Leon Battista Alberti

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

Which was very confusing to me because at first seeing the image you don’t think of any of the five senses. The image looks like a typical painting from the middle ages depicting religion. But as Professor Eric Palazzo went along explaining his reasoning it all fit in place. The illustration shows what looks like a deacon or priest holding the incense looking like he's waving across the table. But it is not the deacon but Christ. It was very confusing to me at first to understand how the deacon was christ and why was he incensing the table. He explained that the deacon using the incense he become Christ and sees through smelling the incense connecting to the image above which is not two separate image but one, the image above being Jesus. The men watching the deacon is like them seeing Christ there the incest. Also, the image of the bells represented the hearing sense. People hearing the harmony of the church. The other two senses are very simple to explain in the painting the taste sense can be explained by the wine in the painting. The last sense being touch is everywhere in the painting. Like the vision above you can touch it

The Last Supper is a biblical visual interpretation of one the major events in the life of Jesus. It depicts the final meal that Jesus shared with his 12 apostles, the night before he was betrayed. This piece of art is a realist representational, in which the artist painted the subjects with high level of detail reproducing real expressions on each subject. Leonardo intended to make Jesus the main object of this work of art. In order to make it possible, he positioned Jesus at the center of the composition, and the vanishing point makes all lines of the room converge on Jesus head, giving him more attention on the scene and creating the sensation of holiness. This sensation is reinforced by the position in which Jesus sits. His body has a triangular form, and all the apostles are close to him but not in his space. The subjects are placed in symmetrical balance in which the viewers see two groups divided by Jesus who is the subject to be the focal point.

In Raphael’s scene, Christ floats in the air with his arms stretched out and his legs bent with his robes flapping behind and around him while the mosaic portrays Christ and his clothes standing still with his hands showing the symbols of the church. While Raphael emphasises on the power of his stance as his light and movements affect the world around him, the mosaic uses its characterization to focus on the role of Christ as his stance is meant to inspire and be respected by the church and its visitors. Similarly, Elijah and Moses in Raphael’s transfiguration are floating as well, gliding their way to and around Christ as they carry their wavering robes and books, representing them to the audience as wise scholars and teachers who stare valiantly at the holy light of Christ. At the same time, in the mosaic, these same characters simply stand in the corners of the scene standing as still as the mosaic’s Christ and their arms pointing up and towards him, showing their command and guidance over him and the church. Surprisingly, Peter, John and James share similar characterizations between the two art pieces. In both Raphael’s and the mosaic’s interpretation, one of the disciples lays below Christ with his head leaning on his arm and looking above in awe and bewilderment. While the other two disciples share different

The composition is not complicated, which just based on a straight line with little change. Actually, from the lines of wall to the lines of windows, they all gather in one place, namely the head of the Christ and looked like a halo. The artist used orthogonal to make Christ becomes the center of everything in painting: table, windows, doors and walls, and it seems natural to attract the audience's attention to Christ's body firstly. It’s the consciousness of the humanistic; more attention was put on humans. What’s more, people can also find the logic, mathematics and science in this

Da Vinci uses linear perspective for the building, the vanishing point being just behind his head. During the time of High Renaissance religious paintings were very common, so the biblical story had to be visible as well as supporting the Christian ideals. The Christian people viewed Judas as a villain, who betrayed Jesus for thirty silver coins, so it is not surprising that he is painted to be the villain. As seen in the picture below Judas is holding a little bag, no doubt symbolizing the money and betrayal. The other apostles are in light and they all posses a halo, which is absent above Judas.

