Dierec Bouts, a Netherlandish painter, and Leonardo da Vinci, the Italian Renaissance painter, are both known for their paintings of The Last Supper. While both versions of the last supper center around the same biblical event, the artists used techniques such as linear perspective, detail, and shapes to create different messages; one involving the whole idea of Christianity and the other narrowly focusing on biblical story and the sin involved When comparing linear perspective in the two Last Supper’s, da Vinci’s mastery of the technique plays a more pivotal role in creating his message. In Bouts’ painting, the beginning signs of linear perspective can be seen. The beams within the ceiling seem to converge towards the top of the arched doorway while the walls slant inwards also towards the doorway. While Bouts uses linear perspective to some degree, its not as refined or relied upon as seen within Da Vinci’s painting. In Leonardo’s painting, da Vinci not only gives evidence of the use of linear perspective through the checkered ceiling gradually getting smaller into the background or the walls converging in, but he gives the use of linear perspective a purpose; placing the focal point above Christ to forcing the viewer to look there. Da Vinci uses the newly refined technique to highlight his main focus of the painting, Christ, whereas Bouts seems to be attempting to figure out the uses of linear perspective. Bouts’ Last Supper contains an immense amount of background detail. The tile on the floor has mosaic crosses with alternating patterns, wooden beams characterize the ceiling, and outdoor Landscape is visible through the windows. Also, the bread is placed in the middle of the table surrounded by cups of wine. Bouts’ i... ... middle of paper ... ...ts also refrains from highlighting any one aspect in the painting, instead illuminating the action of communion. All the apostles are looking at Christ’s hands to watch him break the bread, further putting the action of Communion in the spotlight. Meantime, da Vinci’s painting is focuses on the message the story from The Bible teaches; about the sin of Judas. He sets up the painting so that Christ is at the forefront and the story behind Judas is singled out, making Judas the easiest apostle to point out. Contrary to Bouts painting, the eyes of all the apostles in da Vinci’s painting, aside from Judas, are directed towards Christ, another factor contributing to the message of how great a sin betrayal is. Works Cited Gardner, Helen, and Fred S. Kleiner. Gardner's Art through the Ages: A Global History. 14th ed. Boston, MA: Wadsworth/Cengage Learning, 2013. Print.
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
South University Online. (2013). HUM 1002: History of Art from the Middle Ages to Modern Times: Week 4: Art of the Americas: 14th Century to the Present. Retrieved from myeclassonline.com
Art was viewed in a different sense in the fourteenth century. It had a more active role and was not just decoration, but a vital component of worship and pr...
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
Sayre, H. M. (2010). A World of Art: Sixth Edition. In H. M. Sayre, A World of Art: Sixth Edition (pp. 511, 134, 29, 135, 152, 313-314, 132). Lake St., Upper Saddle River, NJ: Pearson Education, Inc.,.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
... the way that the artwork is resembled in the religious background of the gospel but reconstructed in to a celebrating impression. Throughout the fresco painting it depicts the myth of the Christ’s three fold temptations relating back to the article that “distinction between fresco and panel painting is sharp, and that painters are seen as competitors amongst themselves discriminating also, between the difference in genuine attempts in being better then the other.” Baxandall, “Conditions of Trade,” 26. in relation, the painting concerns the painter’s conscious response to picture trade, and the non-isolation in pictorial interests.
Kleiner, Fred, Gardner's Art through the Ages: A Global History, Fourteenth Edition The Middle Ages, Book B (Boston: Wadsworth, 2013), 348.
The table placed like a long horizontal line through the whole painting, both the formatted of a stable atmosphere. Plus, the image of Jesus' calmness, majesty, and the composition of the twelve disciples on both sides of the composition, forming both static and dynamic. At the same time, the table put against the audiences while adopted a completely open art approach, so that audiences could to be immersive. Leonardo da Vinci combined thirteen characters with full expression of both different and closely
Leonardo’s version of the Last Supper was painted El fresco depicting the scene passively without emotion. The work has the supper table horizontal across the lower third and Jesus and his twelve disciples dining behind it, before a backdrop of both man made structure and natural landscape. The artwork is un-cluttered and simple. The lighting is subtle and non-dramatic. Colour is conservative and dull this is partly due to the limited paint available and the technique and decay of fresco painting. The wor...
Kleiner, Fred S. Gardner’s Art through the Ages: The Western Perspective. Vol 2.13th ed. Boston: Wadsworth/ Cengage Learning, 2010.
Stokstad, Marilyn. Art History. New York: Prentice Hall Inc. and Harry N. Abrams Inc. 1995.
The placement of the Last Supper's table is different. Da Vinci places his table in the center, with the main people facing the viewer. On the contrary, Tintoretto places his table to the left hand side of the painting, and the main people are looking towards the other "r...
Kleiner, Fred S. Gardner's Art Through the Ages. Boston: Clark Baxter, 2009. Print. The.
In this painting da Vinci places Christ at the center of the table with his Apostles surrounding him in four groups of three unified by postu...