The Last Supper, after Leonardo 1816

Editor: This is Francesco Putinati's "The Last Supper, after Leonardo," a plaster relief box from the early 19th century. It’s so small and tactile. What strikes me is how it transforms Leonardo’s iconic painting into something almost mass-produced. What can you tell me about it? Curator: The very act of replication through plaster challenges the uniqueness we ascribe to "high art." Consider the labor involved in creating molds versus painting. Was Putinati aiming for devotional accessibility, or profiting from Leonardo’s brand? Who was consuming these miniature replicas, and how did that impact their relationship with the original? Editor: That's fascinating! I hadn't thought about the market for these copies and the implications of their materiality. Curator: Precisely! It forces us to rethink the social life of images and the economic context of art production. Editor: I see now how the medium changes the message, literally turning a fresco into a commodity. Curator: Exactly. And that shift in medium reflects a larger shift in the relationship between art, labor, and consumption.