The Holy Supper by Ambrosius Francken
Santo Domingo Church, La Palma, Late 16th Century
This oil on canvas painting depicts the Holy Supper in a Renaissance-style room, attributed to Ambrosius Francken. The central figure, Jesus, stands vertically, surrounded by apostles divided into two groups. These groups are depicted in dynamic poses, engaging in conversation about Jesus’s words. Bread and wine rest upon the tablecloth.
Light emanates from the right, illuminating Christ’s serene image and contrasting with the bustling gestures of the disciples, who are partially obscured in shadow. This interplay of light and shadow reinforces the sense of space and emphasizes the emotional weight of the narrative. The colors transform under the impact of the light, capturing the precise moment of Jesus’s declaration, “This is my body and my blood.”
Judas, dressed distinctively, sits with his back turned, concealing the hand holding the money. This reflects the moment before Jesus reveals the betrayal. The Mannerist style is evident in the figures’ difficult postures and movements, the high-contrast colors, and the overall theatricality. Mannerism, originating in Italy around 1520 and spreading rapidly across Europe, is characterized by its dynamic representation of the human body, fluid spatial conception, and intensified use of color and light-dark contrasts.
Influences and Context
Francken’s work is clearly influenced by Leonardo da Vinci’s Last Supper, although with alterations in the disciples’ placement and perspective. The architectural lines, idealized beauty, and smooth rendering reflect the influence of Italian art. The depiction of Judas is reminiscent of Dürer’s work.
The painting’s arrival in the Canary Islands reflects the historical context of European expansionism and the discovery of America in the 15th century. The islands served as a bridge between continents. From the early 16th century, ships from Antwerp, a major distribution center for sugar, arrived in the Canaries, fostering trade and artistic exchange between the Netherlands and the islands. This intensified when Flanders joined the Spanish Empire under Charles I. Flemish artwork, including this painting, was acquired by churches and the bourgeois class.
The painting’s focus on the Eucharist relates to the Counter-Reformation’s spiritual climate. The apostles’ discussion hints at the identification of the traitor. The work, likely commissioned by Benito de Estupiñán, was displayed prominently in the family’s home, reflecting its high value.
About the Artist
Ambrosius Francken (1544-1618) came from a family of painters and trained with Frans Floris. His Italian Renaissance-influenced style is evident in this painting’s theatricality. His other works include a triptych in the Antwerp Museum.