Analyzing Religious Art: The Last Supper and The Trinity
The Lord’s Supper: A Renaissance Masterpiece
The Lord’s Supper is a painting that represents a religious scene. Set within a Renaissance interior, Christ and his disciples celebrate the Last Supper. Christ is positioned on the vertical axis of symmetry, with the disciples arranged on either side in groups of three, depicted in various states of turmoil.
The artist uses light, the direction of the disciples’ heads, the arrangement of the tables, and the organization of the groups to draw attention to Christ. The horizon line is at the height of the disciples’ heads and Christ’s eyes. The light highlights the serene image of Christ and the expressive gestures of the disciples, leaving the rest in shadow. These shadows reinforce the feeling of space by materializing the distance between objects.
Warm tones, especially reds and yellows, dominate the color palette and are concentrated near Christ. Greens are concentrated on the sides. The main theme is inspired by the Gospels of Matthew (XXVI) and Mark (XIV), specifically the moment when Jesus says, “This is my body, this is my blood.” The clear tablecloth, where the bread and wine are displayed, is clearly visible.
This work reflects the Mannerist movement, which began in Italy around 1520 and quickly spread throughout Europe. The main characteristics of this style are:
- Intensification of color and contrasts of light and shadow.
- Interest in volume.
- Representation of the human body with elongated proportions.
- Dynamism and tension.
The artist chose the moment when Jesus blesses the cup of his blood, which relates to the spiritual climate of the Catholic Counter-Reformation.
Masaccio’s Trinity: A Quattrocento Innovation
Masaccio’s Trinity (Quattrocento) depicts the Trinity with the Virgin and St. John under the cross, and donors (a merchant and his wife) kneeling. The Florentines were surprised by this mural, which created the illusion of a new chapel in the modern style of Brunelleschi. They were also impressed by the simplicity and scale of the figures.
Instead of the sensitivity of the International Gothic style, the figures are heavy and bulky. Instead of smooth curves, there are strong angular forms. Instead of small details like flowers and precious stones, there is majestically austere architecture. The figures are less pleasant but more sincere and emotional. The simple gesture of the Virgin pointing to the Son on the cross is very eloquent and impressive because it is the only movement in the solemn scene.
The figures seem like statues, which is enhanced by the perspective of the framework. This creates a sense of tangibility, allowing us to connect with them and their message. The composition represents the Trinity, whose symbol is the triangle, and is rigorously inscribed within a triangle. The Trinity is an idea, a dogma, and there is no disclosure or revelation without dogma.
Importantly, studies of Masaccio’s Trinity have emphasized the illumination and perspective. The architecture is lit from the left, or from the southwest, which is where the light is predominant. The only possible gap that may allow passage of light is the arc through which we see the fresco. The polychrome terracotta is featured in red and blue in the coffers of the dome, uniting colors to create a balance.