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THE LAST SUPPER can now be viewed online in a high-resolution image that provides far greater detail than what is possible to be seen in person by any layperson visiting the original wall painting at the Church of Santa Maria delle Grazie in Milan, Italy.

A new high-resolution picture of Leonardo Da Vinci’s masterpiece The Last Supper has been posted online, exposing the artist’s finest brush strokes to conspiracy theorists across the internet.

At 16 billion pixels, the image is 1,600 times stronger than those produced by a typical 10 million pixel digital camera.

The high-resolution allows art lovers to view details of the 15th century painting as though they were centimetres away from the work…


The work, in Milan’s Church of Santa Maria delle Grazie, was restored in a painstaking effort that wrapped up in 1999 — a project aimed at reversing half a millennium of damage to the famed artwork. Leonard painted the “Last Supper” dry, so the painting did not cleave to the surface in the fresco style, meaning it is more delicate and subject to wear.

“Over the years it has been subjected to bombardments; it was used as a stall by Napoleon,” Artioli said. The restoration removed 500 years of dirt while also removing previous restoration works that masked Leonardo’s own work…

All learned studies aside about THE LAST SUPPER by Leonardo Da Vinci, from my perspective as a painter, I’ve always viewed the “negative space” between the central figure of Jesus Christ and the Disciple, John (to our viewer left but at the right hand of Christ), that that negative space was an indication of or “room for” painter Da Vinci’s presence.

Da Vinci, like all the rest of us humans who are in reverance, faith and belief in Christ and Christ’s requests of us — although not among the twelve disciples present with Christ at the actual last supper — would not exclude himself from Christ’s presence but reverently could not include his own image in a rendition of this historical event, which, if he had done so, would profane the event by corrupting the reportage.

And, thus, Da Vinci created “room” for himself to exist to Christ’s right, which is depicted by Da Vinci appropriately as negative space (and a “V” shaped negative space at that): the missing body of Da Vinci, present in spirit with Christ and the Disciples. And, of course, room for all believers to also be located there. But, Da Vinci, as the painter of this remarkable work and a person of faith in Christ, would not literally be capable of removing himself from the work and thus, the negative space to our view, filled with and by faith by Da Vinci. It’s both an egotistical statement by Da Vinci but also an assertion of belief: the viewer of the work must have faith in what is there, and that is, that which is literally unseen but quite obviously present (the space itself becomes the presence of faith, by faith).

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