A Few Final Paintings

On Friday, I had the opportunity to visit several famous and revolutionary pieces of art outside of class. I visited Bellini’s painting of the Madonna and child in the Renaissance church San Zaccaria. I later made my way to San Giorgio Maggiore to see one of Tintoretto’s most famous depictions of the Last Supper. Bellini’s painting, completed in 1505, is an example of the skill developed in perspective and Tintoretto’s painting, completed between 1592 and 1594, is an example of the experimentation that came after the mastering of linear perspective.

            Having passed by San Zaccaria daily, I was finally able to enter the church during one of the few open hours that morning. I found that I was glad my visit had been postponed; I was able to appreciate Bellini’s piece so much more than if I had seen it earlier in the week. Bellini’s mastery of perspective as well as chiaroscuro served to create a painting with a powerful impact. The effect was similar to Panofsky’s description of Giotto’s and Duccio’s paintings: “When entering the world of Duccio and Giotto we feel as if we were stepping off a boat and setting foot on firm land. The architectural setting… gives an impression of coherence and stability unmatched in all earlier painting” (Panofsky, 136). Bellini’s much later work creates a hyper realistic depth. If noticed from afar or on the periphery, the altarpiece actually seems to be a recessed room or apse in the church. Viewed straight on, the painting has a nearly hypnotic affect, drawing the viewer into the scene and holding him or her there. The coordination of the painted pillars with the pillars on either side of the canvas serves to enhance the feeling that the painting is an extension of the building, rather than a two dimensional surface.

            Nearly a century later, Tintoretto painted his seventh and final depiction of the last supper. The painting resides in the sanctuary of Palladio’s San Giorgio Maggiore. Although building off of the developments made earlier in the Renaissance time period, Tintoretto plays with various aspects of the painting, making it a daring and dramatic scene. For this reason perhaps, the painting stands out among the numerous Renaissance paintings of the last supper. For me, it is one of the paintings that I will most remember from my time in Venice. Some of the strength of that memory may derive from the experience of finding the painting as much as the painting itself. Going to San Giorgio Maggiore was the first time that I had been to the island Guidecca, and I felt proud of my abilities as I boarded the Valparetto. Leaving our home base of San Zaccaria and San Servolo, without a professor to guide me, was a fresh adventure and the destination of one of Palladio’s most famous churches gave it an exciting purpose.

            Once within San Giorgio Maggiore, I took a moment to enjoy the grandeur of the church before making my way to Tintoretto’s painting. In contrast with the light colors and brightness of the church, the Last Supper is a dark and smoky painting. Only the light of Jesus’ halo and the light that emanates from the lamp illuminate the painting. Along with light, mystical angles unfurl from the overhead lamp, and the effect is one of religious symbolism that is not found in earlier painting such as those of Bellini. Tintoretto plays with a mixture of realistic images and supernatural objects. Additionally, Tintoretto is clearly skilled with his use of perspective, but he chooses to place it off center and diagonal. The line of action leads to a vanishing point from the lower left to the upper right of the painting. The scene is dynamic, showing movement of the figures and incorporating relatable figures such as servants and a cat. Many aspects of early painting are changed in Tintoretto’s final Last Supper and create a powerful and mysterious scene.