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Leonardo's incessant Last Supper

Author: Leo Steinberg
Publisher: New York : Zone Books, 2001.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
"A picture universally recognized, endlessly scrutinized and described, incessantly copied, adapted, lampooned: does Leonardo's near-ruined Last Supper still offer anything new to be seen or to be said: This book is a resounding Yes to both questions. With direct perception - and with attention paid to the work of earlier scholars and to the criticism embodied in the production of copyists over the past five hundred  Read more...
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Additional Physical Format: Online version:
Steinberg, Leo, 1920-
Leonardo's incessant Last Supper.
New York : Zone Books, 2001
(OCoLC)623024305
Named Person: Leonardo, da Vinci; Leonardo, da Vinci; Leonardo, da Vinci; Leonard, de Vinci; Léonard, de Vinci; Leonardo <da Vinci>; Leonardo, da Vinci
Document Type: Book
All Authors / Contributors: Leo Steinberg
ISBN: 1890951188 9781890951184
OCLC Number: 43607466
Description: 317 p. : ill. (1 col.) ; 24 x 28 cm.
Contents: The moment --
The subject --
Of hands and feet --
The twelve --
The connection --
Coincident opposites --
Seven functions of the hands of Christ --
Marginalia --
The sanctification of space. Appendices. Bossi and Goethe : original texts --
Antoniewicz on the Last Supper (1904) : translation and original text --
The identification of the apostles --
The Castellazzo fresco and the Certosa canvas at odds --
Copies and adaptations --
Rethinking two or three drawings and one meddling text --
Gatefold : color plate of the Last Supper.
Responsibility: Leo Steinberg.

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A fresh look at the multiplicity of meanings in Leonardo's Last Supper.  Read more...

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schema:reviewBody""A picture universally recognized, endlessly scrutinized and described, incessantly copied, adapted, lampooned: does Leonardo's near-ruined Last Supper still offer anything new to be seen or to be said: This book is a resounding Yes to both questions. With direct perception - and with attention paid to the work of earlier scholars and to the criticism embodied in the production of copyists over the past five hundred years - Steinberg demonstrates that Leonardo's mural has been consistently over-simplified. This most thought-out picture in Western art, painted in the 1490s on the north wall of the refectory of Santa Maria delle Grazie, Milan, is a marvel of compressed meanings. Its subject is not one arrested moment, but successiveness and duration. It is not only Christ's announcement of the forthcoming betrayal, but in equal measure the institution of the eucharist. More than the spur of the moment animates the disciples, and more than perspective determines their housing. Though Leonardo's geometry obeys all the rules, it responds as well to Christ's action at center, as if in emanation from the prime mover. The picture is simultaneously narrative and sacramental. As its protagonist is two-natured, as the twofold event of this night is both human submission and divine dispensation - so the entire picture is shown to have been conceived in duplexity: a sublime pun." "Meanwhile, the unending disagreement as to what exactly is represented, what the depicted actions express, how and where this assembly is seated - all these still raging disputes are traced to a single mistaken assumption: that Leonardo intended throughout to be unambiguous and clear, and that any one meaning necessarily rules out every other." "As Steinberg reveals an abundance of significant interrelations previously overlooked, Leonardo's masterpiece regains the freshness of its initial conception and the power to fascinate."--BOOK JACKET."
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