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painted some 3 to 4 decades earlier for the refectory of Sant'Apollonia in
Florence, wherein the apostles sit in a shallow U-shaped setting, with only the two flanking apostles sitting at a 90-degree angle with the others. John the Apostle at Christ's left has fallen to sleep. Judas sits apart on the
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Ghirlandaio's fresco in the San Marco convent also shows an interest in realistically depicting the space in figures at a U-shaped table, along with two window arches of noticeably different sizes. In
Ghirlandaio's fresco, an array of pomegranate trees and various birds can be seen in the background
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Preserved drawings provide a good understanding of
Domenico Ghirlandaio's artistic process. He is thought to be one of the first artists of his time who prepared projects with extreme care. However, the accuracy of this is not known. Ghirlandaio's paintings are frescoes, which is a technique where
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shows images of Jesus and the
Apostles sitting around a pronent dining table in the shape of a U. Disciples converse, and both Judas and John lean toward Jesus, as is tradition. Jesus is shown near the center, with his right hand raised and index and middle fingers together, which is an archetypal
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fresco in
Ognissanti, Florence was made in 1480 and measures 13 feet by 26 feet and 6 inches (or 4 meters by 8.1 meters). Domenico's stylistic approach draws attention to the recession of space and illusionistic the depth at the back of the room and around the windows, along with the presence of
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of the lime (one of the ingredients of the plaster), including colors such as blacks, reds, yellows, greens, and whites. Some blues, namely those made from azurite or lapis lazauli (ultramarine), could not be painted on the wet fresco, but instead had to be applied in what is known as
293:, Domenico's brother, played a main role in making this fresco. The figures in the Passignano piece have proportional, realistic body parts and human features compared to Ghirlandaio's earlier figure drawings. There is an illusion of space and depth throughout this piece as well.
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The work has been described as reflecting the quintessential style of
Domenico Ghirlandaio: an overall balance of the symmetrical composition, a naturalism observed in the figures' faces, hair and draped, as well as a clarity in the color palette.
347:, and the placement of figures. The work is known for the various expressive facial reactions and bodily actions, like hand gestures of the different figures at the table. The Ognissanti piece also is placed at the end architectural
252:. The technique was technically demanding, requiring the artist to have accuracy in composition and skillful hands. The color range in frescoes was limited because only certain colors would chemically react with the
239:, who were also painters. For the fresco in the Badia di Passignano, Domenico's brother Davide was more involved. Davide received five payments for his work on the Passignano piece, while Domenico only received two.
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show expressions from the figures but in a quiet peaceful setting. His figures have character-like expressions and his understanding of common architecture allowed for realistic details throughout his work. The
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in the eleventh century. Over the years, the
Passignano monastery was changed into a farmhouse in 1866, but was re-converted back to its monastic function in 1986. All three of Ghirlandaio's frescos of the
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is an important biblical story where Jesus and his disciples dine for the final time together before his death by crucifixion. During this supper, Jesus tells his followers, known as the twelve
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Ghirlandaio was well known when he received the commission for this fresco, and soon after its completion, he was called to Rome to help decorate the
Sistine Chapel. It is likely that
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The figures and table placement look more centered in the room rather than at the end of the room like in the
Passignano piece. This was painted on a wall in the refectory of the
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rather than the middle. The main table is U-shaped and is located on the entire east-side wall of the actually refectory. The whole piece looks like a still-life filled with
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Ghirlandaio created many works in Rome and around 1476 returned to
Florence where he ended up working on the biggest work of art he accomplished during his life,
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that Ghirlandaio painted including one outside of Florence, Italy, while the other two were painted in the city of Florence. Two of Ghirlandaio's
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During the restoration of this fresco, a preliminary sketch of it was discovered on the left wall of the refectory in Cenacolo di Ognissanti.
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gesture of bestowed blessing. There is an illusion that the room within this piece is receding or moving back into the space.
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and arch-shaped windows. The open upper-story window view includes sights of pheasants, falcons, cypress, and citrus trees.
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The face of Christ is heavily restored, as it was repainted on a new layer of plaster in the seventeenth century by
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from 1457 (lost in 2002) that was located in Santa Maria Nuova in Florence. By contrast, Castagno's other famous
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According to author Jean Cadogan, Domenico took on a secondary role during the creation of these three
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Domenico had been greatly influenced by another fresco of the Last Supper by the Florentine artist
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In the late fifteenth century, artist Domenico Ghirlandaio painted three frescoes depicting the
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and his Apostles. Many artists have painted their own versions of the Christian subject of The
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pigment is dissolved into water before being painted onto wet plaster known as
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frescos, but still was considered the leading artist amongst his two brothers,
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a space where guests and pilgrims of the monastery would usually be housed.
