Abstract
This paper discusses the tale of the Last Supper. It specifically discusses the renderings of this tale of Christ by Andrea Del Castagno, Domenico del Ghirlandaoi and Leonardo da Vinci. It shows how through their artworks, the last Supper literally comes to life via the masterful and extraordinary skills of these artists, all of which are considered three of the great geniuses of the Renaissance Period in Italy.

From the Paper
"Much like Castagno's rendition, the figures in this painting are also somewhat static and rigid, much like statues of marble rather than actual living and breathing human beings. The perspective is also quite similar, for it places limits on the movements of the figures via the hands and the upper torsos. In contrast to Castagno's version, the figures do not appear to be praying, yet through the expressions on their faces, it is clear that they are quite concerned about something. Also, the figure of Judas Iscariot is to the right of the figure of Jesus and is looking directly at him. Architecturally, Ghirlandaio has replaced Castagno's alcove with two Gothic-inspired arches which either provide a view of the outside world or is simply a wall painting."

Tags:perspective, illusion, gospel

Abstract
This paper explains that there are three highly significant ways in which Renaissance art can be considered a turning point for the visual arts. It shows how, first, a series of technical advances took place from the late 13th century to the early 15th century, notably a new feeling for the solidity of bodies, for the dramatic possibilities of design and composition, and the development of scientific perspective. Second, the writer explains that there is a rising interest in the classical civilizations, most importantly ancient Rome, leading to a concern to imitate classical architecture, sculpture, and as far as possible, painting. Finally, paralleling the development of new humanism in learning and scholarship, the writer points out that a change in the content of works of art can be discerned, as ideas from philosophy and literature influence both the choice of subject and the way in which it is handled.

From the Paper
"A new individuality of style and of genre can be seen in much of the work of this period, with a breaking down of the categories of religious and devotional painting that had characterized the 14th and earlier 15th centuries. The work of Domenico Ghirlandaio (1449-94) has been described as only "nominally religious," and is typified by portraits and set pieces cast in the form of religious works but with more naturalistic and humanistic dimensions than in the devotional pictures of the previous century. His "Adoration of the Shepherds" of 1485 [fig. 2] shows influences of Flemish painting in the naturalistic portraits of the figures on the right, while the careful detailing of the ancient Roman sarcophagus being used as the manger demonstrates his concern with the antique and the classical. At the other end of the spectrum from the painters who strove for realism in art was Sandro Botticelli. In Botticelli's work the quest for linear harmony that had begun with Donatello reaches a climax in such non-naturalistic exercises in contour, movement and symbolism as "Primavera, the Allegory of Spring" (c.1482)."

Tags:botticelli, Ghirlandaio, Castagno