点评:I will only talk here about the sublime "Last Supper" by Andrea del Castagno (1447), which I was able to enjoy through an in-depth guided tour.
The iconographic theme of the Last Supper is far from new in Florence, but here it shows great originality. The dinner takes place in a quadrangular room, which the spectator can see because one of the four walls has been eliminated. The room is designed according to rigorous perspective criteria, the strength of which is accentuated by the four large marble quadrangles of the back wall. The fact that you can see the roof of the room (which according to the criteria of perspective should be out of sight) is an understandable license that the artist has taken.
The visual rendering of the white cloth spread on the table is astonishing: the cloth seems to be made of a stucco bas-relief rather than a painted one.
The human figures are defined with clear outlines, almost sculpted, and their faces are rendered through a characterization of their respective physiognomies, very different from each other, and which aim to make the characters of each one shine through their faces:: observe for example the faces of the apostles Thomas and Matthew, then of Judas, the only one sitting on this side of the table for those watching.
In my opinion, it's an absolute masterpiece, among the greatest of the Renaissance, albeit by a painter defined (unjustly?) as minor.
翻译:我在这里只谈论安德里亚·德尔·卡斯塔尼奥(Andrea del Castagno,1447)的壮丽的《最后的晚餐》,我是通过深度导游欣赏到的。
《最后的晚餐》的图像主题在佛罗伦萨早已不是什么新鲜事,但在这里它却表现出了极大的独创性。晚餐在一个四边形的房间里进行,观众可以看到它,因为四堵墙之一已被拆除。该房间是根据严格的透视标准设计的,后墙的四个大型大理石四边形强调了其强度。事实上,你可以看到房间的屋顶(根据透视标准,屋顶应该是看不见的),这是艺术家所采取的可以理解的许可。
铺在桌子上的白布的视觉效果令人惊讶:这布似乎是由灰泥浅浮雕制成的,而不是彩绘的。
人物轮廓清晰,几乎是雕刻出来的,他们的脸是通过各自相貌的刻画而呈现的,彼此之间差异很大,目的是让每个人的性格在他们的脸上闪闪发光::例如观察使徒多马和马太的脸,然后是犹大的脸,他是唯一坐在桌子这一侧观看的人。
在我看来,这绝对是文艺复兴时期最伟大的杰作之一,尽管它被一位画家(不公正地?)定义为次要的。