The Concept of Leonardo da Vincis The Last Supper - Essay Example

da Vinci’s Last Supper There is much to be written not just about Leonardo da Vinci’s depiction of the The Last Supper, but about the comparisons which can be made to da Vinci’s interpretation of the event and the works the of other artist and periods and their interpretation of that same historical Biblical event (Matthew 26:17-30; Mark 14:12-26; Luke 22:7-23; John 13:21-26). daVinci’s The Last Supper, was commissioned by Duke Lodovico Sforza, Leonardos patron, and originally was painted by the artist on the wall of the dining hall of the convent of Santa Maria delle Grazie, in Milan (Olga’s Gallery, 2006). The work was completed between 1495 and 1498. The original work, not a “true fresco (Olga’s, 2006),” because the artist did not work in the definition of that tradition, and did not apply the combination of oil and tempera he worked with to wet plaster (Olga’s, 2006). Rather, Leonardo applied a resin of pitch and gesso chalk to the plaster to seal the porous material (Olga’s, 2006). This would create a smoother surface upon which to apply the combination of oil and tempera the artist worked with, but did not create a surface that would sustain the work during the passage of time (Olga’s, 2006). The style in which Leonardo worked did allow him to create a bright, textured work “in exquisite detail (Olga’s, 2006).” The work, in a deteriorating condition, was later transferred to canvas, restored, and it is that restoration process that reflects what people commonly think of when they think of Leonardo da Vinci’s The Last Supper. It is the moment now to look at that as a work of art in more detail. Da Vinci’s Last Supper might be compared to the 12th century fresco found at the Church of San Baudelio near Berlanga, Spain (MFA Boston, 2006). What immediately strikes the observer in comparing the works, is that the earlier 12th century unknown artist of t he Spanish work used a very different placement of the key people depicted in the work. In the 12th century work, Judas, whom Jesus does not mention by name, but nonetheless advises His disciples that one of them will betray Him; is in front of the table, set apart from the other disciples by his position in front of the table. This depiction of Judas at the front of the table, rather than as Leonardo presents Judas, sitting at the table; is considered the “traditional” depiction of Judas (MFA, 2006). What we also note about the earlier artist’s interpretation is that the disciples are haloed, except for Judas, of course. This, too, is “traditional” in nature, to reflect the level of divinity achieved by loyal Christians, as opposed to Judas, whom we must consider as having been doomed for his betrayal and lack of faith since Judas is without a halo. We might infer, too, from the earlier artist’s work, that there is “salvation,” since it is Jesus Himself who is giving Judas the bread, or the “body of Christ.” Leonardo’s depiction, however, shows Judas with one hand on the bread, helping himself, which is perhaps a personal statement or judgment of Judas. Like Leonardo’s work, and that which has been the subject of much discussion recently; the earlier artist depicts the clean shaven disciple, in a less masculine style than the other disciples, showing that it’s neither a concept originating with da Vinci, and perhaps one that suggests the Prophet’s relationship with Mary Magdalene. Unlike da Vinci’s later 15th century work, which reflects the use of mixed and vibrant colors to achieve a realistic depiction of clothing and characters; the 12th century works uses the yellow/gold combination to create the notion of value associated with both with Christianity, and with the disciples themselves as having achieved grace by way of their loyalty. The use of the yellow and gold to create the celestial-like light effect was common of faith-based works from the early 12th century period. While the work of da Vinci, with its rich oil and tempera combination give it the colorful vibrancy, the 12th century work is equally interesting and easily draws in the observer. The comparison of the two works really serves to show the differences in the depiction of faith works in the early period as compared to that of the depiction using the more vibrant combination of mediums in the later period. Also, the approach to the theme based rendition of the traditional portrayal of the event, to the individual artist interpretation during Leonardo’s time. To gain a sense of “likeness” of era, we would have to examine Leonardo’s work with that of one from the same era; and there is no shortage of works with which to do that. Keeping in mind that Leonardo’s original work was done on a resin over plaster surface, we might look to compare the work with that of Jaume Huguet. Huguet, like Leonardo, opted for the vibrancy of color, and used “embossed metal plates,” to help him accomplish the vibrancy he was seeking (Web Gallery of Art, 2006).” Huguet’s work, held at the Museu Nacional dArt de Catalunya, Barcelona, is successful in that he presents a rich array of color in the character’s clothes and in the appearance of the disciples and Jesus. Even viewing the work in an internet photograph, it’s easy to see the depth with which Huguet was able to give the work using the embossed metal plates. There is, like in Leonardo’s work and that of the earlier 12th century artist, the controversial figure of the clean-shaven disciple who has a greater physicality to Jesus, and in Huguet’s work is actually touching the Prophet, leaning on his shoulder. The brilliance of the detail exceeds that of Leonardo’s work, and Huguet inserts into his piece some real-life connections that make the event seem more real, like the cat affectionately rubbing the chair while waiting patiently for a morsel of food. In Huguet’s work, like that of the 12th century work, the disciples are angelic in nature, with halos, except for Judas; and the disciples seem to be more contemplative amongst themselves while Judas is, again, preoccupied with the bread. However, unlike the work of the 12th century artist or Leonardo, there is no “finger pointing” going on in Huguet’s work. This, perhaps, is a conveyance of Huguet’s acceptance of Jesus’s fate on behalf of man, and that Jesus must be betrayed in order to be crucified. The work of Dieric the Elder Bouts, of the Netherlands, is a departure from the Italian Renaissance look of da Vinci. Bouts’ Last Supper (Web Gallery of Art, 2006) is vibrant and clear in color, an oil on panel, it does not have the depth that was created by the use of plates in Huguet’s work, but Bouts work reflect the use of the dark colors that are used in his 15th century work and the works of Huguet and Leonardo, but absent from the 12th century work. Huguet’s work is “frozen and sober” and stylistically a conveyance of the purity of the faith related perspective of the Netherlands during the period. There is no play on allusions as to the sexual identity of those who might have been present at the Last Supper; they are all clearly male, though there is a clean shaven disciple whose clean-shaven appearance is clearly because of youth, but still clearly a youthful male. The piece conveys the sense freshness, presented with a neatness having an order to it, which is not found in the other works mentioned here. What we have seen here is that while the Last Supper is typically considered in all terms “Leonardo”, that there are in fact other perspectives and periods, earlier periods, which would have influenced Leonardo, and peers who would have influenced Leonardo’s work too. Reference List Olga’s Gallery (2006). The Last Supper. Leonardo da Vinci, found on-line at http://www.abcgallery.com/L/leonardo/leonardo4.html, retrieved November 11, 2006. Museum of Fine Arts Boston (2006). Last Supper. Unknown artist, found on-line at http://www.mfa.org/collections/search_art.asp?recview=true&id=32295&coll_keywords=the+last+supper&coll_accession=&coll_name=&coll_artist=&coll_place=&coll_medium=&coll_culture=&coll_classification=&coll_credit=&coll_provenance=&coll_location=&coll_has_images=&coll_on_view=&coll_sort=0&coll_sort_order=0&coll_view=0&coll_package=0&coll_start=1, retrieved November 11, 2006.. Web Gallery of Art (2006), Last Supper. Jaume Huguet, found on-line at http://www.wga.hu/frames-e.html?/html/h/huguet/last_sup.html, retrieved November 11, 2006. Web Gallery of Art (2006), Last Supper. Dieric the Elder Bouts, found on-line at http://www.wga.hu/frames-e.html?/html/h/huguet/last_sup.html, retrieved November 11, 2006. Read More