Jacopo Tintoretto's The Last Supper, painted in 1592-94 is housed in the majestic church of San Giorgio Maggiore on the San Giorgio Island is Venice. This magnificent basilica contains a number of Tintoretto's canvases which the artist offloaded onto certain apprentices in his workshop. However, three paintings, The Jews in the Desert, The Last Supper and The Entombment - were painted by Tintoretto himself. The Last Supper was a subject the artist returned to several times in his life, toying with the angles of perspective that would illuminate different aspects of the scene. This particular imagined reproduction of the Biblical scene is a total departure from Leonardo Da Vinci's canonical painting of the same name.
Da Vinci's original Last Supper was constructed according to the laws of central perspective, an innovation that highlighted the ingenuity of Renaissance thinkers. Constructed along a symmetrical plane, the primary figure of Jesus lies in the centre, isolated from the surrounding disciples and introducing the Eucharist as he draws attention to the bread and the wine laid out upon the table. Around him, his disciples appear to be gravitationally related to his being, even while they conduct their own conversations or interactions. The reproduction of their movements signal that they are moving into a position to listen to Jesus, yet they are caught between their various, occasionally conflicting, yearnings for their Christ.
Tintoretto takes a different angle, however, suffusing the scene with a supernatural energy personified by the angelic figures. The idiosyncratic positioning of the table can be understood by the work's site-specific context. Intended to complement the high altar of the San Giorgio Maggiore, The Last Supper was to be seen as an extension of the interior of the church itself, as if the churchgoers themselves were seated at the opposite end to their saviour.
Important Notes About Your Painting:
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