This is due to a mixture of factors, including environmental, intentional damage and the paintings foundations. As many people know, the Last Supper was not painted on any old canvas or background, but actually a wall. The wall of the Santa Maria delle Garzie dining hall in Milan. The painting was to be the centre piece of the mausoleum as commissioned by Prince Sforza. Unfortunately the painting was at risk from the beginning as Sfroza had ordered the church to be built too hastily, leading the walls to be filled with moisture-retaining rubble.
Leonardo worked on the painting on a thin exterior wall, which meant the effects of humidity were felt keenly, and the paint failed to properly adhere to it. This meant that even before the painting was completed in , it has already begun to deteriorate, and as early as it started to flake.
At present, the management board allows just 1, people to visit the Last Supper each day. While one-time slot permits 25 visitors to marvel at the painting for 15 minutes, this method was devised to put a check on dust particles brought by visitors, which in turn, accelerate the deterioration process.
Today the painting no longer belongs to the church, but to the state, as part of a National Museum. Being among one of the most popular tourist attractions tickets to see The Last Supper often sell out, so make sure you plan ahead.
The above diagram shows how the perspective the Last Super was worked out with a series of marks at key points highlighting the architectural aspects of the composition and positioning of the figures. The Last Supper is a very popular religious scene painted by many celebrated artists. Unlike artists before and after him, Leonardo da Vinci chose not to put halos on Jusus Christ. Many art historians believe that Leonardo da Vinci believe in nature, not in God.
To Leonardo, nature is God, so he treated every character in the fresco as common people. Unlike traditional frescoes, which Renaissance masters painted on wet plaster walls, da Vinci experimented with tempura paint on a dry, sealed plaster wall in the Santa Maria delle Grazie monastery in Milan, Italy. The experiment proved unsuccessful, however, because the paint did not adhere properly and began to flake away only a few decades after the work was finished. Speculations about symbolism in the artwork are plentiful.
For example, many scholars have discussed the meaning of the spilled salt container near Judas's elbow. Spilled salt could symbolize bad luck, loss, religion, or Jesus as salt of the earth.
Scholars have also remarked on da Vinci's choice of food. They dispute whether the fish on the table is herring or eel since each carries its own symbolic meaning. In Italian, the word for eel is "aringa. In northern Italian dialect, the word for herring is "renga," which also describes someone who denies religion. This would fit with Jesus' biblical prediction that his apostle Peter would deny knowing him. What makes the masterpiece so striking is the perspective from which it's painted, which seems to invite the viewer to step right into the dramatic scene.
To achieve this illusion, da Vinci hammered a nail into the wall, then tied string to it to make marks that helped guide his hand in creating the painting's angles. At the end of the 20th century, restorer Panin Brambilla Barcilon and his crew relied on microscopic photographs, core samples, infrared reflectoscopy and sonar to remove the added layers of paint and restore the original as accurately as possible. This moment was painted by many Tuscan artists before da Vinci, including Taddeo Gaddi, Andrea del Castagno, and Domenico Ghirlandaio; yet, Leonardo deeply changed it usual iconography, at the same time focusing on the emotional reactions and psychology of the people in the scene.
Leonardo also created a complex and unprecedented perspective framework into which all lines converge on the figure more precisely, on the head of Jesus Christ. The somewhat feminine aspect of John the Apostle has triggered many imaginative speculations, including the idea expressed by writer Dan Brown in the popular novel The da Vinci Code that it actually represents a woman.
Due to conservation reasons, there are strict limitations to the number of people, a maximum of thirty, admitted inside the Santa Maria delle Grazie refectory at one time. The convent of Santa Maria delle Grazie just after the October bombing of Milan; the refectory is on the right; The Last Supper not visible in the image was saved by a thick protective structure made with scaffolding tubes and sandbags. How our readers rate this museum you can vote 4 votes, average: 4.
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