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Leonardo da Vinci, the Last Supper: a cosmic drama and an act of redemption
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400 cm × 810 cm (160 in × 320 in)
731:(7th ed.). Upper Saddle River, NJ: Prentice Hall. pp. 350–351.
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History of Italian Renaissance Art: Painting, Sculpture, Architecture
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was familiar with this treatment of the subject, as well as that of
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near side of the table, as is common in early depictions of the
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119:(1486). The last two paintings are found in Florence itself.
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The layout of the scene resembles that seen in the fresco
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Last Supper fresco, 1476 (Badia di Passignano refectory)
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fresco (1440-1450) in the refectory of the convent of
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located outside of town was painted in the abbey of
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933:Sassetti Chapel, frescoes, and altarpiece
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132:There are three separate frescoes of the
542:Domenico Ghirlandaio: Artist and Artisan
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577:Rosenauer, Arthur; Lach, Edith (1985).
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123:Locations, subject, and technique
85:The Italian Renaissance painter
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882:Portrait of Giovanna Tornabuoni
706:by Michael Ladwein 2006 page 27
408:above Jesus and his apostles.
16:Fresco by Domenico Ghirlandaio
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625:Colalucci, Gianluigi (2003).
403:Last Supper fresco, San Marco
273:Badia di Passignano refectory
1288:Paintings of the Last Supper
1273:Fresco paintings in Florence
311:Last Supper in Christian art
890:An Old Man and his Grandson
852:The Crossing of the Red Sea
670:, Oxford University Press,
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875:Tornabuoni Chapel frescoes
814:Santa Fina Chapel frescoes
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1186:Other media (by location)
836:Saint Jerome in His Study
662:Cadogan, Jean K. (2003),
539:Cadogan, Jean K. (2000).
474:10.1007/s00004-017-0338-8
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1170:Sculptures (by sculptor)
1115:Signorelli (Lamentation)
1078:conservation-restoration
860:Vocation of the Apostles
97:three times in separate
1154:Paintings (by location)
664:"Ghirlandaio, Domenico"
289:" (the new refectory).
1110:Signorelli (Communion)
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303:Andrea del Castagno's
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74:Cenacolo di Ognissanti
1283:Paintings in Florence
1249:43.77250°N 11.24556°E
1011:Paintings (by artist)
961:Benedetto Ghirlandaio
904:Tornabuoni Altarpiece
868:Adoration of the Magi
461:Nexus Network Journal
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237:Benedetto Ghirlandaio
146:Convent of Ognissanti
101:paintings in or near
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320:Detail of the fresco
142:Convent of San Marco
87:Domenico Ghirlandaio
40:Domenico Ghirlandaio
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1219:Christianity portal
949:Ridolfo Ghirlandaio
368:Andrea del Castagno
283:Badia di Passignano
169:were placed in the
160:, founded by Saint
154:Badia di Passignano
107:Badia di Passignano
1254:43.77250; 11.24556
1212:Visual arts portal
1004:Last Supper in art
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668:Oxford Art Online
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389:Carlo Dolci
377:Last Supper
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1267:Categories
1240:11°14′44″E
1237:43°46′21″N
1161:Strasbourg
1120:Tintoretto
911:Visitation
691:2023-04-12
419:References
297:Ognissanti
111:Ognissanti
62:Dimensions
1198:Jerusalem
1063:Fernandes
963:(brother)
957:(brother)
807:Paintings
747:430523019
605:0315-9906
561:868415293
491:253585462
483:1522-4600
395:San Marco
353:refectory
243:Technique
207:Eucharist
203:sacrament
171:refectory
128:Locations
116:San Marco
1130:van Gent
1125:Veronese
1100:Rosselli
1090:Perugino
1073:Leonardo
1058:El Greco
1028:Castagno
644:18 April
627:"Fresco"
330:Castagno
254:alkaline
250:intonaco
199:apostles
185:between
144:and the
103:Florence
78:Florence
70:Location
1177:Dircksz
1038:Cranach
1018:Barocci
942:Related
758:Sources
351:of the
345:corbels
281:in the
259:a secco
205:of the
177:Subject
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1140:Warhol
1105:Rubens
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36:Artist
1145:White
1135:Vouet
1085:Nolde
1023:Bouts
951:(son)
487:S2CID
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1048:Dalí
743:OCLC
733:ISBN
680:ISBN
646:2018
601:ISSN
557:OCLC
547:ISBN
479:ISSN
235:and
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1033:Cox
672:doi
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