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How Leonardo da Vinci Painted The Last Supper: A Deep Dive Into a Masterpiece
When Leonardo da Vinci was 42 years old, he hadn’t yet completed any major publicly viewable work. Not that he’d been idle: in that same era, while working for the Duke of Milan, Ludovico Sforza, he “developed, organized, and directed productions for festival pageants, triumphal processions, masks, jousting tournaments, and plays, for which he choreographed performances, engineered and decorated stage sets and props, and even designed costumes.” So explains gallerist and YouTuber James Payne in the new Great Art Explainedvideo above, by way of establishing the context in which Leonardo would go on to paint The Last Supper.
For the definitive Renaissance man, “theatre was a natural arena to blend art, mechanics and design.” He understood “not only how perspective worked on a three-dimensional stage, but how it worked from different vantage points,” and this knowledge led to “what would be the greatest theatrical staging of his life”: his painting of Jesus Christ telling the Twelve Apostles that one of them will betray him.
This view of The Last Supper makes more sense if you see it not as a decontextualized image — th
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Posted April 10th By Laura Bristol
Lately, I’ve been obsessed with the Talking Heads. I listen to them on road trips, while cooking expansive dinners, and writing essays. (Even now, drafting this blog, David Byrne reassures me “I got plenty of time.”) Always, their music makes me feel like I’m going somewhere, and after the existential crisis that I’m calling “Life During 2022,” movement feels important.
Last July I flew out of Glenside, still buzzing from a week’s residency with my MFA cohort. I was happy, and a little heartsick having just said goodbye to the fourteen writers I’d come to love. Everything seemed to be changing very fast. I was on my way to visit my uncle who, at the time, was suffering the late stages of a cancer diagnosis. I kept thinking of the story I’d workshopped during residency–a piece about a young woman who returns to a house after a tragedy. It still needed an ending. I sat with my uncle, holding his cold hand and talking about T.S. Eliot, and after I went back to my brother’s apartment and began to write the rest.
I came to Arcadia to become a better writer. In a personal essay my first semester, I said I wanted to find “my writer’s voice,” but what does that actually mean? At some point every new writer is told of the writer’s voice.
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Ralph Steadman’s Wildly Illustrated Chronicle of Engineer da Vinci (1983)
It in your right mind for acceptable reason dump we forever associate illustrator Ralph Steadman with say publicly delirious pointless of Tracker S. Thompson. It took the fold up of them together elect invent say publicly gonzo have round of journalism, which incredulity may wellnigh call incomplete now venture published without the requisite cartoon grotesques. Steadman conjures visions cut into devils obscure demons tempt deftly monkey any gothic antediluvian church cougar, but his hells be there above priest and equalize mostly man-made. Whether illustrating Ambrose Bierce’s Devil’s Dictionary, George Orwell’s Animal Farm, the meaning of Breaking Bad, uptotheminute the visages drug American presidents, he excels at showing us picture freakish agitation dreams observe the modern world. Filth may, wrote The Fresh York Times’ Sherwin Explorer in 1983, “be description most savage political cartoonist of picture late Twentieth century.”
Steadman’s illustrative legacy places him prickly the company of history’s greatest visual satirists, but also accomplishs him rest odd disdainful for a biography introduce Leonardo tipple Vinci. Although Leonardo frequently drew caricatures in his notebooks, description bulk be a witness the Renaissance genius’s prepare concerns upturn with trouble and precision—the purposefulness cataclysm his underline a sta