The Last Supper by Leonardo da Vinci, 1495 did you know this about the painting? top photo ~ The painting as it looked in the 1970s bottom photo ~ Due to the methods used, and a variety of environmental factors, very little of the original painting remains today, despite numerous restoration attempts, the last being completed in 1999. Damage and restorations: Because the painting was on a thin exterior wall, the effects of humidity were felt more keenly, and the paint failed to properly adhere to the wall. Because of the method used, soon after the painting was completed on February 9, 1498 it began to deteriorate. As early as 1517, the painting was starting to flake. By 1556 — fewer than sixty years after it was finished — Leonardos biographer Giorgio Vasari described the painting as already ruined and so deteriorated that the figures were unrecognizable. By the second half of the sixteenth century Gian Paolo Lomazzo stated that, “…the painting is all ruined.” In 1652, a doorway was cut through the (then unrecognisable) painting, and later bricked up; this can still be seen as the irregular arch shaped structure near the center base of the painting. It is believed, through early copies, that Jesus feet were in a position symbolizing the forthcoming crucifixion. In 1768, a curtain was hung over the painting for the purpose of protection; it instead trapped moisture on the surface, and whenever the curtain was pulled back, it scratched the flaking paint. A first restoration was attempted in 1726 by Michelangelo Bellotti, who filled in missing sections with oil paint then varnished the whole mural. This repair did not last well and another restoration was attempted in 1770 by an otherwise unknown artist named Giuseppe Mazza. Mazza stripped off Bellottis work then largely repainted the painting; he had redone all but three faces when he was halted due to public outrage. In 1796, French revolutionary anti-clerical troops used the refectory as an armory; they threw stones at the painting and climbed ladders to scratch out the Apostles eyes. The refectory was then later used as a prison; it is not known if any of the prisoners may have damaged the painting. In 1821, Stefano Barezzi, an expert in removing whole frescoes from their walls intact, was called in to remove the painting to a safer location; he badly damaged the center section before realizing that Leonardos work was not a fresco. Barezzi then attempted to reattach damaged sections with glue. From 1901 to 1908, Luigi Cavenaghi first completed a careful study of the structure of the painting, then began cleaning it. In 1924, Oreste Silvestri did further cleaning, and stabilised some parts with stucco. During World War II, on August 15, 1943, the refectory was struck by Allied bombing; protective sandbagging prevented the painting from being struck by bomb splinters, but it may have been damaged further by the vibration. From 1951 to 1954, another clean-and-stabilise restoration was undertaken by Mauro Pelliccioli. Major restoration: The paintings appearance by the late 1970s had become badly deteriorated. From 1978 to 1999, Pinin Brambilla Barcilon guided a major restoration project which undertook to stabilize the painting, and reverse the damage caused by dirt and pollution. The 18th- and 19th-century restoration attempts were also reverted. Since it had proved impractical to move the painting to a more controlled environment, the refectory was instead converted to a sealed, climate controlled environment, which meant bricking up the windows. Then, detailed study was undertaken to determine the paintings original form, using scientific tests (especially infrared reflectoscopy and microscopic core-samples), and original cartoons preserved in the Royal Library at Windsor Castle. Some areas were deemed unrestorable. These were re-painted using watercolor in subdued colors intended to indicate they were not original work, while not being too distracting. This restoration took 21 years and on 28 May 1999 the painting was returned to display, although intending visitors are required to book ahead and can only stay for 15 minutes. When it was unveiled, considerable controversy was aroused by the dramatic changes in colours, tones, and even some facial shapes. James Beck, professor of art history at Columbia University and founder of ArtWatch International, had been a particularly strong critic. Michael Daley, director of ArtWatch UK, has also complained about the restored version of the painting. He has been critical of Christs right arm in the image which has been altered from a draped sleeve to what Daley calls muff-like drapery. Wikipedia
Posted on: Mon, 27 Oct 2014 22:00:52 +0000
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