Leonardo Da Vinci's treatment of the last supper is a perfect example of Renaissance Humanist artwork, and it shows the restraint and the realism that artists favored. It depicts the disciples in relatively sedate positions, surrounding Christ at the center of the table. Da Vinci's painting focuses on Christ, and it uses a mute palate that emphasizes the humanity of Christ and the disciples rather than the drama of the scene. Da Vinci has the disciples interacting (a first for artists painting the scene) but they are all seated and they are painted without exaggerated figures or expressions.
Tintoretto and the Power of Light and Movement
In stark contrast, Tintoretto chose to paint the last supper as a dynamic event with animated disciples, angels pressing down from heaven, and a room full of spectators struck by awe. Tintoretto uses bright colors and he paints Christ as a source of light that illuminates the rest of the canvas from the center. Tintoretto abandons the more pastoral view of the last supper that Da Vinci portrays in favor for an imaginative and action filled scene. Tintoretto also puts the apostles in clothes that reflect their humble origins, and he sets the last supper inside a more run down, “earthy” atmosphere. Tintoretto paints from a more interpretive view of the Last Supper. He puts the servants in the foreground and pushes the table with the disciples and Christ to the left hand side of the canvas. His inclusion of angels and movement suggests a hectic and awesome event, and his painting of Christ as being illuminated from within suggests a more spiritual dynamic to the painting rather than Da Vinci's nearly historical approach.
Similarities
Both paintings are similar in that they fit all twelve apostles into the scene, although Tintoretto chooses not to hide the disciples behind a table and scatters them on the canvas. Both paintings also separate Judas from the rest of the disciples. Da Vinci uses distance and angles to show that Judas is not part of the main body of disciples, while Tintoretto places him in the darkness, out of the illumination of Christ.
Renaissance Humanism
Da Vinci represents the pinnacle of the Renaissance Humanist school. Along with Michelangelo and Raphael, Da Vinci used a careful study of human anatomy and of color to portray scenes in realistic ways. Humanist artwork was among the first to use perspective to create depth in paintings, and a systematic development of the techniques of light, shadow, and color, all contributed towards Humanist artists desire to paint realistic depictions of people and events.
Venetian Renaissance School
Tintoretto was a member of the Venetian Renaissance school, separate from the Italian High Renaissance. Venetians foreshadowed impressionism with their use of light and color to create more vivid and energetic paintings.
Mannerism
Mannerism emerged as a response to the idealized beauty of High Renaissance paintings, and Mannerists used a much more creative approach to painting. Mannerists intentionally chose unrealistic or non traditional perspectives, exaggerated emotions and actions, and used color and light to emphasize confusion and disharmony within their paintings. While Tintoretto was not a Mannerist, his Last Supper certainly shows the influence of Mannerist artwork. The 1500s also saw Humanism influence art in other ways, including the gradual secularization of artwork as Northern Italy (removed from Rome) began to turn away from the Church.
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