La ultima cena de tintoretto

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La ultima cena de tintoretto

The Last Supper is a painting by the Italian Renaissance artist Jacopo Tintoretto. An oil painting on canvas executed in 1592–1594, it is housed in the Basilica di San Giorgio Maggiore in Venice, Italy.
Tintoretto depicted the Last Supper several times during his artistic career. His earlier paintings for the Chiesa di San Marcuola (1547) and for the Chiesa di San Felice (1559) depict the scene from a frontal perspective, with the figures seated at a table placed parallel to the picture plane. This follows a convention observed in most paintings of the Last Supper, of which Leonardo da Vinci’s late 1490s mural painting in Milan, Italy, is probably the best-known example.
Tintoretto’s 1592–1594 painting, a work of his final years, departs drastically from this compositional formula. The centre of the scene is occupied not by the apostles but instead by secondary characters, such as a woman carrying a dish and the servants taking the dishes from the table. The table at which the apostles sit recedes into space on a steep diagonal. Furthermore, Tintoretto’s painting features a more personal use of light, which appears to come into obscurity from both the light on the ceiling and from Jesus’ aureola. A host of angels hover above the scene.

tintoretto last supper judas

Al ser una obra manierista, se ha perdido la frontalidad y simetría de otras representaciones, como la de Domenico Ghirlandaio en la Iglesia de Ognissanti de Florencia (1480) o la de  Leonardo da Vinci en Santa Maria delle Grazie de Milán (1495 – 1498), y los personajes se representan en diferentes posturas, amaneradas y exagerades, como entretenidos hablando o fijándose en la multitud de personajes sobrenaturales o humanos que pueblan la estancia, que parece copiada de una taberna veneciana típica de la época de Tintoretto.

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The Last Supper is a painting by the Italian Renaissance artist Jacopo Tintoretto. An oil painting on canvas executed in 1592–94, it is housed in the Basilica di San Giorgio Maggiore in Venice, northern Italy.
Tintoretto depicted the Last Supper several times during his artistic career. His earlier paintings for the Chiesa di San Marcuola (1547) and for the Chiesa di San Felice (1559) depict the scene from a frontal perspective, with the figures seated at a table placed parallel to the picture plane. This follows a convention observed in most paintings of the Last Supper, of which Leonardo da Vinci’s late 1490s mural painting in Milan, Italy, is perhaps the best-known example.
Tintoretto’s painting of 1592–94, a work of his final years, departs drastically from this compositional formula. The centre of the scene is occupied not by the apostles but instead by secondary characters, such as a woman carrying a dish and the servants taking the dishes from the table. The table at which the apostles sit recedes into space on a steep diagonal. Also personal is Tintoretto’s use of light, which appears to come into obscurity from both the light on the ceiling and from Jesus’ aureola. A host of angels hover above the scene.

el milagro de san marcos tintoretto

Ya el propio tema tiene su significado, el de la creación de la comunión. Un tema contrarreformista por excelencia, como ya vimos aquí, en donde la instauración del sacramento se produce en un ambiente de milagro, más celestial que terrenal.
Sobre este esquema, los personajes se alejan en una acelerada perspectiva (como ya vimos en sus obras para San Marcos) que, una vez llegados hasta el punto de fuga, nos devuelve imperiosamente hacia el primer plano de la izquierda en donde la realidad (en forma de escena cotidiana) nos es devuelta.
Técnicamente resultan asombrosos, recreados por un fino filo de luz que rodea la grisalla de sus cuerpos, utilizando las investigaciones iniciadas en los paisajes nocturnos que realizara en la Scuola de san Rocco.

La ultima cena de tintoretto 2021

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