Last Supper by Tintoretto
Tintoretto’s Last Supper reimagines a sacred episode with dramatic light, rich symbolism, and a focus on spiritual duality. This analysis explores the painting’s Mannerist style and hidden theological layers.
Last Supper by Italian Renaissance artist Jacopo Robusti (Tintoretto) created in 1592-1594. Measuring at 144 inches in height and 224 inches in width.
The Last Supper by Italian Renaissance artist Jacopo Robusti, also known as Tintoretto, is a religious work of art that features Jesus and his 12 disciples in a dark yet illuminated dining hall. The Mannerist-style painting was started in 1592 and completed in 1594 as part of an altarpiece in the Basilica di San Giorgio Maggiore. It was placed on the sacred space known as the presbytery, near the high altar on the right wall, which was reserved for clergy during religious services such as the Eucharistic ceremony. Measuring 144 inches tall by 224 inches wide, it is positioned at a slight angle, enhancing the church’s spiritual ambience while simultaneously reinforcing the importance of the Eucharist.
In Jacopo Robusti’s Last Supper, Jesus Christ is seen sharing a meal with his disciples, who are emphasized through glowing elements such as halos. All twelve are seated at the long table, while linear perspective creates a balanced composition, dividing the painting diagonally. The right half of the painting is shrouded in deep darkness, while the left half is illuminated, symbolizing the light that Jesus brings into the space. His figure, enriched with color, stands out in contrast, reinforcing his divine presence as he brightens the room. The peripheral figures–women and servants serving and removing dishes–are touched by the light that illuminates from Jesus and the lamp in a chiaroscuro style, where illumination from both Jesus and the flames shape their forms. Though not among the twelve disciples, they, too, are also affected by the divine light.
Judas is depicted as the man in red, seated on the opposite side of the table from Jesus and the eleven other disciples, illustrating his physical and spiritual separation. His darker, shadowed figure contrasts with the glowing hallows of the faithful, subtly marking him as the betrayer. As the story goes, he would later betray Jesus to the Sanhedrin for thirty pieces of silver, leading to Christ’s arrest, trial and crucifixion. Above the scene, ethereal figures, possibly holy spirits or angels, appear to glide solemnly toward Jesus, further emphasizing the painting’s spiritual depth.
Artistic Principles
This painting exemplifies the Mannerist era, showcasing its signature style to create a composition rich in emotional intensity, dramatic lighting, and the venetian color palette. Tintoretto employs essential Mannerist pictorial devices, notably chiaroscuro, to establish depth and volume, and tenebrism to emphasize the divine presence of Jesus Christ at the center of the composition. The stark contrast between impenetrable darkness and luminous highlights–emerging from the lamp’s flames and glowing aureola of Christ and his disciples–amplifies the theatricality of this scene, replacing the harmony characteristic of the High Renaissance with heightened drama.
Tintoretto creates a more visually complex painting that denies the harmonious interpretation of Leonardo’s The Last Supper through his unique choice of vanishing points, dramatic lighting, and dynamic tension. Leonardo da Vinci’s version is marked by balance, symmetry, and a singular vanishing point converging on Christ. The viewer is subtly drawn toward Jesus through the architectural lines and animated figures surrounding him, who react to his revelation, while he remains calm and composed, reinforcing his divinity. It is a very concise and comprehensible scene that is unlike Tintoretto’s where he disrupts compositional clarity by incorporating two vanishing points: one grounded in linear perspective leading into darkness, and another defined by Christ’s radiant presence. His placement above the table’s converging diagonal lines create depth, guiding the viewer’s eye through light rather than strict perspective.
Disunity, a hallmark of Mannerism, further enhances the painting's dynamism. Additionally, as a student of Titian, Tintoretto sought to marry the Venetian emphasis on color with Florence and Michaelangelo’s mastery of line. This combination is evident in his use of luminous, acidic hues–expensive imported pigments from the east–which contrast against the composition’s darkness. Ultimately, this painting serves as a transitional bridge between the architectural clarity of the Renaissance and the heightened drama and chiaroscuro of the upcoming Baroque period.
Symbolism and Interpretation
Tintoretto’s Last Supper offers a more symbolically rich interpretation of the scene, incorporating elements open to multiple interpretations. One of the most evident symbols is the subtle foreshadowing of Judas’ betrayal. Among the twelve disciples, eleven are depicted with glowing halos, drawing attention to the absence of one. Judas is seated apart from the others and is noticeably devoid of this divine aura. It is a deliberate omission that visually identifies him as the betrayer.
