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The Last Supper (Italian: Il Cenacolo [il tʃeˈnaːkolo] or L'Ultima Cena [ˈlultima ˈtʃeːna]) is a mural painting by the Italian High Renaissance artist Leonardo da Vinci, dated to c. 1495–1498, housed in the refectory of the Convent of Santa Maria delle Grazie in Milan, Italy.
Sfumato (English: / s f uː ˈ m ɑː t oʊ / sfoo-MAH-toh, Italian: [sfuˈmaːto]; lit. ' smoked off ' , i.e. 'blurred') is a painting technique for softening the transition between colours, mimicking an area beyond what the human eye is focusing on, or the out-of-focus plane.
The Last Supper was almost completely lost on August 16, 1943, at the height of World War II in Italy, [16] when a Royal Air Force bomb struck Santa Maria delle Grazie, destroying the roof of the refectory and demolishing other nearby spaces. [16] The Last Supper had been protected by sandbags, mattresses, and pillows, saving it from ...
"The ‘Last Supper’ and the Pinacoteca di Brera receive 1 million visitors a year, and take in more than 10 million euros ($10.5 million) in revenue," said Crespi.
[3] [173] The Last Supper is the most reproduced religious painting of all time, [157] and Leonardo's Vitruvian Man drawing is also considered a cultural icon. [174] More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the ...
Why was "The Last Supper" referenced at the Opening Ceremony? Long story short: the painting isn't actually the correct reference. While the Olympics performance may have invoked da Vinci's ...
The significant compositional differences are in the gaze and right hand of the angel. There are many minor ways in which the works differ, including the colours, the lighting, the flora, and the way in which sfumato has been used. Although the date of an associated commission is documented, the complete histories of the two paintings are ...
The differences in the face and the rest of the painting are effectively blended by a mastery of sfumato. [3] The art historian Alexander Nagel notes that the sfumato results in the shadows concealing any strokes or marks, and points out how the shadows are softened by careful lighting around them, such as on the left side of the jaw. [14]