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by Ross King
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 forty-three, 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 cannons 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 - amid 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 the world's greatest geniuses through the lens of his most famous work.
"Though some of King's political explorations and discussions of symbolism can drag, the book proves most lively when tackling common misconceptions about the painting, with The Da Vinci Code coming in for special criticism." - Publishers Weekly
"A fascinating and in-depth story of one of the world's most famous works of art that will appeal to general readers as well as academics. Highly recommended." - Library Journal
"King's book is an impressive work of restoration - the author helps readers see this painting for the first time." - Kirkus Reviews
"[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" - Mail on Sunday (UK)
"Extraordinary" - Sunday Times (UK)
"4 Stars. Enthralling." - Daily Mail (UK)
This information about Leonardo and the Last Supper was first featured
in "The BookBrowse Review" - BookBrowse's membership magazine, and in our weekly "Publishing This Week" newsletter. Publication information is for the USA, and (unless stated otherwise) represents the first print edition. The reviews are necessarily limited to those that were available to us ahead of publication. If you are the publisher or author and feel that they do not properly reflect the range of media opinion now available, send us a message with the mainstream reviews that you would like to see added.
Any "Author Information" displayed below reflects the author's biography at the time this particular book was published.
Ross King is the highly praised author of Brunelleschi's Dome (the Book Sense Nonfiction Book of the Year in 2000), Michelangelo and the Pope's Ceiling (on the New York Times extended bestseller list), The Judgment of Paris, Machiavelli: Philosopher of Power, and two novels, Ex Libris and Domino. He lives outside Oxford in England.
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