- 4 hours ago
Beyond the Brush S01E06
Category
📺
TVTranscript
00:11The most important thing about this painting is this is a work of an artistic genius.
00:15He was the great polymath of his day.
00:20He understood all of the rules of painting. He understood all of the rules of perspective.
00:25This is quite a geometrical painting.
00:27It transcends religion.
00:311495, Milan.
00:33Brush in hand, Leonardo da Vinci leaned into the wall, lost in the chaos of 13 voices.
00:40Every single figure in this is an individual.
00:43Part of that is conveyed through his groupings of the apostles.
00:50He paints in bursts, layering emotion, invention, betrayal.
00:56Using his genius to bring this moment of theology to life.
01:01This painting for Leonardo is an intellectual exercise.
01:04It's almost as though he's throwing everything in the kitchen sink.
01:07And that's the great thing about this painting.
01:10After three years, his mural was complete.
01:14And perhaps never again would art capture such a powerful moment as The Last Supper.
01:22Also, he looks at one.
01:57I saw this painting last year for the first time, and it affected me really deeply emotionally.
02:04One thing people need to understand is that this painting is in a specific spot in a specific church.
02:11It was actually made for the dining room for the monks, and so of course they're breaking bread with Christ.
02:17That's the whole concept behind it.
02:20I think when you go into the room that was the refectory that's now a museum in Santa Maria delle
02:26Grazie,
02:27there's this sense of being overawed.
02:30It's a dark space, a simple space, but you are just enraptured by how realistic and how tangible this painting
02:39is.
02:39It's 500 years old, yet it is so vivid and so modern.
02:48But when you see this at the end of the room, you'll see that the perspective works with the actual
02:53room it's in.
02:54So it's so beyond clever.
02:56It's so beyond technical mastery.
03:00And then on the other side of the dining room, there was a crucifixion, which was done at the same
03:05time as this was.
03:06And so if you switched around and went behind Christ's shoulder and looked over his shoulder,
03:11he's looking at the events of the next day, which is his own crucifixion.
03:16So it's super powerful in its position, and that makes it important.
03:21Leonardo da Vinci is widely regarded as the greatest painter in history,
03:27celebrated for his timeless masterpieces that continue to captivate audiences around the world.
03:32But what makes The Last Supper stand out as one of the most extraordinary works?
03:37Let's start with the man himself to find out.
03:43Today, we remember Leonardo da Vinci most famously for his painting, for being a draftsman.
03:50But of course, he was the great polymath of his day.
03:55Leonardo was a Renaissance man.
03:57So a Renaissance man means that they had many, many interests, many, many ideas, including philosophy.
04:02He was interested in geometry.
04:05Anatomy. He understood science.
04:07He was interested in the natural world. He was interested in engineering, hydraulics.
04:12Everything. So he was good at everything, basically.
04:15He's not described as being just an artist.
04:17He's described as being the artist and engineer to the duke.
04:22This duke was a man called Ludovico Sforza, and thanks to him, we get The Last Supper.
04:30So Ludovico Sforza, the ruler of Milan, the man who commissioned this painting,
04:34is a man who spent 75% of his annual budget on warfare.
04:40This period in history is when almost everywhere in Italy was at war with somewhere else in Italy.
04:46They were all separate city-states.
04:48And so he was brought over to design war machines for Sforza.
04:52He needs a man who is able to design weapons, who's essentially an engineer.
05:02And for Leonardo, I think there's this sense of perhaps frustration when he's working for the duke,
05:08in that so much of what he is doing is ephemeral.
05:13It might be used to make a weapon, and then it's gone.
05:15A drawing, a design that's used to make some kind of fortification, and then it's gone.
05:19One of the other things he did for Sforza, he was in charge of all the theatrical productions.
05:24So he was the master of ceremonies, really.
05:26He's designing the plays, he's designing the costumes, he's designing the sets.
05:31And entertainments and theatrical productions, and then they're gone.
05:35And he wants something that is going to be long-lasting, something really to make his name in Milan,
05:41which he hasn't done so far.
05:43And I think almost there's a little bit of a chip on his shoulder,
05:46because the huge project that he was really hoping would make his name, in fact, never came to anything.
05:52And that was a huge equestrian monument that, had it been completed, would have weighed 75 tons of bronze.
