[A] richly entertaining tale of how Leonardo came to paint The Last Supper. King, who had previously written acclaimed accounts of Brunelleschi's Florentine dome and Michelangelo's Sistine Chapel ceiling, has an infectious relish for the gaudy, brutal and brilliant world of the Italian Renaissance The Mail on Sunday King draws attention to overlooked iconographic details such as the supper menu, and he profits from the mural's misfortunes in a brilliant history of its afterlife as restorers perform cosmetic surgery on it The Observer Books of the Year King deftly explains how Leonardo developed each element as well as his quirks and those of his patron Ludovico '"il Moro" Sforza. This account is a good deal more vivid than the ghostly fresco itself The Guardian, Books of the Year The story of Leonardo's creation of the work has now found an ideal chronicler in Ross King ... King has the gift of clear, unpretentious exposition, and an instinctive narrative flair Guardian Extraordinary Sunday Times 'Must Reads' Enthralling **** Daily Mail Mr. King gives us a gripping account of how that painting was created and how it represents, in his view, one of the few times in Leonardo's life that he managed to "harness and concentrate his relentless energies and restless obsessions" ... King deftly deconstructs the ways the painter broke with tradition and stamped a familiar and much depicted subject with his distinctive vision Michiko Kakutani, International Herald Tribune King writes evenly and engagingly ... We learn a great deal about the middle-aged artist, and his persistent fear of failing to complete commissions ... King deftly situates both his subject and the immense appeal of the work in our own day ... The book will bring new insights to all who have visited Milan, and will encourage others to make that pilgrimage Church Times
Early in 1495, Leonardo da Vinci began work in Milan on what would become one of history's most influential and beloved works of art--The Last Supper. After a dozen years at the court of Lodovico Sforza, the Duke of Milan, Leonardo was at a low point personally and professionally: at 43, in an era when he had almost reached the average life expectancy, he had failed, despite a number of prestigious commissions, to complete anything that truly fulfilled his astonishing promise. His latest failure was a giant bronze horse to honor Sforza's father: his 75 tons of bronze had been expropriated to be turned into cannon to help repel a French invasion of Italy. The commission to paint The Last Supper in the refectory of a Dominican convent was a small compensation, and his odds of completing it were not promising: Not only had he never worked on a painting of such a large size--15' high x 30' wide--but he had no experience in the extremely difficult medium of fresco.In his compelling new book, Ross King explores how--amidst war and the political and religious turmoil around him, and beset by his own insecurities and frustrations--Leonardo created the masterpiece that would forever define him. King unveils dozens of stories that are embedded in the painting. Examining who served as the models for the Apostles, he makes a unique claim: that Leonardo modeled two of them on himself. Reviewing Leonardo's religious beliefs, King paints a much more complex picture than the received wisdom that he was a heretic. The food that Leonardo, a famous vegetarian, placed on the table reveals as much as do the numerous hand gestures of those at Christ's banquet. As King explains, many of the myths that have grown up around The Last Supper are wrong, but its true story is ever more interesting. Bringing to life a fascinating period in European history, Ross King presents an original portrait of one of history's greatest geniuses through the lens of his most famous work.