The Last Supper by Jacopo Tinteretto
Jacopo Tintoretto (1518-1594) was considered to be the greatest Mannerist painter in Venice (University of Chicago, 1969). Often viewed poorly by contemporaries of the time; Tintoretto was expelled from the Titian school after just 10 days. His painting "The Last Supper" along with other works was never fully accepted by the prominent families of Venetian life. (Turner, 1996). He painted his versions of "The Last Supper" at least eight times, beginning in 1547 (Turner, 1996). Like other Renaissance painters of the time, his work was primarily of religious content; however, his hasty brushstroke technique called prestezza was not viewed well by many Venetian contemporaries (Turner, 1996). In the versions of "The Last Supper" that would appear in the Scuola de Sacramento, Tintoretto placed the protagonist or main action where it would be easiest for the congregation to view it; even if this had the main action occurring on the corner of the canvas. He would always take into account the place where the painting would be hanging. Another common practice of Tintoretto's was his "fondness of using a dark priming on his canvas without preliminary heightening with white". This style was criticized by Goethe, (University of Chicago, 19
Another contemporary of Tinteretto's, was a Spanish painter, sculptor, and architect who is regarded as the first great genius of the Spanish School (Nicolas Pioch, 1996). He was known as El Greco (the Greek); but his real name was Domenikos Theotocopoulos (1541-1614). Pioch, Nicholas (1996). Web Museum, Paris. Greco, El. Retrieved September 10, 2000 from the World Wide Web: http://www.ibiblio.org/wm/paint/auth/greco/ This primer background appears in all of "The Last Supper" versions; however, the layout of the painting changes slightly until the final work in 1592. Here the focal point changed from the Betrayal to the Institution of the Eucharist. The table acts as an alter and the apostles as the congregation to form a "church". (Turner, 1996) The 1566 version has Jesus proclaiming that one of his own people would betray him. Differing, the 1592 revision shows him holding the Eucharist in the first usage of his body symbolized by bread. Jesus is not even the center attention of the painting and there is much action by poor townspeople on the side. Not only are the apostles not individualized but also the regular people are present, showing Tintoretto's belief that under God man is the same regardless of social position (Turner, 1996). In contrast, Titians "Madonna with Members of the Pesaro Fa
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Approximate Pages = 4 (250 words per page double spaced)
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