29. Last Supper Giotto di Bondone (1266-1337)
Giotto di Bondone – 29. Last Supper
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Painter: Giotto di Bondone
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The painting was painted by the artist between 1304 and 1305. Giotto depicts a special event in Christianity, the Eucharist (Communion), the moment of the establishment of the New Covenant. Because of the threat of the High Priesthood, the meeting was secret. The Last Supper is described in all the sources of the Gospel. With great skill Di Bondone conveyed the atmosphere of the Supper and the space.
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Description of Giotto Di Bondone’s The Last Supper (1304 1305).
The painting was painted by the artist between 1304 and 1305. Giotto depicts a special event in Christianity, the Eucharist (Communion), the moment of the establishment of the New Covenant. Because of the threat of the High Priesthood, the meeting was secret. The Last Supper is described in all the sources of the Gospel. With great skill Di Bondone conveyed the atmosphere of the Supper and the space. The artist has drawn the interior and the canopy in detail and very subtly.
The participants of the Sacrament are having an unhurried conversation while sitting at the table. The apostles are depicted on both sides of the table, which makes the composition compact, and we can see the emotional interconnection of the participants of the brotherly meal. There is no food or communion wine on the table. Rhythmically complex but at the same time quite balanced, the painting is painted in warm colors of yellow-orange and purple. The painting conveys a perfect balance of proportions and subtle color gradation. The subject matter is understated and refined, typical of religious painting, which is one of the hallmarks of Di Bondone’s style.
The image of the Savior is observed on the left, in contrast to other paintings where the artist depicts Christ in the center of the plot. Above the head of Jesus is a halo of golden color.
At the table with Jesus are his disciples. Above their heads are halos of black. Each character in the painting is endowed with individual traits.
Giotto clearly understands human anatomy, which is why each fold is realistically depicted. The shapes are realistically modelled and their volume is created by means of the highlighting of the foreground color. In this way, through the use of light and shade, Giotto conveyed the illusion of a three-dimensional image. Di Bondone uses brown shading around the eyes for a more vivid expression.
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The figures display a range of emotional responses, from apparent calm to evident agitation or concern. Gestures are significant; some individuals reach out towards the central figure, while others recoil or engage in animated discussion amongst themselves. The arrangement seems carefully orchestrated, with an attempt at balance and order despite the visible tension among those present.
The artist’s use of light is noteworthy. It illuminates the faces and upper bodies of the figures, drawing attention to their expressions and creating a sense of intimacy within the enclosed space. Shadows are subtly employed to define form and add depth to the scene. The color palette is restrained, dominated by earth tones with touches of brighter hues in the clothing details, which serve to differentiate individuals without disrupting the overall harmony.
Subtly embedded within this depiction is an exploration of human reaction to a pivotal moment. The varied expressions suggest a spectrum of understanding and acceptance, hinting at internal conflicts and differing interpretations of events unfolding. The symmetry of the arrangement contrasts with the emotional turmoil displayed by the figures, creating a visual paradox that invites contemplation on themes of faith, betrayal, and impending change. The enclosed setting reinforces the sense of confinement and inevitability surrounding the event.