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A 6 page research paper that examines the semiotic meaning of Leonardo Da Vinci's Last Supper. The writer describes the symbolic meaning of the positioning of the Christ figures and psychological implications of the expressions and positioning of the disciples. Bibliography lists 4 sources.
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6 pages (~225 words per page)
File: D0_khldvls.rtf
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Unformatted sample text from the term paper:
p. 272). The imagination and skill of this Renaissance man continues to amaze and astound each new generation. What amazes art critics is not only Da Vincis artistic skill,
but also the thought and consideration that he put into the composition and meaning of his work. For example, one of Da Vincis greatest masterpieces is the mural he painted
on the north wall of the Dominican refectory at Santa Maria delle Grazie in Milan, Italy (Seidel, 2003). This is arguably the most famous painting in the European tradition (Seidel,
2003). Historians and critics have referred to it for centuries as a "touchstone" of Renaissance mastery in regards to both perspective and human expression (Seidel, 2003). The recently restored
fresco, which is referred to as "Il Cenacola" in Italy, is in a "dimly lit hall," in which visitors approach it more as pilgrims than as tourists (Gani, 2002). The
student researching this topic should note that while the Last Supper is traditionally referred to as a "fresco," it was not actually done in this style. A fresco is when
the artist paints directly onto a freshly plastered wall. This technique necessitated that the artist work quickly, as the color had to be applied before the plaster dried. Rather than
do this, Da Vinci prepared the wall as if he were painting on panel (Rosand, 2001). The Last Supper pictures the moment when Jesus has just announced to his
disciples that one of them will portray him. The following examination of this great work of art examines how there is semiotic meaning in his the images and Da Vincis
placement of the figures. Gani (2002) describes the face of Jesus as grieved, as he observes the reactions of those closest to him. Burns (1969), on the other hand, describes
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