Littledragon
Above The Law
Nice!
Very cool Storm, thanks!
Storm said:
Very cool Storm, thanks!
The Art Thread-No Spoilers
- Thread starter tora
- Start date
The Last Supper
By Leonardo da Vinci, 1498
Convent of Santa Maria delle Grazie, Milan
The photo was taken after the recent restoration.
There are differing opinions amongst art researchers as to which episode from the Gospels is depicted in the Last Supper. Some consider it to portray the moment at which Jesus has announced the presence of a traitor and the apostles are all reacting with astonishment, others feel that it also represents the introduction of the celebration of the Eucharist by Jesus, who is pointing to the bread and wine with his hands. And yet others feel it depicts the moment when Judas, by reaching for the bread at the same moment as Jesus as related in the Gospel of St Luke (22:21), reveals himself to be the traitor. In the end, none of the interpretations is convincing.
Leonardo's Last Supper is not a depiction of a simple or sequential action, but interweaves the individual events narrated in the Gospels, from the announcement of the presence of a traitor to the introduction of the Eucharist, to such an extent that the moment depicted is a meeting of the two events. As a result, the disciples' reactions relate both to the past and subsequent events. At the same time, however, the introduction of the Eucharist clearly remains the central event.
The Apostles from left to right: Bartholomew, James the Less, Andrew, Judas, Peter, John, Christ, Thomas, James the Greater, Philip, Matthew, Thaddeus, Simon.
By Leonardo da Vinci, 1498
Convent of Santa Maria delle Grazie, Milan
The photo was taken after the recent restoration.
There are differing opinions amongst art researchers as to which episode from the Gospels is depicted in the Last Supper. Some consider it to portray the moment at which Jesus has announced the presence of a traitor and the apostles are all reacting with astonishment, others feel that it also represents the introduction of the celebration of the Eucharist by Jesus, who is pointing to the bread and wine with his hands. And yet others feel it depicts the moment when Judas, by reaching for the bread at the same moment as Jesus as related in the Gospel of St Luke (22:21), reveals himself to be the traitor. In the end, none of the interpretations is convincing.
Leonardo's Last Supper is not a depiction of a simple or sequential action, but interweaves the individual events narrated in the Gospels, from the announcement of the presence of a traitor to the introduction of the Eucharist, to such an extent that the moment depicted is a meeting of the two events. As a result, the disciples' reactions relate both to the past and subsequent events. At the same time, however, the introduction of the Eucharist clearly remains the central event.
The Apostles from left to right: Bartholomew, James the Less, Andrew, Judas, Peter, John, Christ, Thomas, James the Greater, Philip, Matthew, Thaddeus, Simon.
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I do enjoy many of those different ones you come across at times, but the classics are still my favorites.
Littledragon
Above The Law
Nice!
Wow nice pic, one of the most famous art pieces in the world.
Serena said:
Wow nice pic, one of the most famous art pieces in the world.
Excellent, Storm! I really like the serene one of the Coast of Amalfi, where I was fortunate to have visited during a trip to Italy and stayed in a lovely hotel that was built into the mountain! The rooms were all below street level, with an elevator that went to the beach. I loved the colors in Stormy Sea. "Storm" made me remember a couple of cruises I took where we all a bit worried, especially when the captain came on and announced we should get to our rooms--presumably to be closer to our life vests!Storm said:1 The Coast At Amalfi (1841)
2 Storm (yes,really)(1854)
3 Stormy Sea (yes,really really
All by Ivan Aivasovsky
Great choices here, "Storm". I've always been drawn to this one, for some reason.
The Milkmaid
by Vermeer van Delft
c. 1658
Oil on canvas, 45,5 x 41 cm
Rijksmuseum, Amsterdam
Signature: Not signed.
Provenance: This picture ranges among the most highly appreciated paintings by Vermeer, since shortly after his demise and also in subsequent years, second only to his View of Delft. It also fetched the second highest price in the Amsterdam sale of 1696, no. 2: "A maid pouring out milk, extremely well done, by ditto, fl 175." The price is reasonable, given the mediocre level at which his paintings traded. The work never left Holland, and its attribution to Vermeer was upheld throughout. Slankert enumerates various Amsterdam sales in which the Milkmaid is mentioned and highly spoken of, until the canvas became part of the Six collection, Amsterdam, in the earlier part of the nineteenth century. It was acquired by the museum in 1907-8 from this source.
Although the genre of "kitchen pieces" belongs to a long tradition in the Netherlands, with Joachim Beuckelaer and Pieter Aertsen in the sixteenth century being its initiators, it lost favour in the subsequent century, with the exception of Delft, where it endured. Vermeer's realization, however, has nothing in common with his archaic forerunners. His vision is concentrated on a single sturdy figure, which he executes in a robust technique, in keeping with the image that he wants to project. The palette features a subdued colour scheme: white, yellow, and blue. But the colours are far from frank or strident, and are rather toned down, in keeping with the worn work clothes of his model.
The still life in the foreground conveys domestic simplicity, and the light falling in from the left illuminates a bare white kitchen wall, against which the silhouette of the maid stands out. One gains from this deceptively simple scene an impression of inner strength, exclusive concentration on the task at hand, and complete absorption in it. The extensive use of pointillé in the still life lets us presume the use of the inverted telescope in an effort to set off this part of the painting against the main figure and alert the viewer to the contrast between the active humanity of the maid and her inanimate environment.
The Milkmaid
by Vermeer van Delft
c. 1658
Oil on canvas, 45,5 x 41 cm
Rijksmuseum, Amsterdam
Signature: Not signed.
