Tintoretto Last Supper - Colin McHugh

Tintoretto's Last Supper eschews these conventions entirely in favor of a complex, dyanmic composition which is almost unrecognizable from previous Last Supper compositions. Rather than sit perpendicular to the viewers line of vision, the table recedes into the background diagonally, and is primarily on the left half of the composition. Interestingly, all of the figures are seated at one side of the table, in line with more traditional depictions of the Last Supper such as Leonardo's. While keeping this element intact while adding a number of secondary unnamed characters, Tintoretto allows us to view an iconic and recognizable scene from an entirely new perspective, both lterally and figuratively.

Leonardo. The Last Supper. 1495–1498, Santa Maria delle Grazie, Milan, Italy.

Giotto. The Last Supper. 1304-1306, Scrovegni Chapel, Padua, Italy.

The composition of Tintoretto's Last Supper is unique and stands alone as compared to other works depicting the same subject. It is customary for depictions of the Last Supper in Christian art to feature a frontal view of Christ and the apostles dining, often accompanied by linear, one-point perspective. The most notable of these examples is of course Leonardo's famous mural, but one can also look to Last Supper paintings by artists such as Giotto, Domenico Ghirlandaio, Juan de Juanes and others to get a sense of the style of composition most often used when depicting this subject.

Perspective, Composition

Holy Spirit

In Christian art, the Holy Spirit is often depicted rather abstractly. In some cases, it is presented as a dove, and here it is shown as a bright, illuminating light hanging above the scene, though the twin flames resemble dove wings. A divine prescence overlooking the scene emphasizes its importance and holiness. It is also of note that the Holy Spirit serves as the main light source in the scene, and is the only prominent light source visible apart from Christ's halo. The ghostly jumble of angels emerging from the ceiling is most concentrated around the perimenter of the Holy Spirit.

Despite the unique composition he uses, Tintoretto still makes Christ the central subject of the painting. Although the table is diagonal and placed off to the side, Tintoretto strategically places Christ so that he is in almost the exact center of the painting. Aiding further to this is the prominence of Christ's halo. While the apostles have illuminated halos, Jesus has one which is significantly larger in radius and brighter than everyone else's, with rays extending far beyond the edges of the circle itself. Additionally, Christ's halo serves as a genuine light source, illuminating his clothing.

Christ's Halo and Positioning

An element which is incredibly unique to Tintoretto's Last Supper is the amount of secondary characters not seated with Christ and the apostles he includes. There are a number of figures on the right half of the composition, none of whom directly interact with Jesus or the apostles. Interesingtly, three of these figures are in the foreground. These individuals seem to be shopkeepers or employees of some sort at the inn Christ dines in, implied by them washing dishes and carrying plates of food. With no prior knowledge of what this scene depicts, one might confuse these figures for central subjects of the painting. It should also be noted that these character's poses and movements are very defined, and they seem to be in motion. By including these bystanders, Tintoretto gives the scene a down-to-earth quality, and allows the viewer to imagine themselves within the scene.

Additional Characters

Interestingly, Tintoretto's Last Supper is rather unremarkable in terms of its setting. Christ and the apostles dine in what seems to be a dimly lit inn or bar, with other patrons going about their nights. Compare this to the architecture in Leonardo's depiction of the Last Supper, with bright natural lighting, and mathematical architecture with perfect proportions which harkens back to antiquity. In comparison, Tintoretto's setting was likely crafted to be more recognizable to a contemporary viewer. In line with attempting to create a more down to earth, naturalistic scene, the artist places Christ and the apostles in a setting which is communal and true to life.

Setting

Venetian artist Jacobo Tintoretto's Last Supper stands alone when compared to other depictions of the biblical scene. Tintoretto makes bold decisions in perspective, composition, setting, mannerisms, posing, and the inclusion of tertiary characters to allow viewers to see Christ's last supper in an entirely new way. Through these deliberate elements, Tintoretto paints a naturalistic version of the scene, making the characters and story feel like true people. At the same time, the scene retains its holy, divine nature. Inclusions such as the angels emerging from the ceiling, the bright rays of light emitting from the lamp which represents the holy spirit, as well as Christ's halo allow the scene to feel divine in spite of its many naturalistic qualities.

1592-94

Tintoretto's Last Supper