Image preserved at 90 %Move image Ideal dimensions for using a standard frame.
Added to your wishlist
Adding to your wishlist in progress
Art print added to your wishlist
Share this work
Share with your printing options
Link to be shared
Add to my wishlist
Additional products
Canvas Print
starting at A$ 76
Fine Art Print
starting at A$ 18
Framed Giclée Print 15 " x 9.5 "
A$ 104
More works by da Vinci
La Scapigliata
22.7 x 17.8 cm
starting at A$ 16
Details of The Angel, The Virg...
17.8 x 22.7 cm
starting at A$ 16
The Virgin and Child with Sain...
22.7 x 17.8 cm
starting at A$ 16
Mona Lisa
22.7 x 17.8 cm
starting at A$ 16
Vitruvian Man
22.7 x 17.8 cm
starting at A$ 16
Salvator Mundi - Savior of the...
22.7 x 17.8 cm
starting at A$ 16
Arno Landscape, 1473
17.8 x 22.7 cm
starting at A$ 16
Description
The Last Supper is the famous fresco painted by Leonardo da Vinci between 1495 and 1497. It is located in Milan, in the Dominican convent of Santa Maria delle Grazie.
The painting, which is 4.60 metres high and 8.80 metres wide, has been undergoing 19 years of restoration. In the course of the work, scientists discovered that today only 20% of the original is visible.
Leonardo took several years to choose the models for his Last Supper. See more
Many painters of his time repeated the figures from one work to the next if they liked them. The models were the same, no matter who they were, but Leonardo had a different way of working. He would study the nature and appearance of the figure he wanted to paint and then, when he knew what he wanted, he would go to a place where he was likely to find people with those characteristics. He would take notes of their faces, movements and attitudes, and would not let go until he found the model that matched what he had in mind.
In the case of the Last Supper, he chose his models with particular care. Legend has it that Leonardo found a young man for Jesus Christ who was exactly what he was looking for. The chosen one evoked both life and spiritual strength. For six months he modelled for him.
Time passed and, although the work was almost finished, the prior of Santa Maria delle Grazie became impatient and complained that Judas still had no face.
Leonardo went to the prison, where the condemned men were being held, to see if he could find his model. There he saw a man who had committed many atrocities and was to be executed. It was exactly what he was looking for, his face reflected evil, hatred and wickedness, he had in his eyes a hardness and coldness perfect for Judas the traitor.