One symbolic element I see in Tintoretto’s painting is the color symbolism on Christ’s clothing. He is depicted wearing a red tunic, possibly alluding to his humanity and the blood he will later shed, covered by a blue cloak that may represent wisdom, the heavens, and his divinity. This color combination was widely used during Renaissance and Baroque periods to emphasize Jesus Christ’s dual nature as both fully human and fully divine. Traditionally, red represents sacrifice, mortality and blood, while blue signifies the divine and eternal.
Another layer of symbolism I found in the painting is the employment of two vanishing points with separate orthogonals. The primary vanishing point is Christ, who serves as the focal point for the viewer. The second, created by the diagonal lines of the table and floor, leads into darkness. This contrast may symbolize two spiritual paths one can take: one leading to Christ and salvation, the other into emptiness, signifying a life devoid of his presence.
Lastly, considering the painting’s Catholic context and its creation during the Counter-Reformation, is the subtle representation of the Holy Trinity. While some Protestant groups still accepted the Trinity, others were implicit or even challenged its interpretation. In this composition, Christ represents the Son, the ghostly or angel figures suggest the Holy Spirit witnessing the scene, and the flame illuminating the room may symbolize God the Father. While my interpretation is very speculative, it aligns with Catholic theological themes prevalent in Counter-Reformation art.
Again Jesus spoke to them, saying,
“I am the light of the world; he who follows me will not walk in darkness, but will have the light of life.”
-John 8:12
Vocab
Mannerism- An art movement that emerged in Florence and Rome during the 1520s as a reaction to the ideals of the High Renaissance. It is characterized by exaggerated poses, elongated figures, and complex compositions, often featuring dramatic lighting, dissonant colors and heightened sense of theatrical tension. Derived from the Italian word maniera, meaning ‘style’ or ‘manner’.
Chiaroscuro- is the general use of light and shadow to create depth and volume, where shadows still retain detail and gradual transitions
Tenebrism- A more extreme approach (compared to Chiaroscuro) with deep, almost impenetrable darkness contrasted by dramatic highlights, often used to emphasize divine or religious elements.
Altarpiece- A work of art typically painted on wood, that adorns the space above the high altar. It may consist of a single panel or multiple sections, including additional paintings, sculptures or decorative elements.
High altar- The main altar of a church that could be richly decorated and serve as the primary place for the celebration of the Eucharist in Christian traditions. May be accompanied with altarpieces.
Eucharist- Also called Holy Communion, is an important sacrament in Catholic and Orthodox tradition that commemorates the Last Supper in which bread and wine are consecrated and consumed.
Linear Perspective- Developed in Renaissance, an artistic and drawing technique where orthogonal lines extend toward the vanishing point on the horizon, creating an illusion of depth and three dimensional space on a two dimensional surface.
Vanishing Point- A point on the horizon line where receding orthogonal lines converge into a singular location
Orthogonal Lines- Imaginary lines that create an illusion of depth in the image and often leads to a central vanishing point where the lines meet
Venetian Color Palette- A Mannerist and Venetian pictural technique characterized by warm, rich, luminous colors, often derived from expensive pigments imported from the east.
Holy Spirit- The One in the Holy trinity who empowers followers of Christ and represents God’s presence, guidance, and divine action in the world.
Renaissance- A European cultural, artistic, and philosophical period that emerged in the 14th century, characterized by a ‘rebirth’ of interest in classical antiquityPeriod emerging from the 14th century that was a cultural, artistic, and philosophical “rebirth”.
Baroque- An Artistic movement, spanning from the 16th century to the mid-18th century, characterized by dramatic use of light, emotional intensity and emphasis on Christianity and the Church.
Sources
Tintoretto, Last Supper by Smarthistory, Youtube
https://www.youtube.com/watch?v=YhsjS5CtCTE
Jacopo Tintoretto’s Last Supper in the Basilica of San Giorgio Maggiore by Save Venice
Tintoretto, Britannica
https://www.britannica.com/biography/Tintoretto
Gardner’s Art Through the Ages 15th edition by Fred S. Kleiner
Pages 657–658, 662–663
Janson's Basic History of Western Art 9th Edition
Pages 361-366