Marvelously, especially seeing as all of the eyewitnesses have been dead for centuries and only 20% of the original mural survives, an outfit known as Leonardo3 has "digitally reconstructed" Leonardo's Last Supper by stitching together high-resolution imagery and filling in color pixels. I'm guessing this worked in much the same way as using the "eyedropper" tool in Photoshop? The results. (Note the startlingly vivid, cookie-cutter perfect coloring, the re-emergence of the patterned wall hangings, the pristine tablecloth and Jesus' getting His feet back.)

Discovery News has all of the details here, along with the supremely annoying lazy-journalism habit of referring to Leonardo as "Da Vinci."

I have been thoroughly charmed by the exhibition American Stories: Paintings of Everyday Life, 1765-1915 that's currently on view through January 24, 2010 at The Metropolitan Museum of Art, and will be traveling to the Los Angeles County Museum of Art (February 28-May 23, 2010) for the second half of its existence. It's not just that I am an American, or that there are such iconic paintings on view, or even, I think, that any history lover would find fascinating the ways in which artists dealt with a growing nation full of indigenous peoples, slaves, immigrants, gentry, "common folk," pioneers, an inadequate list of Constitutional Amendments and one horrific Civil War.

No, for me the truly interesting part is getting a sense--yet again--of how adaptive visual artists can be. We start this exhibition looking at painters who were viewed in roughly the same context as a good cobbler or cooper: skilled craftsmen, to be sure, but not all that necessary unless circumstances or fortune demanded otherwise. What happened over the next 150 years is quite extraordinary. Artists became as modern day rock stars: well paid, besieged with work offers, and able to pick and choose their gigs. The hidden story here is that artists shaped public demand and made this happen. I always say it's foolish to underestimate the power of determined artists, and here's your proof. Please, catch this exhibition on either coast if you can. If you can't? Enjoy the image gallery!

Image Credit:

William Merritt Chase (American, 1849-1916)
Ring Toss, 1896
Oil on canvas
40 3/8 x 35 1/8 in. (102.6 x 89.2 cm)
Collection of Marie and Hugh Halff

The family of artists Christo and Jeanne-Claude announced early today that Jeanne-Claude died Wednesday night in New York City after suffering a ruptured brain aneurysm and its medical complications. Jeanne-Claude became more of a "name" in the media during 2005's The Gates installation in Central Park, but she had always worked in tandem with the more famous Christo. Their "wrapping" and large-scale outdoor projects are certainly well known in artistic circles: Wrapped Coast, Little Bay (1969), Running Fence, Sonoma and Marin Counties (1976), Surrounded Islands, Biscayne Bay (1983) and The Umbrellas, Japan-U.S. (1991) are just a few of the projects whose titles bring a nod of recognition.

Jeanne-Claude Denat de Guillebon was born to a French military family in Casablanca on June 13, 1935--supposedly the same day that Christo Vladimirov Javacheff was born in Gabrovo, Bulgaria. The couple met in Paris in 1958, and spent the next 51 years in an artistic, business, matrimonial and parental partnership. It is difficult to contemplate not seeing them together. For those of us wondering what will become of the planned Over the River and Mastaba projects, the artists' website simply and poignantly says this:

"Christo is deeply saddened by the passing of his wife, partner and collaborator and is committed to honor the promise they made to each other many years ago: The art of Christo and Jeanne-Claude will continue."

I've heard gossip, over the years, that Jeanne-Claude could be either the soul of graciousness or the "enforcer" of the duo--a small woman with a short temper and unapologetically, unnaturally Fauve-orange hair who'd crack the whip on installation sites, keep track of finances and grant (or not) media access to Christo. I don't know if the gossipers were accurate in their recollections, but I hope they were and here's why: good for her if she took on those roles. It's quite the rare Venn diagram where an artist not only makes art, but understands money, public relations and how to act like a field marshal while protecting another artist's productive time--especially another artist whose fame is greater. I'm happy thinking that Jeanne-Claude eventually got due recognition for being at least half of the artistic process the world thinks of as "Christo," so will say it again: good for her.

Related Reading:

• Christo Bio
• The Gates, 2005 - A Short Walking Tour
• Christo and Jeanne-Claude - Official Website

Image caption: Artists Jeanne-Claude and husband Christo, recipients of the Peopling of America Award, address the audience during the awards ceremony on Ellis Island April 19, 2005 in New York City. © Stephen Chernin/Getty Images

Lucas Cranach the Elder (German, 1472-1553)
St. Mary Magdalene in a Landscape, 1525
Mixed media on beechwood
47.8 x 30 cm (18 13/16 x 11 13/16 in.)
© Wallraf-Richartz-Museum & Fondation Corboud, Köln

See more Wordless Wednesdays on About