Análise da Pintura A Ultima Ceia by Leonardo Da Vinci

A Ultima Ceia is a wall painting by Leonardo da Vinci between 1494 and 1497, not a repository of the Santa Maria Delle Grazie Convent, in Milão, Italy.

A pictorial composition measures 4.60 by 8.80 meters and is some of the most famous works in the world and the most known by the artist, as well as some of the most studied and copied from all times.

Analysis of Painting

Interpretation

In iconographic terms Last Ceia represents the biblical moment in which Christ shares his last reference with the disciples. Or the instant captured by the paint, it will be that in which Christ will finish affirming that "um, you have to bring me" the disciples will be asking "Sou eu, Senhor?".

This theory is based on agitation that seems to have been taken over by the apostles who, through dramatic gestures and expressões, demonstrate apprehension and concern.

In contrast to the disciples, Christ presents a passive attitude, as if affirming his position "Tomai, comei; isto é o meu corpo. " and "Bebei give everyone; because this is meu sangue "

, pois com a mão aponta para o pão e com an outra para o chalice de vinho.

This painting is a rigorous and balanced composition, with a gesture or gesture of great importance, due to the fact that the emotions are transmitted in the narrative and constructed.

This importance of the gesture in the construction of the pictorial narrative for Leonardo was recorded in a number of his books. Nesse text affirms that the main objective is painting, and also more difficult to achieve, and portraying "To the intention of the human soul" Through two gestures and movements, two limbs.

Take the opportunity to read também or artigo Leonardo da Vinci: fundamental works.

Architecture serves only to support figures that are the main focus of the composition. Also, instead of painted architectural elements, figures are superimposed, they add to representation, highlighting figures and attributing depth painting.

The central vanishing point in terms of perspective is Christ, who in the center of the painting is molded by the main opening that observes the landscape. On this opening there is a front that symbolically functions as a halo over the head of Christ.

Technique

For the realization of this painting, Leonardo did not opt ​​for the traditional technique of afresco mais comum (from ovo tempera on cold reboco), but beforehand I decided to experiment with a binder based on oil on gesso dry.

This escort may be due to wanting to give a specific aspect to painting, with different shades, play as light / dark, as was its characteristic.

But it could also have been a school influenced by the fact that the painter did not master the technique of fresh, as well as oil painting to allow painting in layers and also to rethink the work inasmuch as it is performed.

Regardless of the reasons, the truth is that this escort turned out to be catastrophic for the preservation of the painting, but only a short time after the completion of the project to deteriorate.

Since then I have tied two days from sheet to work with untold interventions, repaints, and other damages such as nonsecular failure 19 the soldiers of Napoleon terem used or refeitory as stable.

Ou o fato of the installations terem suffered severe damage com the bombings of 1943, which ended up leaving the work exposed to agressões two elements naturais.

Assim, we ally ourselves with the fragile characteristic of the works, those events can be considered a miracle that even leaves it possible to contemplate it.

Curiosities

Thus, constant restoration interventions that the work was softened a year long two secules also led to the fact that some uncovered paint was celebrated.

As an example, we dispose or detail that food is available at the table are represented in guides (and not just wine and pão as it was common), something that became popular from time to time.

There are also some records of burning for some models used for the representation of figures. Allegedly, Alessandro Carissimo from Parma served as a model for Christ's own.

In the same way there are indications that a home of Giovanni Conte has been a model for the face of Christ. I know that the only Giovanni Conte on record was a military man, and it is curious to think that the calm and passive figure of Jesus was painted in the image of a military man.

Some of the most famous theories about some figures in painting, and that made a book (Dan Brown) in a film, is that the immediate direct figure of Christ would be Maria Madalena.

Na true figure is São João Evangelista, or most young, and or disciple that Jesus loved and that was always there. side, and here it is represented in an androgynous way (figure of undefined gender), a characteristic of painting of Leonardo.

This physiognomy is repeated in other paintings by the artist, such as the representation of São João Batista (above image).

Despite various speculations and conspiracy theories, or more correct it will be to consider that there are no hidden messages in the composition. Therefore, there are curious and interesting details such as tapeçarias that adorn the walls of fake architecture of paintings that are identical to the castle in Milão.

It is also interesting to consider that the apostles are inspired by many friends of Leonardo and contemporaries who also frequent the court of Milan.

This is also the work that gives fame and glory to Leonardo (at the time of over 40 years ago), depois of several years tempting and failing, and above all, dispersing their attention and energy for many others interests.

Conheça also

• Renascimento: a guide on the artistic movement
• Quadro Mona Lisa by Leonardo da Vinci
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• A Criação de Adão de Michelangelo
• Renascimento: all about Renaissance art
• Homem Vitruviano, by Leonardo da Vinci