piece of work using High Renaissance techniques and Classical Antiquity
ideas.
and depicting him detached to the rest of the group of apostles. The geometry also refer to the High Renaissance’s interest in Neo-Platonic ideas from ancient Greek philosophy. There is also a sense of balance with the twelve apostles in four groups of three around Christ who has a pyramidal form. The use of three is representative of the holy trinity. Another popular technique of the High Renaissance called sfumato was employed in the fresco which is highly sophisticated as shown in the contours of the figures, their clothing and the atmosphere.
Not only is Christ the center focal point, he is also the center of the hierarchy. This is unique in the way the scene is depicted where Christ announced the revelation that one of them has betrayed him. We see this in the humanized way that each apostle holds a different gesture and distinct reaction. However, Christ remains composed with his palms facing up as to accept his outcome. This is where the symbolism takes hold, especially with the interpretation of Judas. All of the apostles look to question which of them is the betrayer showing a variety of responses from sadness to protest to questioning if it was themselves. However, Judas grasps the money he was paid to betray Christ in one hand while they both reach for the same plate of bread. Symbolism is also present in the pediment arch that is over the center window and above Christ’s head showing a subtle halo.
“The Last Supper” as commissioned by the Duke of Milan, allowed monks of the church to consider the ultimate sacrifice Christ made.
Due to this Da Vinci seated all of the apostles on the opposite side of the table with Christ as to ask viewers to engage in the action of the painting. This fresco is Da Vinci’s own version by applying plaster onto existing plaster and then adding tempera, so that it would become one with the wall surface. He did this to improve the detail and quality, but this was unsuccessful as it began to peel away from the wall months later. This horizontal fresco is large, which shows the monumentality and ambitious undertaking this piece was. Stylistically this classifies as one of Da Vinci’s greatest piece of work using High Renaissance techniques and Classical Antiquity
ideas.