The Last Supper Nikolay Ge (1831-1894)
Nikolay Ge – The Last Supper
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Painter: Nikolay Ge
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Today, Ge’s painting The Last Supper is considered a mighty work, reflecting the artist’s specific perception of the biblical myth. In a small room with high ceilings and stone walls, in a house in the city of Jerusalem, there is an ordinary couch on which Jesus is leaning with his head bowed. The young John is at his feet, with the other apostles standing with their shoulders behind him. The gray-haired Peter is at the head of the table.
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Description of the painting "The Last Supper" by Nikolai Ge
Today, Ge’s painting The Last Supper is considered a mighty work, reflecting the artist’s specific perception of the biblical myth. In a small room with high ceilings and stone walls, in a house in the city of Jerusalem, there is an ordinary couch on which Jesus is leaning with his head bowed. The young John is at his feet, with the other apostles standing with their shoulders behind him. The gray-haired Peter is at the head of the table. Behind him you can see several other fuzzy dark figures.
To the right, by the wall, there is a very powerful lamp, very brightly illuminating the entire figure of Peter (most of all his face), the white tablecloth on the table, the tilted head of Christ and the anxious and distraught eyes of the apostles. We cannot see the lampstand itself: it is obscured by the dark silhouette of Judas (a tall man with a beard). He is facing us, and the figure casts a shadow over us. There is a biblical symbolism in this: by moral and righteous, sincere and moderate light, by the radiance of kindness and wisdom the table is illuminated - an artistic personification of the communion of spiritual food for the apostles. This light illuminates Christ, the confused gazes of the apostles, directed at Judas, it hits and Peter, guarding the gates of paradise. They are all outraged and confused by Judas’ act, which has obscured their light of reason. Only Jesus is calm and sad. He was saddened, above all, that the shadow of insatiable greed could so easily overtake us. In the painting, Judas is the artistic embodiment of the figurative inhumanity that obscures all that is bright and beautiful in the human soul.
On his canvas, Nicholas Ge managed to reveal Leonardo’s idea of man’s immense greed and selfishness. He believed that if man is not limited by the law, he would many times surpass the cruelty, insatiability and barbarity of any animal.
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The artist has employed a dramatic use of light and shadow. A single window provides the primary source of illumination, casting deep shadows across much of the room and highlighting specific figures. This contrast intensifies the emotional weight of the moment, drawing attention to the central figure’s face and the reactions of those closest to him. The darkness enveloping the periphery contributes to a sense of foreboding and isolation.
The composition is structured around triangular forms, with the central figure acting as the apex. This arrangement lends stability to the scene while simultaneously directing the viewers gaze towards the focal point. Gestures are significant; one man reaches out toward the reclining figure, his hand extended in a gesture of concern or perhaps supplication. Another leans forward, his face etched with anxiety. These physical interactions underscore the emotional turmoil present within the group.
Subtleties in detail suggest an impending crisis. The presence of numerous vessels on the table could symbolize abundance and celebration, but their arrangement also hints at disruption and potential waste. The clothing worn by the figures – simple robes and tunics – indicates a humble setting, yet the quality of the fabrics suggests a degree of prosperity.
The overall effect is one of profound emotional intensity. It conveys a sense of impending doom or betrayal, hinting at a pivotal moment with far-reaching consequences for those involved. The artist has skillfully used light, composition, and gesture to create an atmosphere of suspense and psychological depth.