05:59But sadly, it came to nothing.
06:01All that Leonardo actually completed was the clay model.
06:07As with many, many Leonardo projects, they all remained unfinished projects.
06:15So, Ludovico Sforza commissioned Leonardo to create a mural as a symbolic centerpiece for the monks.
06:23This was his big opportunity.
06:25And he certainly didn't hold back.
06:27Using his genius, he poured his devotion into every detail.
06:33So, I think Leonardo feels this great sense of frustration,
06:37and that's why he plows so much energy into the Last Supper.
06:42Leonardo was meticulous.
06:45He worked slowly and thoughtfully.
06:49Over the course of roughly three years, he completed the painting.
06:57But what is it that made the Last Supper be hailed as a masterpiece of genius?
07:12What makes this painting so different is that it transcends religion.
07:19It transcends religion, and it's a psychological masterpiece.
07:22And I think this goes back to his theatre work as well, but I also think it's to do with
07:27the fact that he thought movement came from the soul as well.
07:31So, every single figure in this is an individual.
07:38It's very, very different from other portrayals of the Last Supper.
07:42Now, if you compare this view of the Last Supper with others, which Leonardo would have been very familiar with,
07:50such as Ghirlandaio's Last Supper, such as Tadeo Gadi's Last Supper in Santa Croce, which is a little bit earlier.
07:59All of these others, if you look at the apostles, they all look quite similar.
08:03They're all structured.
08:04They're all sort of quite formal and upright.
08:07There's no variation of movement.
08:10Look at earlier pictures of the Last Supper, and you'll see they're all clustered in together.
08:16They're all connected closely together, and they're all identical.
08:19It's hard to tell them apart, but in this particular one, everyone is an individual,
08:23and that means we can connect with them, and that makes it a really interesting painting.
08:33It's extremely dramatic, and part of that is conveyed through his groupings of the apostles.
08:46I think this is a masterclass in understanding gestures.
08:50And if you look at their expressions, and particularly their gestures, they're all doing something a little bit different.
08:56It's extremely dynamic, and it seems to be quite spontaneous and quite explosive.
09:01Christ is very calm in the middle, and all of the others are gesturing, or the shock of Christ saying,
09:08one of you will betray me.
09:13Now there are 12 apostles, and they're structured into four groups of three.
09:18And it's clearly divided so that all of them are focusing towards Christ.
09:23And each of these groups seems to be a self-contained group.
09:32From the three figures on the left, including Bartholomew, who have these expressions almost of disbelief,
09:38to the second group, the second group, the central figure is St. Peter,
09:43and he looks as though he's ready to attack whoever the betrayer is,
09:48because this is the moment where Christ has said, one of you is going to betray me.
09:58He's got a knife in his hand, and you might imagine that he's about to get up and attack
10:04whoever the betrayer would be.
10:08And that betrayer, who, unbeknownst to St. Peter,
10:12would be shrinking into his seat right next to him.
10:18One of the most intriguing and, I think, brilliantly dramatic choices that Leonardo makes is his placement of Judas.
10:27The vast majority portrayals of The Last Supper, Judas is on this side of the table.
10:32It's a way of distinguishing him.
10:35It's a way of identifying him as being the one who is the betrayer.
10:41But here, as the viewer, we are caught up in the disbelief,
10:45and we are caught up in the question mark,
10:47because we too are forced to try and identify who the betrayer might be.
10:55It's not made obvious to us.
10:56Judas is the key to this painting because he's incorporated in the 13 figures.
11:02He's in the shadows, but he's incorporated.
11:05Not only has he put him on the other side of the table,
11:08he's put him to Christ's right hand.
11:10The right hand of Christ is the place of honour.
11:13It's the most important.
11:14Well, actually, John is the one that's right next to Christ,
11:17but just too long from him we find Judas.
11:21So the fear and the distrust and the betrayal comes from within the group,
11:26and that changes the psychology of the painting.
11:31So how can we identify Judas?
11:34We can identify him in a number of ways.
11:39He is reaching out towards a bowl,
11:42and Christ is also reaching to that bowl.
11:44And in the Bible, we are told that he who dips his hand in the bowl will betray me.
11:50And you can see him reaching forward,
11:52and then there's a sense of maybe I'm not going to do it after all.
