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Iconography: Expressing Our Faith

A Comparison of Artist Portrayals of the Last Supper

The Last Supper – Leonardo Da Vinci

Leonardo da Vinci painted The Last Supper c. 1495 – 1497. This was the Early Renaissance period. His painting (1) was done with a newly discovered technique during that period: linear perspective.

Leonardo demonstrated the possibilities of depth and space in his portrayal of this event by this linear perspective technique. Each area of his painting is divided regularly. The ceiling blocks, the windows, and the pillars spaces are carefully spaced to show perspective depth. The lines of linear perspective are straight, horizontal lines. There is a short supply of diagonal lines in the chairs and small curves at the front of the table.

The Last Supper – Jacopo Tintoretto


Tintoretto also painted a portrayal of The Last Supper around 1592-1594, during the Late High Renaissance period. His painting (1) was done with techniques of the Counter Reformation, which used dramatic lighting and angles. Tintoretto demonstrated techniques learned from Titian in the previous generation of painters.

The painting angles in to draw my eye into it. It is detailed and incorporates more followers and servants, including angels. The floor tiles are divided regularly, similar to Leonardo’s painting. But there are
scarcely found horizontal lines: even implied. It is predominantly filled with diagonals. The moment captured in Leonardo’s painting appears to be when Jesus announces one of the disciples will betray him; who is at the table with him. This moment has not yet occurred in Tintoretto’s version.

In Leonardo’s painting, the disciples reply with a protest, some as if to disclaim their guilt, and others, with arms wide open, indicating clean hands in the matter. In Tintoretto’s rendering, the disciples appear more conversational with each other and very separate from the table. He even displays the servants responsible for placing the bread and
wine. Each disciple has a halo except Judas, who is also on the other side of the table. The disciple behind Jesus is not talking with Judas.

In Leonardo’s painting, Jesus appears saddened by what he knows, but is not concerned about the remarks of the disciples. He focuses on the meal. My eye is attracted to Christ because he is centrally located in the painting. He is also set alone and without physical contact to the other disciples. Yet, the disciples are in contact with each other on each side of Jesus.

In Tintoretto’s painting, Jesus is showing the bread and is in movement. Some of the other disciples seem to be communicating his message to those on the distant ends of the table. Tintoretto’s version appears less sanctimonious and more spirit-filled because of the indication of the spiritual presence. The linear perspective piece of Leonardo reminds me of the Kouros and the change into the detail of the Warrior A type of art and expression.