Leo Martínez
The Last Supper, painted by Leonardo da Vinci between 1495 and 1498, is considered one of the most famous artworks in the world. It is a mural painting housed in the refectory of the Convent of Santa Maria delle Grazie in Milan, Italy. Leonardo chose to paint on a stone wall sealed with a double layer of gesso, pitch, and mastic, and used tempera paint, a medium generally used for panel painting. This was an experimental technique, as tempera paint is typically applied to panels rather than walls, and it allowed him to work slowly and make changes. The painting has not stood the test of time well, with paint flaking from the wall even before it was finished, and today very little of the original remains.
| Characteristics | Values |
|---|---|
| Artist | Leonardo da Vinci |
| Year | c. 1495–1498 |
| Medium | Tempera |
| Surface | Stone wall sealed with a double layer of gesso, pitch, and mastic |
| Undercoat | White lead |
| Location | Refectory of the Convent of Santa Maria delle Grazie, Milan, Italy |
| Dimensions | 460 cm × 880 cm (15 ft 1 in × 28 ft 10 in) |
| Subject | The Last Supper of Jesus with the Twelve Apostles |
| Composition | Horizontal layout with a large table in the foreground and figures behind it |
| Symmetry | Symmetrical, with the same number of figures on either side of Jesus |
| Perspective | Complex handling of space and mastery of perspective |
| Emotion | Complex display of varied human emotion |
| Lighting | Chiaroscuro, with a focus on luminosity and intensity of light and shade |
| Technique | Painted on dry plaster, allowing for frequent alterations and slow work |
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What You'll Learn
Leonardo da Vinci's use of tempera paint
The preparation for tempera painting involved sealing a stone wall with a double layer of gesso, pitch, and mastic, followed by an undercoat of white lead to enhance the brightness of the tempera. This method, described by Cennino Cennini in the 14th century, was considered riskier than fresco painting. Da Vinci's choice of materials and techniques allowed him to work slowly and make frequent alterations, accommodating his inconsistent painting schedule and revisions.
The use of tempera on a dry, sealed plaster wall was an experimental approach by da Vinci, who had no prior experience in mural painting. Unfortunately, this technique contributed to the painting's deterioration over time. Even before its completion, there were issues with the paint flaking from the wall, and da Vinci had to repair it. The painting has since endured vandalism, bombing, and restoration attempts, with little of the original work remaining today.
"The Last Supper" is renowned for its mastery of perspective, complex human emotion, and depiction of motion. Da Vinci's use of tempera paint, though challenging the preservation of the artwork, played a role in achieving the remarkable artistic effects that have influenced the destiny of painting. The painting's impact on art history has been recognized, with UNESCO declaring it a World Heritage Site, acknowledging its "exceptional universal value that transcends all historical contingencies."
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The painting's location and purpose
Leonardo da Vinci's mural painting, The Last Supper, is housed in the refectory of the Convent of Santa Maria delle Grazie in Milan, Italy. The painting, which dates back to the late 15th century (c. 1495-1498), depicts the biblical scene of Jesus' final meal with his Twelve Apostles, as described in the Gospel of John.
The painting is situated on an entire end wall of the dining hall, measuring an impressive 4.6 metres high and 8.8 metres wide. This monumental scale contributes to the impact and drama of the scene portrayed. The refectory, or dining hall, was not originally intended as such when Leonardo painted it, and the main church building was still under construction at the time.
The Last Supper holds a significant place in the history of art. It is considered a masterpiece and one of the world's most important works of art. Its innovative approach to space, perspective, motion, and human emotion has had a profound influence on artists throughout history. The painting's fame has only increased due to its central role in Dan Brown's novel, "The Da Vinci Code".
The painting was commissioned by Ludovico Sforza, the Duke of Milan, as part of a plan to renovate the church and its convent buildings. Sforza intended to remodel the church as a mausoleum for his family. The painting's location in the refectory across from the Crucifixion fresco by Giovanni Donato da Montorfano, emphasises its purpose as part of a larger decorative scheme commemorating the Sforza family.
Today, The Last Supper remains a significant attraction in Milan. Visitors can view the painting at the church of Santa Maria delle Grazie, which has been designated a UNESCO World Heritage Site. Due to the delicate state of the painting and conservation efforts, access to view the artwork is restricted, and advance reservations are typically required.
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The subject matter and its treatment
The Last Supper, painted by Leonardo da Vinci, is considered one of the most famous artworks in the world. It is a mural painting dated to c. 1495–1498 and housed in the refectory of the Convent of Santa Maria delle Grazie in Milan, Italy. The painting depicts the scene of the Last Supper of Jesus with the Twelve Apostles, as told in the Gospel of John, specifically the moment after Jesus announces that one of his apostles will betray him.
Leonardo's handling of space, mastery of perspective, treatment of motion, and complex display of human emotion have made the painting one of the Western world's most recognizable artworks and among Leonardo's most celebrated works. The subject matter of the Last Supper was a popular choice for the refectory walls of monasteries and convents in 15th-century Italy, where nuns and monks could dine in the presence of Jesus' final repast. Leonardo's version is neatly arranged, with Jesus at the centre of an extensive table and the Apostles to his left and right. He wears traditional red and blue robes and has a beard, but notably, Leonardo chose not to include a halo, which was customary in previous depictions.