11:56And then Christ reaching forward, but not quite touching the bowl.
11:59And there's a sense of tension in Christ's right hand there.
12:03So there's a moment of tension on the table.
12:05But also, if you look closely,
12:07and it's more evident in reproductions of the painting by other artists,
12:11he's knocking over a salt cellar.
12:16Even today is bad luck, isn't it, if you knock over the salt?
12:20And that superstition existed at that period as well.
12:24So there are all these clues to his identity,
12:27but he's not made it obvious.
12:29The final clue that this is Judas is in his right hand.
12:34He is clutching a bag of silver,
12:36the very bribe he received to betray Jesus.
12:40I think the third group is perhaps the most powerful,
12:44for me the most beautiful.
12:46You have St. Thomas, who is an intriguing jester.
12:50He's pointing up to this guy
12:53as if to challenge the authority of God,
12:57as if to question, how can God let this happen?
13:01And then next to him, the figure of James,
13:03who is literally throwing his arms out,
13:07it's such an expressive jester,
13:08he cannot believe what he's hearing.
13:12These 13 figures aren't placed at random.
13:16They're part of a meticulously planned composition.
13:20Leonardo used geometry and mathematical precision
13:23to bring this powerful moment to life.
13:27He understood all of the rules of painting,
13:30he understood all of the rules of perspective,
13:32and he also understood how to break those rules.
13:35If we look at this painting,
13:36that table is far too wide for the room,
13:40and that's how he manages to fit
13:4213 people across that table.
13:45And he's done this very, very cleverly
13:47by focusing on Christ.
13:49We have to go back to perspective on this
13:51for the composition.
13:53The perspective is really, really important.
13:56It comes from Christ's right temple.
13:58Everything comes from Christ.
14:08So he's using mathematics to structure the painting,
14:12but he's also interested in geometry.
14:15This is quite a geometrical painting.
14:21There is an equilateral triangle.
14:23If you take the lines of the orthogonals
14:26bringing you from the coffered ceiling on either side,
14:30that takes you down to just at the bottom of Christ.
14:35So you've got an inverted equilateral triangle there.
14:38You have another triangle which is implied
14:41if you look from Christ's head alongside either arm.
14:45So you have triangles.
14:46You have squares.
14:48You have pentagons.
14:52Now I'm going to talk about a part of the painting
14:55that we don't see so often
14:57or we don't think about so often
14:59because The Last Supper isn't just a rectangle.
15:02The Last Supper also contains three lunettes over the painting.
15:06And the central lunette contains the coat of arms
15:09of Ludovico Sforza, the man who paid for the work.
15:13And if you take the line of that lunette
15:15and you continue it down,
15:17you very much have an implied circle.
15:21Why would he do that?
15:25Well, there was a belief
15:26that various geometrical shapes had divine meaning.
15:30So the equilateral triangle is symbolic of the Trinity.
15:34The pentagon is symbolic of the five wounds of Christ.
15:38The circle, which is implied by the lunette above the painting,
15:44is symbolic of eternity and thereby God
15:49because it has no beginning and no end.
16:00I'm not a great one for conspiracy theories
16:03and this is one of those paintings
16:04that has many, many conspiracy theories.
16:09So I'm not going to talk about all of them
16:11but I'll talk about the most important one.
16:13And that is the idea that Mary Magdalene is in this painting,
16:17that there's a woman in this painting.
16:21And that figure in the painting is John.
16:26So John in this painting is supposedly Mary Magdalene.
16:32But we can look at depictions of John
16:35going right back to the 10th century
16:37where John is young.
16:38He's Christ's favourite disciple.
16:40He's young and therefore he doesn't have a beard.
16:44It's a way of people recognising straight away
16:47the concept of somebody.
16:50And quite often during the Renaissance,
16:52if you look at other Leonardo paintings
16:53or paintings by other Renaissance masters,
16:56the younger boys tended to be feminised
16:58and it's the idea of idealised beauty.
17:02So the idea that this is a woman in the painting
17:05is absolute nonsense.
17:08There are lots of ideas and suggestions as to,
17:13you know, is the figure of John the Evangelist
17:16actually Mary Magdalene.
17:17There are a lot of theories which are quite fanciful
17:19but I think that Leonardo made this painting
17:23with various levels of meaning and symbolism attached,
17:27some of which have been unravelled,
17:29some of which perhaps are yet to be unravelled.
