This gallery includes 13th to 18th century paintings of the Last Supper and explores the artists depiction of Judas Iscariot (The Betrayer) and Saint John (The Beloved) during the final meal that Jesus ate with the disciples before his crucifixion.
The worked titled "Saint Super" is a Romanesque mural painting from the 13th century. The subjects are proportioned along one side of the table, only leaving only Judas Iscariot on the opposing side.
This 15th century painting of the Last Supper is tempera, stucco relief, and gold leaf on wood. The subjects surround the table are the focus. Very little attention is given to dimension. John left, is resting on Jesus. Judas the betrayer is made know through not having a gold leave crown as other. This is symbolic of Judas’s betrayal of Jesus and the loss of his heavenly crown due to his betrayal.
This balanced painting of the Last Super is done in tempera colors, gold paint and leaf. The work is scaled appropriately, although the artist does not provide much depth. On the other hand, the colors are seemingly vivid. The subject known as John the Beloved is resting comfortably to the left of Jesus with his head on the table.
This work entitled The Last Supper is dated to the late 15th century and is tempera colors. The artist does capture the traditional mood of the room with John he Beloved with his head in front of Jesus an Judas the betrayer looking away from those he is there to dine with. On the other hand, the focus is on the persons/subjects and not a collaboration between space and subject. This is true of the era prior to the high renaissance.
This This oil on canvas titled The Last Supper dates back to the late 16th century. The subject are symbolic of the betrayal to come. The artist captures a response to Jesus after he informs them that one will betray him. The subjects, with the exception Jesus and Judas are responding amongst themselves in disbelief. Jesus is looking onward, and Judas is looking away from Jesus
This oil on canvas titled the Supper at Emmaus is from the high renaissance period, which is reflective of symmetry between the room and subjects. The scene depicted a time after Christ's death and resurrection. He is present for a meal. The work is symbolic of Christ blessing the bread as he did at the last supper. It was then that the subject’s eyes were open as to Christ's identity.
This oil on canvas titled The Blessing Table captures an array of blended colors. The painting is estimated to have been completed in the late 18th century. The subjects are the holy family receiving a blessing from Jesus. At the same time they are engage in giving thanks for a meal that is symbolic of the Last Supper, post the death and resurrection of Jesus. While the painting is rich in color, it is lacking in depth and symmetry.
This painting entitled Icon onGlass glass is dated to the early 19th century. The artist is unknown. However, without knowing who the artist is, there are still elements and design principles that are adhered to. For example, the subjects are fairly one dimensional, but evenly spaced. Both John and Judas are symbolic of the bible text in relation to where they are in the painting.
This oil on canvas entitled The Last Supper is representative of early 18th century artistry. There is a notable proportion of the paintings subjects against the backdrop of the room. Among the subjects Judas (Betrayer) sits in the forefront with his head looking up and away from all those around him.
This oil on canvases entitled the Last Supper was completed in the 18th century in preparation for a larger submission. In this picture, the subjects of Judas and John are evident. Again we see John the Beloved laying on the table in front of Jesus and Judas sitting on the opposing side clutching a money pouch. Also, the picture displays depth and space through the backdrop of the room’s archways and columns.
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