The Last Supper by Leonardo Da Vinci 1

The Last Supper by Leonardo Da Vinci

“The Last Supper” is a painting by renowned artist Leonardo Da Vinci (c. 1495–

1498) that depicts the final meal that Jesus Christ shared with his twelve disciples prior to

his crucifixion. This artwork, located in the Convent of Santa Maria delle Grazie in

Milan, measures an imposing 4.6m x 8.8m and is notable for its use of oil paint on

plaster, a technique that, despite its fragility over time, allowed Leonardo to achieve a

level of detail, luminosity, and complexity unrivaled in fresco murals of the time.

Leonardo da Vinci's “The Last Supper” showcases the peak of Renaissance creativity by

blending symbols, perspective, and a deep story about betrayal, the divine, and

forgiveness. It connects with people far beyond its time, making it a timeless piece of art.

Leonardo's painting is a treasure trove of symbolic intricacies that delve deep into

the narrative of the Last Supper. Central to the fresco's narrative is the moment Jesus

announces the imminent betrayal by one of his disciples, a revelation that sets the stage

for the unfolding drama. Leonardo masterfully identifies Judas as the betrayer,

conspicuously isolating him from the sanctified unity of Jesus and the other disciples

through the depiction of a purse filled with silver coins, the price of his treachery. This

element not only serves as a narrative focal point but also encapsulates the gravity of

Judas's betrayal in the context of Christian theology. Simultaneously, Leonardo integrates

the figure of Peter, who is shown wielding a knife, a foreshadowing of his subsequent

violent attempt to thwart Jesus's arrest by severing a soldier's ear. This anticipatory
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symbol underscores the tumultuous events that would follow the Last Supper, adding a

layer of dramatic tension to the composition. Leonardo's portrayal of Jesus is profoundly

significant, presenting him not with the expected human emotional turmoil but with an

ethereal calmness. This absence of overt emotion does not detract from the scene's drama;

instead, it elevates Jesus, underscoring his divine nature amidst human frailty and

betrayal. This idealization is a deliberate choice by Leonardo, serving to highlight Jesus’s

divine foresight and unshakeable serenity in the face of impending suffering. This

representation aligns with the High Renaissance ideals of depicting religious figures with

a sublime grace that transcends mere human emotion, embodying their spiritual and

divine essence (Gardner’s Art Through The Ages, Ch. 22, p. 617). Leonardo’s use of

linear perspective is masterful, with all lines converging at the head of Jesus, who is

positioned in front of three windows that bathe him in an ethereal light. This not only

draws the viewer's eye to Jesus as the focal point but also symbolically aligns him with

the divine light, creating a halo effect. This ingenious use of architectural features to

enhance the painting’s symbolic depth demonstrates Leonardo’s ability to fuse technical

skill with spiritual narrative. The windows serve as a metaphysical gateway, reinforcing

Jesus's role as the mediator between the divine and the earthly realms (Gardner’s Art

Through The Ages, Ch. 22, p. 625). Leonardo further divides the disciples into four

groups of three, a deliberate compositional strategy that imbues the scene with a sense of

order and harmony, while the inclusion of windows behind each group introduces

elements of light and spatial depth, enhancing the mural's dynamic complexity. Beyond

the rich tapestry of symbolism, Leonardo's use of geometric figures is emblematic of

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Renaissance humanism's fascination with harmony and proportion. The positioning of

Jesus's arms and the architectural forms above him create the illusion of an equilateral

triangle and a circle, symbols of divine perfection and the cosmos, respectively

(Gardner’s Art Through The Ages, Ch. 22, p. 617). This geometric symbolism is not

merely decorative but reflects Leonardo's deep engagement with the intellectual currents

of his time, particularly the Neo-Platonic and humanist reassessment of classical ideals.

Moving on to the painting's stylistic elements, Davinci used components that dealt with

color, texture, and space. First of all, when Davinci drew his artwork, he used oil-based

paint. Davinci put a white layer to the background, which is why the painting appears so

light (Sarbu, 2019). Davinci also blended several coloring materials because he intended

to add depth to his meaning. To achieve his goal, he actually used both light and dark

colors. Darker colors were employed in the backdrop, particularly behind Jesus, while

lighter colors were mostly used to paint light sources. Shadows were also projected

behind those in attendance by the combination of the lighter and darker hues.In order to

give the picture a natural vision and increase its realism, the painter also experimented

with color contrast. It is clear that Davinci did not choose a flat texture for his painting.

The photographs demonstrate the texture of the painting's grains. Leonardo additionally

added depth to the picture by using many lines. If we examine closely, we can see that

the painting's upper portion of Jesus's body is where all of the lines converge. This

suggests that Jesus is the main subject of this picture and that he is the most significant

component. Jesus is therefore the focal point of the entire picture of the Last Supper.
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In sum, Leonardo da Vinci's "The Last Supper" is a masterpiece of religious and

historical significance, embodying the artistic and philosophical aspirations of the

Renaissance. Through a meticulous amalgamation of symbolic detail, geometric

abstraction, and a sophisticated manipulation of color and light, Leonardo not only

recounts a pivotal biblical episode but also offers a profound meditation on themes of

betrayal, divinity, and redemption. The fresco's enduring legacy lies in its capacity to

engage viewers in a dialogue that transcends temporal and cultural boundaries, affirming

its status as a seminal work in the annals of art history.

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References:

Kleiner, F., & Mamiya, C. (2005). Gardner's art through the ages 12th edition. Thomson

Sârbu, C. (2019). The Transfiguration of the Visible. Leonardo’s ‘Last Supper’. Studies

in Visual Arts and Communication, 6(1), 51-56.