apostles are gathered around the table heads bowed so that none may be identified. It is reputed to be one of the most viewed paintings in the collection of the National Gallery of Art in Washington, D.C. Mary Beth Edelson's Some Living American Women Artists / Last Supper (1972) appropriated The Last Supper, with the heads of notable women artists collaged over the heads of Christ and his apostles. The artists collaged over the heads of Christ and his apostles in Some Living American Women Artists / Last Supper include Lynda Benglis, Louise Bourgeois, Elaine de Kooning, Helen Frankenthaler, Nancy Graves, Lila Katzen, Lee Krasner, Georgia O'Keeffe, Louise Nevelson, Yoko Ono, M. C. Richards, Alma Thomas, and June Wayne. As well, other women artists have their image shown in the border of the piece; in all eighty-two women artists are part of the whole image. This image, addressing the role of religious and art historical iconography in the subordination of women, became "one of the most iconic images of the feminist art movement." Sculptor Marisol Escobar rendered The Last Supper as a life-sized, three-dimensional, sculptural assemblage using painted and drawn wood, plywood, brownstone, plaster, and aluminum. This work, Self-Portrait Looking at The Last Supper, (1982–84) is in New York's Metropolitan Museum of Art. In 1986, Andy Warhol was commissioned to produce a series of paintings based on The Last Supper that were exhibited initially in Milan. This was his last series of paintings before his death. Literature In her 1834 ekphrasic poem, , Lydia Sigourney focuses on Christ's betrayer, repeatedly asks "Is it I?" and closes with the prayer that our feet be so guided: Author Mary Shelley describes her impression of the painting in her travel narrative, Rambles in Germany and Italy, published 1844: Film and television The painting is closely resembled in the film Quo Vadis, where Peter preaches in front of a large Christian crowd. As he tells the story of the Last Supper, the film shifts into a brief scene where the background, clothing, and positions of Jesus and the 12 Disciples is alike to the painting itself. In Luis Buñuel's 1961 Spanish film Viridiana, a tableau vivant of Leonardo's painting is staged with beggars. Another beggar "photographs" the scene by flashing them. This scene contributed to its refusal by the Vatican who called it "blasphemous". The painting is parodied in the motion picture of M*A*S*H