Follower of LEONARDO DA VINCI; 16th century. "Last Supper". Oil on panel. Engatillada. It presents slight restorations and frame of the 19th centur

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OLD MASTERS

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Oct 20, 2021

Set Reminder 2021-10-20 07:30:00 2021-10-20 07:30:00 America/New_York Bidsquare Bidsquare : OLD MASTERS https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-7700
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• Lot Description
  Follower of LEONARDO DA VINCI; 16th century. "Last Supper". Oil on panel. Engatillada. It presents slight restorations and frame of the 19th century. Measurements: 48 x 67 cm; 58 x 76 cm (frame). The Last Supper is one of the most relevant representations in the history of western art. In the first place, because it is the concrete moment in which the sacrament of the Eucharist is established, since Jesus in this supper made the analogy between his body and the bread, and the wine and his blood. Secondly, the mythical scene, which was painted by Leonardo, laid the foundations of Renaissance aesthetics, thus contributing a conception of perspective that was hegemonic until well into the 20th century. In this particular case, the scene reflects this aesthetic based on the Leonardesque composition, and the figures are arranged in a similar manner. However, in this work the artist dispenses with the landscape and places all the main characters in an inconcrete interior space dominated by the presence of black. Although all the figures are placed in the form of a frieze, the artist has established several planes that give a certain depth to the whole. These are defined by the apostles in front of or behind the table, and by the anecdotal elements in the foreground, such as the jar and the basket of wine, alluding to two of Jesus' best-known miracles. Formally, the scene is in keeping with academicism and therefore follows classical rules, the first of which is its high technical quality. Thus, the drawing is rigorous and firm, with great anatomical perfection. Academicism is a direct legacy of classicism, hence the predilection for themes such as the one we present here, taken from mythology, although captured from a sensual and decorative point of view far removed from the solemnity of ancient classical art. This also explains his approach to the subject. Nevertheless, we can appreciate an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality. Due to its formal and technical characteristics, this work can also be related to the circle of Juan de Juanes, the name by which Vicente Juan Macip, son of Juan Macip and a key painter of the Spanish Renaissance, is known. He trained alongside his father and in 1534 was commissioned alone to paint the altarpiece of Saint Eloy in the church of Santa Catalina, his first autograph work. It is conjectured whether Juanes studied in Italy, as his work is clearly influenced by that school, especially Sebastiano del Piombo. However, historians tend to think that he never left Spain and that, like his father, he absorbed these influences by observing at first hand the Italian paintings arriving in the Kingdom of Valencia.
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