The Last Supper - Leonardo Da Vinci

The Last Supper Leonardo




The head was very abraded, and its profile appeared to have been repainted and coarsely delineated by a dark brushstroke, which emphasized the outlines and weighed down the expressine features.

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The head merged visually with the background, and the hair had been completely repainted with dark brown pigment. The flesh areas had been seriously compromised, and immense losses, which had been coarsely patched with an improbable brown tone, were visible in raking light.

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The figure seemed fully integrated, in fact it had been completely repainted. A prior intervention had reworked the black hair, the beard, the flesh tones, and the facial features.
Over a violet robe, he wears a two-colored mantle, light blue on the right shoulder and green on the left.

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The curls of the Matthew's hair reacquired their vibrant tones, from chestnut to golden blond.
Leonardo's brush stroke is strong and short, but the outline of the head was lost in the tapestry background.
The matthew's shoulder and the lower part of his mantle composed of a red lake glaze over the light-bleu base of the robe, whose original color was embellished with highlights and delicate chiaroscuro. Leonardo's color planning of the Matthew's robe is an elegant violet.

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James Major

The various restorations and ancient repaints had reduced the face to a caricature, and the hair and beard had become dark, the modeling of the facial features alterd.
The condition of the clothing was hightly compromised. Unfortunately, the intonaco ground was exposed in central parts of the clothing.

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The apostle's facial expression appeared weighed down by the dense brushstrokes that had almost completely redrawn the eyes and ears.
The repainting of the shadowed area of the face was heavy and unfaithful.
The outline of the head and the repainted eye had been abbreviated and enlarged.

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The descriptive information of the facial features is not clear, broad areas were afflicted with lacunae in the half tones and in the shadowed areas. The light-blue robe had been denseiy repainted, with particulariy thick layers in the lacunae.

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Peter's facial features also show extensive, reconstructive restoration, which superficially suggests a certaun completeness. Raking light reveals that in reality, few areas of the face, namely the forehead and cheekbones, are conserved.

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The apostle Philip's face had been completely repainted with a pinkish gray color, the eye had been reconfigureed, with the iris repaited with blackish strokes, and the mouth distorted by red repaint on the upper lip.

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Thomas's thick mass of curls, full of airy brushstrokes, stand out against the light blue of the sky in the background.
His hair and beard is mostly lost. The facial features and flesh tones had been generally repainted.

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After restoration, it recovered significant portions of the lips, and the profile of te nose and chin.
Leonardo had originally conceived the beard divided in two halves.

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The last Supper reconstruction

Digital Restoration of the Last Supper  -  Now on add "Lunettes"