20 Lectures on World Famous Art Works

Author: Fu Lei
Editor: Qin Ren
Publisher:
Publication Date: 1999-02-28
Features: The thin volume Twenty Lectures on World Masterpieces of Art is possibly the most widely read art history book in China—although it does not systematically or rigorously examine Western art, nor does it extensively list various schools and works, merely selecting representative examples for commentary. Yet with Fu Lei's masterful pen, the silent history of Western art is depicted with such intricate detail and captivating charm. Often, just a few words provoke profound reflection. If one seeks to draw lessons from Western culture and art, standing on the foundation of understanding is paramount—this book perfectly embodies Fu Lei's artistic philosophy.
At a young age, Fu Lei was hired by the Shanghai Art College to teach art history. This work was completed in 1934, revised and supplemented based on his lecture notes. At the time, Fu Lei was only twenty-six years old but already possessed deep expertise in Western art history. The book focuses on introducing nearly twenty major figures and their masterpieces since the Renaissance, vividly and concisely explaining artistic styles and personal virtues, blending literature, music, philosophy, society, and era into a compelling narrative. It is both accessible and engaging. Beyond praising the features of the works and snippets of the artists' lives, the book also addresses aesthetic dilemmas arising from artistic practice, offering Fu Lei's own insights. This precious manuscript was preface by Pang Xunqin and postscripted by Wu Jiafeng. Since its first publication in 1985, it has received widespread acclaim and has been reprinted eleven times by Sanlian Books.
Excerpt: Leonardo da Vinci's The Last Supper / Fu Lei The Last Supper is as famous as Gianozzo. This fresco, spanning eight and a half meters in width and four and three-tenths meters in height, is housed in the refectory of Milan's Basilica of San Maria delle Grazie. The creation period was approximately 1499. Leonardo took four years to complete it, much to the frustration of the monks in the monastery, who complained to the Milan Duke. The Duke relayed their grievances to Leonardo, who defended his artistic process, arguing that an artist requires ample time to work—not just a common laborer whose inspiration sometimes "misbehaves." He further noted that the portrayal of the figures demanded great effort, especially Judas, the traitorous apostle, whose likeness was modeled after a monk in the monastery. The Duke was amused by this, and the monk, fearing he might be depicted as Judas, reluctantly remained silent.
The painting has cracked in several places. Some attribute this to Leonardo's lack of fresco technique, but in reality, he was a man of deep contemplation, not fond of swift execution, yet such speed is essential for fresco work. Shortly after completion, the monastery needed to open a door between the refectory and the kitchen, resulting in the removal of the feet of Jesus and two other apostles. Later, two artists attempted to redraw the feet, but their work was far from ideal. During Napoleon's invasion of Italy, the refectory was turned into a stable, and soldiers amused themselves by throwing stones at the apostles' heads. After so much misfortune, the extent of the painting's damage became inevitable. Fortunately, early copies of the work exist, some of which are still preserved. One such copy by Marc Oggine, made in 1510 (the year Leonardo died), is identical in size to the original and is now housed in the Louvre. Milan also retains several copies, all of which retain the spirit of the masterpiece. Additionally, we have Leonardo's preparatory sketches for the fresco, preserved in England, Weimar, and Milan itself—these materials are even more valuable than the copies. Before discussing the painting, it would be beneficial to review the Bible's account of The Last Supper:
" That evening, Jesus and the twelve apostles sat down to eat. He said, 'I tell you the truth, one of you will betray me. The Son of Man will go just as it is written about him, but the man who betrays me will be cursed. It would have been better for him not to have been born.' Judas, the apostle who would betray Jesus, asked, 'Is it me, Rabbi?' Jesus replied, 'You have said it yourself.'"
As they ate, Jesus took a piece of bread, blessed it, broke it, and gave it to the apostles, saying, 'Take and eat; this is my body.' Then he lifted the cup and blessed it, giving it to them, saying, 'All of you, drink from this, for this is my blood, which is poured out for many for the forgiveness of sins.' But I tell you, I will not drink of this fruit of the vine from now on until that day when I drink it with you in my Father's kingdom.' After he had spoken, they sang a hymn and went out to the Mount of Olives."
In this brief tragedy, there are two moments of profound emotion: when Jesus says, 'One of you will betray me!'—the apostles are filled with grief and anger, all asking, 'Is it me?'"—and when Jesus says, 'This is my body' and 'This is my blood.'" The latter moments are more significant in the narrative continuity, but the former are richer in human passion and turmoil. Leonardo chose the first moment.
The time has come. Jesus knows, and the apostles know. This may be the last supper. In his exhaustion, Jesus utters, "One of you will betray me!" This sends the apostles into sudden agitation and confusion, each vowing to testify. This is the complex emotional state that Leonardo sought to capture on each face.
Technically, depicting this scene posed great challenges. Devout believers desired to see the entire group in full view. Giotto depicted some figures in profile and others in full, focusing more on the contemporary scene. Angelico used a few side views. Most of the secondary characters, like Judas, stood as isolated figures, prominently positioned. Leonardo's composition, however, differed greatly. Like a classical drama, he simplified many details. Jesus sat at the center of a long table, with the apostles arranged in two groups on either side, each group split into pairs. Leonardo paid little attention to the arrangement of the table or the refectory, focusing entirely on the figures. Let us examine his composition:
Jesus holds the most important and prominent position in the entire scene—because he sits at the center, because there is space around him, because his back faces an open doorway or window, because his round, calm eyes and hands placed on the table stand in stark contrast to the agitation and turmoil of the other figures. Everyone looks at him, yet he looks at no one. Jesus is entirely in a state of introspection, self-control, and meditation. The twelve apostles—six on each side, further divided into pairs—Leonardo avoids rigid symmetry to prevent monotony, creating interconnected relationships through arm positions and dynamic movements.
The apostle on Jesus's right hand is John the Beloved, a young, exceptional man, deeply loved by Jesus. The second apostle on the right hand is Judas, who, upon hearing Christ's words, gazes at him with guilt, trying to discern his hidden thoughts. He is filled with unease, terror, and doubt. His hand clutching coins suggests his greed—he betrayed his master for money. Studying the expressions and postures of each apostle in detail would be too lengthy. The reader need only grasp the essence of the story and appreciate the artist's skill, reading the thoughts of each figure from their faces. Their poses are arranged symmetrically or in parallel, providing immense benefit for an artist's development, especially in psychological expression and organizational skill.
Leonardo da Vinci was also a rare scholar of history, and his other achievements will be discussed in detail in the next lecture.