1538 Oil on canvas, 235 x 250 cm Sacristy, Parish Church, Cittadella Although undated, the painting is likely to go back to about 1538, a particularly felicitous period in Jacopo Bassano's art. Lorenzetti (1911) places it in the early part of the artist's stay in Bonifacio da Pitati's workshop and pointed out the obvious links with the latter's painting on the same theme, now to be seen in the Brera. There is a certain contrast between the solemn, hieratic figure of Christ and the rough and realistic close-up of the innkeeper on the one hand, and on the other, the little scene of the crouching dog being teased by the cat from a distance. The postures of the two disciples, the laboured perspective of the table, and some genre episodes were to recur in his later "Supper" version, now in the Borghese Gallery, Rome. The still-life in the centre of the work standing but against the linen tablecloth is a marvel of pictorial observation. A virtually lone harbinger of the main marks and elements of forthcoming Venetian painting (Tintoretto), Jacopo Bassano here sweeps the scene clear. In any case, light is the master here; it picks out the details and throws them into sharp outline. Artist: BASSANO, Jacopo Painting Title: Supper at Emmaus , 1551-1600 Painting Style: Italian , , religious
Painting ID:: 63018
Caravaggio 1606
Type Oil on canvas
Dimensions 141 cm x 175 cm (56 in x 69 in)
cyf Supper at Emmaus Italian Baroque Era Painter, ca.1571-1610
Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.
