Art critique - Leonardo da Vinci’s Last Supper Last Supper, the creation of Leonardo Da Vinci’s one of the most famous masterpiece in his life work. This piece is especially recognized as an unprecedented and fascinating ingenious layout of excellence. Realistic detail and strict decent relationship compared with many other paintings. The characters in the composition are filled with fear, anger, doubt, gestures, eye contact and behaviors. These vivid characterizations give the audience an immersive sense. “Leonardo painted this mural in the late fifteenth century, for the refectory, or dining hall, of a monastery at the request of his patron Duke Ludovico Sforza and his duchess Beatrice d'Este (Reinhartz).”
“The mural …show more content…
The room terminates at three windows on end of wall and through the windows we can see into a beautiful landscape setting. We see how the landscape in the background terminates in a kind of misty, grayish horizon. This painterly device, in which the horizon’s colors become more dull and colorless, is called aerial perspective and was used by renaissance artists to create the illusion of depth in landscape scenes. As far as the composition is concerned, Christ is in center among the apostles, and his body forms a triangle-like shape which is not overlapped by any apostles. There are four sets of three apostles at the table beside Christ, and these numbers may have been important for Leonardo for symbolic reasons (for example, there are four Gospels in the Bible, and three is the number of the Trinity). We can easily see Leonardo’s use of one-point linear perspective, in which the vanishing point is at Christ’s head (the orthogonals can be seen by following the tops of the wall tapestries or the coffers to where they intersect at Christ), which he also framed by the pediment above and back-lit by the open window behind (Leonardo da Vinci’s Last
“The mural …show more content…
The room terminates at three windows on end of wall and through the windows we can see into a beautiful landscape setting. We see how the landscape in the background terminates in a kind of misty, grayish horizon. This painterly device, in which the horizon’s colors become more dull and colorless, is called aerial perspective and was used by renaissance artists to create the illusion of depth in landscape scenes. As far as the composition is concerned, Christ is in center among the apostles, and his body forms a triangle-like shape which is not overlapped by any apostles. There are four sets of three apostles at the table beside Christ, and these numbers may have been important for Leonardo for symbolic reasons (for example, there are four Gospels in the Bible, and three is the number of the Trinity). We can easily see Leonardo’s use of one-point linear perspective, in which the vanishing point is at Christ’s head (the orthogonals can be seen by following the tops of the wall tapestries or the coffers to where they intersect at Christ), which he also framed by the pediment above and back-lit by the open window behind (Leonardo da Vinci’s Last