Leonardo's composition is largely symmetrical, with the same number of figures on either side of Jesus, and all the diners seated on one side of the table so that none have their backs to the viewer. The tablecloth is white with blue stripes, colours commonly associated with the Jewish people, and the only overt reference to the ethnicity of Jesus and his disciples in the painting. Judas, the betrayer, is shown leaning back into the shadow, reaching for a piece of bread, while the other disciples react with varying degrees of horror, anger, and shock.
Leonardo's treatment of the subject matter reflects his belief that posture, gesture, and expression should manifest the "notions of the mind". Each of the twelve disciples reacts differently, reflecting their individual personalities and emotions. This complex study of human emotion is rendered in a deceptively simple composition, creating a sense of three-dimensional space on a flat surface.
In terms of technique, Leonardo chose not to use the traditional fresco method of painting on wet plaster. Instead, he experimented with tempera or tempura paint on a dry, sealed plaster wall, which allowed him to work slowly and make frequent changes. This method, described by Cennino Cennini in the 14th century, was considered riskier than fresco painting. Unfortunately, due to the materials and methods used, as well as various environmental factors and intentional damage, little of the original painting remains today despite numerous restoration attempts.
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The painting's condition and restoration
The Last Supper, painted by Leonardo da Vinci, has been subjected to numerous restoration attempts due to its deterioration over the centuries. The painting began to deteriorate soon after its completion, with paint flaking off the wall by 1517, less than two decades after it was finished. The choice of location for the painting proved to be detrimental to its preservation. Situated in the refectory of Santa Maria delle Grazie in Milan, the painting was exposed to a damp environment with constant flooding and steam from the nearby kitchen.
The first recorded restoration attempt was carried out by Michelangelo Bellotti in 1726. He filled in missing sections with oil paint and then varnished the entire mural. However, this intervention led to most of the original paint being obscured, resulting in criticism of Bellotti's work. Subsequent restorers, such as Giuseppe Mazza in 1770, attempted to remove previous restorations and fill in areas with oil paint mixtures. These early restoration efforts often involved painting over da Vinci's work, leading to a buildup of paint and a loss of original details.
In the 19th century, restorers like Stefano Barezzi focused on cleaning the surface and removing plaster to reveal hidden elements of the painting. The 20th century brought advancements in scientific technologies that aided in the restoration process. Luigi Cavenaghi conducted a chemical analysis of the painting in 1908, and Oreste Silvestri worked on cleaning and applying new plaster in 1924. Mauro Pelliccioli completed three separate sessions of restoration work, including an extensive cleaning and an attempt to rebind the paint to the wall.
The most recent and extensive restoration was initiated in 1977 or 1978 and lasted for about 20 years, under the leadership of art restorer Pinin Brambilla Barcilon. This project aimed to protect the painting from further deterioration and to recover da Vinci's original work by removing layers of built-up grime and previous restorations. Barcilon and her team used specialised strips dipped in solvents and easily reversible techniques with faded watercolours to ensure that the restoration work could be distinguished from the original. This restoration revealed many of Leonardo's original details, such as the Assisi embroidery design on the tablecloth and the gold lettering on Judas's robe.
Despite the numerous restoration attempts, the painting remains fragile, and visitors to Santa Maria delle Grazie in Milan are given restricted access to minimise any potential damage. The Last Supper stands as a testament to Leonardo da Vinci's innovation and mastery of Renaissance painting techniques, even as it continues to face the challenges of preservation and conservation.
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Leonardo's choice of perspective
Leonardo da Vinci's "The Last Supper" is considered a masterpiece of Western art and one of the most famous artworks in the world. The painting, created between 1494/1495 and 1498, depicts the dramatic scene described in the Gospel of John, specifically the moment after Jesus announces that one of his apostles will betray him.
The perspective in "The Last Supper" also contributes to the sense of depth and space within the painting. Leonardo carefully arranged the figures around the table, with Jesus at the center and the apostles to his left and right, creating a symmetrical layout. This symmetry extends to the number of figures on either side of Jesus, further emphasizing the balance and harmony of the composition. The use of perspective also allows for an accurate depiction of the room and the architectural elements, such as the table and the walls.
Additionally, Leonardo's use of perspective contributes to the sense of movement and interaction between the figures. The painting captures a moment in time, with each disciple reacting to the news of the betrayal in their own way. The use of perspective allows for a sense of depth and space, enhancing the feeling of multiple figures occupying the same space and engaging in a lively conversation.
Overall, Leonardo's choice of perspective in "The Last Supper" is a key element that contributes to the painting's iconic status. It showcases his mastery of spatial composition, his understanding of human emotions, and his ability to tell a complex narrative through visual means. The perspective draws viewers into the scene, inviting them to interpret the emotions and interactions of the figures while also providing a sense of balance and harmony to the composition.
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Frequently asked questions
Leonardo da Vinci used experimental pigments on a dry, sealed plaster wall, rather than the traditional fresco technique of painting on wet plaster.
Leonardo sought greater luminosity and intensity of light and shade (chiaroscuro) than could be achieved with fresco. He also wanted to work slowly and make frequent changes, which fresco does not facilitate.
Tempera on gesso, pitch, and mastic.
Yes, Leonardo painted The Last Supper directly onto a wall.
The painting measures 460 cm × 880 cm (15 ft 1 in × 28 ft 10 in).