It has a religious perspective as it depicts an event from the Bible, the artist Leonardo chooses to capture the moment in which Jesus (the centre man) announces to the apostles that he knows one of them will betray him. Because of the 12 apostle’s expression of astonishment and curiosity immediately after this anouncement we can interpret that this is an event taken place in the

Da Vinci's painting describes the last supper of Jesus and the 12 apostles. Twelve apostles sat in the table, each person has a different faces: three people are whispering to each other, three people get angry while one of them are thumping his hand down on the table, a man looked suspicious, another ones expresses surprise, a man is sitting neatly loyalty, two others looked thrilled. Only a disciple face was pale, his back leaning slightly forward, clutching bags of money - that's the Judas. Behind Judas is a dark space, also behind the image of Jesus is full of light from the window. Rays shining on the face of Jesus shone as seems calm, gentleness and firmness. This contrast is said to express the author's hatred for evil, as well as

The lines are the demons that have surrounded Anthony immediately we see that he has made

Giotto makes use of an implied line to direct the viewer’s attention from the tree representing Adam and Eve’s original sin to the lifeless body of Jesus Christ. This diagonal line signals that Jesus Christ is the focal point of the painting. In order to portray three dimensions in his two-dimensional painting, Giotto relies on varying values of color on the clothing and bodies of the observers and angels, as well as on the rocky background. Darker shades indicate shadows and lighter shades imply light, such as the sun. A diagonal balance is seen from the dead tree, down to the seated mourner in tan, following the line of the rocks in the background. Giotto also blurs the ends of the robes worn by the angels. This technique he employs suggests the implied motion, or flight, of the angels over the mourning congregation

In the foreground, Perugino adds a group of people, apostles, along with Christ and St. Peter, who are the focal point of this painting. In the middle ground, there are more people, however, they are not as prominent as they appear to be much smaller, which shows the distance between the figures in the foreground

Many different design elements went into the work of The Last Supper. Elements such as one point perspective, chiaroscuro, lighting, and atmospheric perspective where used to create this art work. The one point perspective used Jesus’ head as the vantage point of the painting, which was also used as some say a source of light. The head of Jesus also seems to be a source of light for the whole painting. The head was placed in front of the largest window in the painting. In this window and other to the side of the one main one was the element atmospheric perspective, which used techniques such as brightness, manipulations of cool and warm colors, and color saturation, to show the depth of the painting. The techniques of chiaroscuro which is the gradual shifting from light to dark over curved surfaces using successive graduation of tones, it was mainly used on many of the faces and feet and arms of Jesus and his apostil’s. This was used to show the human like

Leon Battista Alberti, born in the 15th Century originally from Genoa was educated at Padua and Bologna in classics, mathematics and Church canon law. He was a typical Humanist and his education also made him well-versed in philosophy, science and the arts. In 1421, he attended the University of Bologna where he studied law, which he did not enjoy. Later on, he obtained a degree in canon Law which then led to his mathematical studies. His book, Della Pittura published around the year 1430 were written to influence both artists and patrons through a combination of technical detail and philosophical discussion on Florentine art. This book is divided into 3 parts, the first relates to perspective and mathematics. The second and third parts

In the middle of all groups is Jesus, the most significant figure in the painting, he is sitting in front of three windows that are at the end of the room. ‘And so we see him - in the midst of his most faithful followers, who are after all only men, able to grasp the external event but without understanding its inner meaning - as the suddenly isolated God, alone in the knowledge of his destiny which only he can see as sacrifice and mystery’. (Ludwig H.Heydenreich 1974)

His stillness is in contrast to the crowd, it allows scenes flow around him. Judas reaches and kisses Christ from the left, there appear to be regret in Judas face. There is not apparent though his aggressive posture. Christ’s right hand is pointing forward. This may express Christ’s future forgiveness of Judas. Duccio’s depiction leaves more space for imagination for the viewer. In Giotto’s painting, Christ is in profile. This allows for eye contact between Christ and Judas. Christ is a little taller than Judas, and he gaze silently upon Judas’s face. From the gaze of the Christ, we can feel a sense of forgiveness and sorrow. Moreover, we can feel Juda feels sorry for what he has done. Their expressions make the painting more emotional, they emphasize the nobility of the Christ and let viewer have a better connection to this emotional content.