17:32From the missing chalice to the hidden symbolism,
17:36The Last Supper is shrouded in mystery.
17:40It invites countless questions and theories,
17:43a fascination that has helped preserve its relevance
17:46and captivation even to this day.
17:51There are lots and lots of theories about this painting
17:54but I think people just forget
17:56the most important thing about this painting
17:58is that it's a work of genius.
18:00This is a work of an artistic genius
18:02and all of these other theories behind it
18:04are just 20th century nonsense.
18:13I think it's also quite interesting to touch upon the possibility
18:18that there is a musical connection in this painting.
18:22Leonardo da Vinci's activities as a musician
18:26are less well recorded
18:28but what is quite interesting
18:29is that he seems perhaps to have come to the Schwarzer court
18:33in Milan in his capacity both as a painter and a musician.
18:40We know that he wrote music
18:42although sadly none of that music has come down to us
18:45so the idea that he might be bringing musical theory
18:48into his paintings is not so remote as we might imagine
18:52and there's a purposely drawing for this painting
18:54which is in the Royal Collection
18:56which has a series of numbers to one side
19:00which seem to relate to musical ratios
19:03or musical proportions
19:05such as the octave, fourths and fifths.
19:08Now if you look at these tapestries
19:10on either side of the wall
19:12I know they look like huge doors
19:13huge cavernous doors
19:14but originally these were tapestries
19:17very very much of the painting sadly has been lost
19:20and their relation, their proportion to one another
19:23seems to be structured according to musical proportions
19:29fourths and fifths and octaves.
19:32Leonardo talks about correlation
19:33between visual proportions and ratios
19:36and musical ratios in his writings
19:38so I don't think it would come as any surprise
19:41to think that he would be doing this
19:43in a work of art as well.
19:47Despite its brilliance
19:48The Last Supper has suffered greatly over the centuries
19:52environmental damage
19:53and the fragile technique Leonardo used
19:56has left the painting faded and flaking.
20:00So normally with a painting like this
20:02it would have been done on fresh plaster
20:04hence the term fresco meaning fresh in Italian
20:06so it would have been done on plaster
20:08wet plaster
20:09whereas he does this on dry plaster
20:11and that's going to cause a huge huge problem
20:14because this was in the dining room of the refectory
20:17and behind this specific painting
20:20was the kitchen
20:22and the kitchen is going to cause damp
20:24so you're going to get a lot of damp coming through
20:25and that's going to make the fresco fall off.
20:29So just 20 years after Leonardo completed
20:32The Last Supper
20:33the painting began to flake and deteriorate
20:36and yet despite its fragile state
20:39The Last Supper has endured
20:41as a deeply spiritual masterpiece
20:44transcending the damage and decay
20:48I'm also very moved when we consider the history of the painting
20:51because it has suffered so much with the vicissitudes of time
20:54and damage and botched restoration attempts
20:58and bombing during the second world war
21:00just extraordinary that it has survived
21:02so I think it's a very moving experience
21:05But thanks to the tireless dedication of modern restorers
21:09most notably Pinin Brambilla Barcelon
21:12who spent over 20 years carefully preserving what remained
21:15this masterpiece still stands as a powerful window into Leonardo's vision
21:22So as you reflect on its beauty
21:24remember that what we see today is a testament
21:28not only to the artist
21:29but to those who fought to keep his work alive
21:32This is a painting that has been restored so many times
21:36it was nearly destroyed during World War II
21:39Experts estimate that only about 20 to 25% of this painting
21:44is actually by Leonardo
21:49But the most important thing is that
21:5125% of Leonardo is better than 100% of most other artists
21:57and that's the great thing about this painting
22:00Although Leonardo never painted another mural again
22:04it was this painting that forever immortalized his genius
22:08a timeless symbol of faith, human connection
22:11and the profound spirit that continues to inspire all who encounter
22:17The Last Supper
22:18The Last Supper
22:19The Last Supper
22:20The Last Supper
22:22The Last Supper
22:23The Last Supper
22:24The Last Supper
22:28The Last Supper
22:28The Last Supper
22:30The Last Supper
22:31The Last Supper
22:31The Last Supper
22:32The Last Supper
Comments