How Da Vinci's The Last Supper Survived a Bomb During WWII

Leonardo da Vinci's The Last Supper has been one of the most revered and well-known works of art in the world for more than five centuries. But during World War II, it almost became “history” in more than one sense of the word.

In August 1943, Allied leaders bombed a number of Italian cities, including Milan. Many historic churches and buildings containing pieces by master artists were either destroyed or severely damaged, including the Duomo, the Castello Sforzesco, the Teatro alla Scala, and Santa Maria delle Grazie.

The latter was the church where Leonardo had painted The Last Supper mural directly on one of the walls in 1495. On August 15, a high-explosive bomb landed a mere 80 feet away from the mural. The building was virtually demolished: The roof caved in, the cloister collapsed, and entire walls were blown out. You can see from the picture how much of the church was destroyed.

Miraculously, the wall the mural was on was still standing when the dust cleared. Hoping to protect Leonardo's work against just such an attack, officials had guarded it with sandbags and scaffolding years before. The precaution was one many museums and churches across Italy had taken when war broke out—even sculptures such as Michelangelo's David were encased in brick towers to protect them from bombs and shrapnel.

Because they didn’t want to expose the piece to the elements, Monuments Men and other officials were unable to assess the damage right away. "Leonardo's Last Supper may be in ruins," Monuments Man Deane Keller wrote in 1944. Amazingly, when the scaffolding was removed, da Vinci's masterpiece was in relatively good condition.

It’s actually not the first time The Last Supper has come close to destruction. During the Napoleonic Wars, Napoleon’s soldiers bunked in Santa Maria della Grazie. When they got bored, they used The Last Supper for target practice, with Jesus's face as the bullseye. They hit the mark at least a couple of times, but the mural has since been restored.

Tim Burton’s Art Exhibition at Las Vegas’s Neon Museum Now Has Tickets On Sale

A Tim Burton sculpture representative of what might be on display at the Neon Museum
A Tim Burton sculpture representative of what might be on display at the Neon Museum
The Vox Agency

Last year, The Neon Museum in Las Vegas announced that it would be hosting an exhibition of fine art by Tim Burton in 2019. Anticipation has been high ever since: The Vegas show will mark the filmmaker's first major art exhibition in the United States since his work was displayed at the Museum of Modern Art in New York a decade ago. Now, tickets for the October event are finally on sale.

Tim Burton is best known as the director of such movies as Batman (1989), Beetlejuice (1988), and Edward Scissorhands (1990), but he got his start as an artist. His distinct drawing style even got him a job at Disney's animation division in the early 1980s.

The Neon Museum exhibition will feature works that have been displayed previously, as well as sculptures and digital installations created specifically for the space. A press release reads: "The presentation of Burton’s art in Las Vegas represents a unique experience where the host institution also serves as creative inspiration. The museum’s distinctive campus will be transformed through the artist’s singular vision for this original exhibition."

Pieces will be displayed at three locations across the museum campus: the outdoor Neon Boneyard (a "graveyard" for old neon signs), the North Gallery, and the City of Las Vegas’s Boneyard Park. In addition to the main show, there will be a separate, special exhibit after dark that combines projection mapping with the site's famous sign collection. As for the content of the artwork, the museum says Burton is looking to both his career history and the museum itself for inspiration. Although the museum wasn't ready to release images of specific artwork that will be featured in the show, they released some representative images.

"Lost Vegas: Tim Burton @ The Neon Museum Presented by the Engelstad Foundation” launches October 15, 2019, and will run through February 15, 2020. Tickets to the primary exhibit cost $30, and entrance to the nighttime spectacle will cost an extra $24. You can preorder tickets to both shows here.

A Tim Burton sculpture representative of what will be on display at the Neon Museum
A Tim Burton sculpture representative of what might be on display at the Neon Museum
The Vox Agency

A Tim Burton sculpture representative of what will be on display at the Neon Museum.
A Tim Burton sculpture representative of what might be on display at the Neon Museum
The Vox Agency

Edward Hopper’s Western Motel Is Being Turned Into a Hotel Room at the Virginia Museum of Fine Arts

Western Motel, 1957, Edward Hopper (American, 1882–1967), oil on canvas. Yale University Art Gallery, New Haven, Bequest of Stephen C. Clark, B.A., 1903. © 2019 Heirs of Josephine N. Hopper / Artists Rights Society (ARS), NY
Western Motel, 1957, Edward Hopper (American, 1882–1967), oil on canvas. Yale University Art Gallery, New Haven, Bequest of Stephen C. Clark, B.A., 1903. © 2019 Heirs of Josephine N. Hopper / Artists Rights Society (ARS), NY

Some paintings are so good you can’t help but wish you could climb right inside of them and experience the details with all five senses, in all three dimensions. If Edward Hopper’s Western Motel brings about those sorts of feelings for you, now is your chance to live that dream.

As part of an exhibition called “Edward Hopper and the American Hotel,” Artnet News reports that the Virginia Museum of Fine Arts (VMFA) is constructing a real, live motel room modeled on the artwork that you can actually book for a night.

Much like Nighthawks and Hopper's other paintings, 1957’s Western Motel isn’t exactly a warm and cozy depiction of the hospitality industry. The featured room—which is furnished with two sturdy red sofas, a chair, a small table, and a reedy lamp—is so neat it seems almost characterless. A well-dressed woman with impeccable posture perches atop a couch, looking expectant. It evokes the sense of alienation that permeated so many of Hopper’s influential pieces focused on life in the modern world: lonely people hunched over tables and gazing out windows, failing to connect with their surroundings in a way that makes you, the viewer, uncomfortably aware of your own static energy.

While pieces like Western Motel seem to hint that Hopper himself was something of a gloomy introvert, exhibition curator Dr. Leo G. Mazow hopes that "Edward Hopper and the American Hotel" will set the record straight. The exhibition "endeavors to consider hotels, motels, and other transient dwellings as vital subject matter for Hopper and as a framework with which to understand his entire body of work," Mazow stated in a press release.

In addition to 60 of Hopper’s works and another 35 from his contemporaries, the exhibition will also feature diary entries and postcards from Hopper’s wife and fellow artist, Josephine. As the press release explains, these artifacts "humanize the artist and his wife, providing detailed accounts of their travels in their own words and personal responses to the places they visited, their experiences there, and how these trips informed their art."

The "Hopper Hotel Experience" will offer a number of different packages that, in addition to spending a night at the museum in a room modeled after Hopper's painting, will include everything from dinner at Amuse, the VMFA’s fine dining restaurant, to a guided tour of the exhibition with Mazow.

Information on how to book an overnight stay will made available closer to the exhibition's October 26th opening. But you don’t have to commit to a museum sleepover in order to step inside the artwork; you can also just take a walk around it during museum hours.

[h/t Artnet News]

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