Tintoretto, Last Supper

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Tintoretto, Last Supper발음듣기

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We're in S G M across the Grand Canal from S M in Venice.발음듣기

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And we're looking at Tintoretto's 'Last Supper.'발음듣기

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It's located in the sanctuary of the church - on the right wall And it's huge.발음듣기

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This is such an untraditional version of this subject - very mannerist.발음듣기

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We're so used to looking at Leonardo da Vinci's Last Supper in Milan.발음듣기

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That's a painting where the table is drawn across horizontally - which is such a high Renaissance example of the use of linear perspective - with Christ as the vanishing point - at the very center of the painting - at the very center of the table. And here, everything is askew.발음듣기

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And Leonardo uses natural light - without halos.발음듣기

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Christ is framed by a window.발음듣기

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But here, the figure of Christ actually glows from within - in a return to spiritual symbolism.발음듣기

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And the spiritual permeates the entire space of this painting in a very evident way.발음듣기

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Light is central to understanding this painting.발음듣기

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There are really only two light sources here in this very dark painting Closer to us, on the upper left, you have a lantern, which just dances with light and flame and smoke.발음듣기

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And then there's the divine emanation.발음듣기

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And from that lamp, in the upper left, angels are illuminated.발음듣기

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And we see them floating all over the ceiling.발음듣기

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It's not that high Renaissance way of indicating the spiritual through the natural - through reality.발음듣기

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Here, Tintoretto is not afraid to paint angels.발음듣기

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There is a kind of divine revelation.발음듣기

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The light that emanates from Christ's halo seems quite strong.발음듣기

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If you look at the woman who kneels in the foreground - slightly to the right - you'll see that, in Christ's light, her head casts a deep shadow that [creates] a diagonal that points us towards Christ.발음듣기

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And then the apostles around the table also have halos of light - although smaller than the light from Christ.발음듣기

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But this painting is all about energy. It's all about drama.발음듣기

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Look at the way the primary diagonal of the table moves us back with incredible speed back to a vanishing point in the upper right corner of the painting.발음듣기

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And actually, I'm not even sure that it's a correct use of linear perspective.발음듣기

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That table tilts forward - So that he's playing fast and loose with those very ideas that were so critical to the high Renaissance - like linearperspective.발음듣기

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Pictorial spaces seem literally up ended.발음듣기

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The space rises so steeply, and so dramatically, and so quickly.발음듣기

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And form itself seems to have dissolved under the power of his line and color.발음듣기

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Tintoretto said that his goal was to unite the two different traditions of the Florentine Renaissance and the Venetian Renaissance - the line of the Tuscan tradition of Michelangelo and the color of Titian.발음듣기

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He had a sign written on his studio wall that said exactly that.발음듣기

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When I look at this painting I feel pulled in different directions.발음듣기

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I feel pulled by the velocity of the orthogonals of the table.발음듣기

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And then I feel pulled by the light around Christ.발음듣기

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And then I also feel pulled to anecdotal details that are around the periphery.발음듣기

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The figure serving food on the right, for example. or in the foreground.발음듣기

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Or the apostles reacting and talking to each other, after Christ's words, "Take this bread, for this is my body," and, "Take this wine, for this is my blood" and Christ has stood up [and] turned.발음듣기

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[And] seems to be offering the bread.발음듣기

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And so we have the literal enactment of the Eucharist. It's much more active.발음듣기

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I want to go back to that idea of the anecdotal. Yes, the woman's serving food.발음듣기

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But notice that she's reaching into a basket.발음듣기

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And a cat happens to be looking in that basket, as well.발음듣기

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There is this very solemn event that's taking place.발음듣기

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And yet, at the same time, it's surrounded by elements that are simply not important.발음듣기

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And make this a human event. That's right.발음듣기

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Make it, in a way, more real than the pared down, harmonious, balanced image that Leonardo gives us of the Last Supper.발음듣기

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And that's what I find so incongruous about this dark painting.발음듣기

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And all of its solemnity - yes - but all of its energy within this very staid environment of the church by P - S G M.발음듣기

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We are in a pristine, white building.발음듣기

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And yet this painting is so dark and so mysterious.발음듣기

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And yet Paladio has made everything evident of us. with its classicism, its order, its precision, its logic, its rationality.발음듣기

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And then, in this Tintoretto, we enter into the realm of the spiritural - the supernatural.발음듣기

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This is not the realm of the rational at all.발음듣기

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We move from the high Renaissance classicism of Paladio into the mannerism of a Tintoretto.발음듣기

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