Leonardo da Vinci’s painting of the “Last Supper” has faded and cracked over time, but an accurate reproduction likely made by one of his pupils reveals details you may have missed.
The museum is offering visitors a last chance to view its massive survey of the Italian master’s works, offering free admission from 9pm to 8:30am.
MoMA’s recognition of modernism’s multiverse, alongside artist-led drives for greater transparency on the part of museums and their boards, brought a twinge of optimism to the close of the year.
Paula Rego, John Ruskin, Donald Judd, Lucian Freud, Hokusai, and, yes, Leonardo da Vinci.
Leonardo’s “Virgin” meets virtual reality — simpleminded in the extreme.
What exactly is the matter with this exhibition? We had expected to be excited from the start, but we are not.
Advanced imaging techniques have revealed Leonardo’s original design to be vastly different from the final product.
Leonardo da Vinci would have found a deep connection to the ostracism of Saint Jerome at the hands of the envious and the hypocritical.
With his Mona Lisa Earth Series, Naoto Nakagawa puts Leonardo’s mysteriously grinning subject through a ringer of styles and technical treatments in ambitious, complex images.
Italy’s rightwing government initially refused France’s request for Leonardos because it believed the Louvre exhibition would “put Italy on the margins of a major cultural event.”
The new attribution reignites a century-long debate over the authorship of “The Virgin with the Laughing Child,” a Renaissance-era statuette currently attributed to Antonio Rossellino.
The painting’s voyage, from the record-breaking Christie’s auction to the mysterious postponing of its unveiling, reflects deep regional ideological and geopolitical rifts — but the debate has hardly played out in the Arabic-language media.