Da Vinci Last Supper and Raphaels Madonna in the Meadow Contrast Essay

I find Leonardo Da Vinci 1448 Last Supper painting more appealing compared to Raphaels c. 1505 Italian Renaissance, Madonna in the Meadow masterpiece. Da Vince artwork is not just art; it is mathematics as well. He uses Golden Ratio a mathematical method of deciphering the artistic proportion, in his drawing in portraying the substantial proportions. His painting also has an allusion of digit 3 to represent the holy trinity; it is noted that the disciples are seated in groups of three, there are three windows and Jesus is illustrated in a triangle with his stretched hands.

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It is mind provoking as it is not a fresco. This is because the masterpiece needed much time: a phenomenon that the fresco kind of oeuvre does not allow. The fresco tempera needs to be added in haste, forcing the artist to work hurriedly and limiting the chances of making the alterations. However, in is work, Da Vince used an exclusive method whereby he added the tempera to the already dry plaster to create enough time to woke on the painting. He coated the wall with moisture resistant material that absorbs the oil paints and developed the shadings with the chiaroscuro of the mural that made it possible to make the necessary changes.

The last supper is predominantly incredible for the outlook the extravagant artist successfully employed. Perhaps, a worlds extemporary one point perspective, every single point in the masterpiece directs its attention right to Christs head, in the center of the composition. Moreover, the artist drives a nail straight into the wall at the Jesus sanctuary, the exact central point of the portrait. From the nail, Da Vinci radiated strings in several directions to enable him see the rooms standpoint and paint the other features in the painting that led the eye looks back to Christ.

Therefore, Leonardo successfully expresses the intended message by depicting some of striking the minor aspects on the portrait, such as the downside of the setup. He effectively portrays some of the disciples rather thankless from behind. However, in the actual sense, it is hard to express the dramatic element of the scene as the circular table does not provide an adequate opportunity.

I find the painting. Madonna in the Meadow, 1505-1506 (also known as the Madonna Belvedere) by Raphael aesthetically pleasant but it is a copycat of other artists work. The figures in the artwork are arranged in a pyramidal structure. Raphael picked this from Leonardo Da Vinci especially the cartoon showing the Virgin St Anna and the children a piece of art that was located in an individual church in Florence. Raphaels painting steals the concept of chiaroscuro from Leonardo artwork to model the figures and make them fit on the actual space on the picture. Unlike Leonardo, Raphaels paintings are made with a lighter color palette, something he had picked from his teacher, Perugino.

The scene displays the Virgin with St. John the Baptist and Christ in a peaceful and affectionate moment against a scenery background that places the setting at in a Tuscan locale. Besides St John the Baptist being a cousin to the Christ, he was a patron of Florence thus his presence in the setting being apt. Although the painting does not quickly illustrate the actual meaning, the viewer can see the Christ child trying to grasp the cross from St John the Baptist which can be perceived as a possible manner of foretelling the future passion of Christ. There are various Aspects in Raphaels painting successfully conveys the intended message. The first of them is the three figures in a fresh green meadow and linked by the touching hands and the looks. The blue mantle the Virgin Mary has worn signifies the church and the red top symbolizes the Christ death, with Madonna the uniting of the mother church and the Jesus Christs sacrifice. The poppy signifies Christs passion, death, and his resurrection.