Provenance: This picture ranges among the most highly appreciated paintings by Vermeer, since shortly after his demise and also in subsequent years, second only to his View of Delft. It also fetched the second highest price in the Amsterdam sale of 1696, no. 2: "A maid pouring out milk, extremely well done, by ditto, fl 175." The price is reasonable, given the mediocre level at which his paintings traded. The work never left Holland, and its attribution to Vermeer was upheld throughout. Slankert enumerates various Amsterdam sales in which the Milkmaid is mentioned and highly spoken of, until the canvas became part of the Six collection, Amsterdam, in the earlier part of the nineteenth century. It was acquired by the museum in 1907-8 from this source.
Although the genre of "kitchen pieces" belongs to a long tradition in the Netherlands, with Joachim Beuckelaer and Pieter Aertsen in the sixteenth century being its initiators, it lost favour in the subsequent century, with the exception of Delft, where it endured. Vermeer's realization, however, has nothing in common with his archaic forerunners. His vision is concentrated on a single sturdy figure, which he executes in a robust technique, in keeping with the image that he wants to project. The palette features a subdued colour scheme: white, yellow, and blue. But the colours are far from frank or strident, and are rather toned down, in keeping with the worn work clothes of his model.
The still life in the foreground conveys domestic simplicity, and the light falling in from the left illuminates a bare white kitchen wall, against which the silhouette of the maid stands out. One gains from this deceptively simple scene an impression of inner strength, exclusive concentration on the task at hand, and complete absorption in it. The extensive use of pointillé in the still life lets us presume the use of the inverted telescope in an effort to set off this part of the painting against the main figure and alert the viewer to the contrast between the active humanity of the maid and her inanimate environment.
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Littledragon
Above The Law
Nice Art!
Those are fantastic Storm! I like those kind of faded color effects. Thanks for sharing!
Storm said:1 The Coast At Amalfi (1841)
2 Storm (yes,really
3 Stormy Sea (yes,really really
All by Ivan Aivasovsky
Those are fantastic Storm! I like those kind of faded color effects. Thanks for sharing!
Littledragon
Above The Law
Nice!
Nice piece of art Serena! Its amazing how you can depict a story from just that one piece of art.
Serena said:
Nice piece of art Serena! Its amazing how you can depict a story from just that one piece of art.
Littledragon
Above The Law
Storm said:
Very cool Storm thanks!
I was very fortunate to have seen the original Pieta in the Vatican while in Rome. It's absolutely exquisite, and Michelangelo was only 23 years old when he did sculpted it.
Unfortunately, though, when I saw it it was behind some kind of see-through partition, as a couple of years earlier some lunatic had thrown a can of paint on it and tried to destroy it until he was finally subdued. I believe they were able to remove most of the paint, but to this day it is now only visible through the shield.
The following comments were from an online website.
In the Pietà, Michelangelo approached a subject which until then had been given form mostly north of the Alps, where the portrayal of pain had always been connected with the idea of redemption: it was called the "Vesperbild" and represented the seated Madonna holding Christ's body in her arms. But now the twenty-three year-old artist presents us with an image of the Madonna with Christ's body never attempted before. Her face is youthful, yet beyond time; her head leans only slightly over the lifeless body of her son lying in her lap. "The body of the dead Christ exhibits the very perfection of research in every muscle, vein, and nerve. No corpse could more completely resemble the dead than does this. There is a most exquisite expression in the countenance. The veins and pulses, moreover, are indicated with so much exactitude, that one cannot but marvel how the hand of the artist should in a short time have produced such a divine work."
One must take these words of Vasari about the "divine beauty" of the work in the most literal sense, in order to understand the meaning of this composition. Michelangelo convinces both himself and us of the divine quality and the significance of these figures by means of earthly beauty, perfect by human standards and therefore divine. We are here face to face not only with pain as a condition of redemption, but rather with absolute beauty as one of its consequences.
Pietà, 1499. Marble, height 174 cm, width at the base 195 cm.
Basilica di San Pietro, Vatican.
Unfortunately, though, when I saw it it was behind some kind of see-through partition, as a couple of years earlier some lunatic had thrown a can of paint on it and tried to destroy it until he was finally subdued. I believe they were able to remove most of the paint, but to this day it is now only visible through the shield.
The following comments were from an online website.
In the Pietà, Michelangelo approached a subject which until then had been given form mostly north of the Alps, where the portrayal of pain had always been connected with the idea of redemption: it was called the "Vesperbild" and represented the seated Madonna holding Christ's body in her arms. But now the twenty-three year-old artist presents us with an image of the Madonna with Christ's body never attempted before. Her face is youthful, yet beyond time; her head leans only slightly over the lifeless body of her son lying in her lap. "The body of the dead Christ exhibits the very perfection of research in every muscle, vein, and nerve. No corpse could more completely resemble the dead than does this. There is a most exquisite expression in the countenance. The veins and pulses, moreover, are indicated with so much exactitude, that one cannot but marvel how the hand of the artist should in a short time have produced such a divine work."
One must take these words of Vasari about the "divine beauty" of the work in the most literal sense, in order to understand the meaning of this composition. Michelangelo convinces both himself and us of the divine quality and the significance of these figures by means of earthly beauty, perfect by human standards and therefore divine. We are here face to face not only with pain as a condition of redemption, but rather with absolute beauty as one of its consequences.
Pietà, 1499. Marble, height 174 cm, width at the base 195 cm.
Basilica di San Pietro, Vatican.
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Ooooh... Michelangelo... What an artist!!
I had not heard of the paint throwing incident, but I remember that maaaany years ago - 30, maybe... - some nut had attacked it with a hammer, breaking the marble in several places...
That's at least two pretty good reasons to protect it...
I had not heard of the paint throwing incident, but I remember that maaaany years ago - 30, maybe... - some nut had attacked it with a hammer, breaking the marble in several places...
That's at least two pretty good reasons to protect it...