Caravaggio's Supper at Emmaus - Analysis
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Caravaggio painted this scene from Luke 24, showing the Supper at Emmaus.
Click on the picture below, or the one to the right, and just look at the bigger image. Just be with it. Let your heart listen with your mind. Maybe your soul will, too!
Do you have any insights? Did you learn anything new? Please remember your discoveries, unsullied by my inputs below, and write them in the comments section for all to benefit. Thank you.
Now, I'll proceed to tell you what I learnt.
The Master of Dramatic Light
Caravaggio is a master of drama and light is his tool. The picture looks like it's taken with a sharp flash, doesn't it? All details crisp, and the moment frozen in time.
Jesus has just broken bread and blessed it, and that act makes Him recognisable. They are shocked, and the artist shows the revelation by illuminating the scene in a single beam of harsh light, just like our flashes. Or like the landscape illuminated by a bolt of sudden lightning.
Caravaggio gave new meaning to chiaroscuro. That's the technique of using light and shadow to give volume and drama to the subject. Usually, objects closest to the viewer were brightest and those farthest way were the darkest. Caravaggio's personal touch are the heavy shadows and crisp lighting. They used to merge objects into the darkness, but no, Caravaggio made them violently contrasting.
The Composition
Their poses are dynamic and add to the dynamism of the underlying composition. The disciple on the right, James, for example, connects us to Jesus with the position of his hands. See?
If your eye happens to fall on any of the other men in the picture, you will follow their gaze to the Christ. As in Leonardo's Last Supper, all lines lead to Christ.
Disturbed Still Life
If you look closely at that basket of fruit, you will notice its precarious position. Any object in the danger of toppling over increases your blood pressure. Or is it a trick of the light? Anyway, that spread on the table is a still life masterpiece in its own right. Just bringing it to your kind attention, let's get to the most important secret of this painting.
The Unusual Portrayal of the Christ
This is the cleverest trick of them all. Listen, for I tell you something that I haven't heard anybody else tell. What was your first impression when you saw this picture? You were surprised that Christ was beardless, weren't you? I did a double take at my first introduction, I remember. Then the beauty of the picture hit me. When the artist exhibited his masterpiece, there was a general outrage at this revolutionary portrayal of Christ. Nobody has explained this to my satisfaction. The wiki says that it was because it says in the Gospel of Mark that Jesus "appeared in another form." True, I agree, but there's something else. Listen!
The painter has treated you like one of the disciples with Christ. He has put you there. You sit at the table with Him, break bread with Him, and then, FLASH! That's no stranger that's...Jesus!
Get it? That's why He was not recognisable, not only to the disciples, but to us, too! I feel so proud of myself for solving this! And humble, when I realise what the master painter has done. Thank you, God, and forgive this oxymoron!
Intricate Detail
I have blown up two details for you to appreciate the intricacy of the details. Another reason for the clever composition. Too many details will drown the main picture, but the poses, and the lights solve that problem.
The bald gentleman on the right of Christ is James the greater, not Luke, as the Wiki says. The scallop he wears is his symbol, not Luke's who was not one of the original disciples. Luke never claimed he was there.
The host, standing to the left, is the fellow who has not got the joke. He's cool, because for him, that symbolic act of Jesus means nothing.
There's a subliminal message in the painting. Jesus sits at supper with those who believe in Him, while it is of no matter to those who don't. But, my addition is that since they also serve who only stand and wait, God will take care of the atheists, too!
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I was starting to read your comments and stopped so I wouldn't be influenced by your thoughts. When I first looked at this painting, I felt a lot of agitation, and even the Christ does not look peaceful, rather very intense, somewhat sad.
Now I am going to finish reading your hub and will not change my comments, even if they are not accurate. :)
oh, you outdid yourself. this painting is new to me. I had not seen it before. I took my time reading through it and I opened the enlarge pic more than once (lovey feature, I'm glad you could do the large picture for better viewing that way).
it's intriguing that you have what seems a practical theory on the concept of an unrecognizeable Jesus and I have to say I loved your commentary on 'they also serve who only stand and wait'.
I'm going to come back to this one again and again. I already have with "the last supper" and "flaming june". I love the care you take with your interpretations and the insights.
I meant, not EDIT my comments, not change my perspective. ;)
Sure, Violet, i understood you right; that's brave of you! :)
Oh, thanks, Iðunn, for your beautiful comment. I am grateful and humbled. You will keep me going on and on.
one can hope :p
Kenny! This was one of the paintings my art teacher used to demonstrate the importance of using light and shadow. I can honestly say he didn't come anyway near your great explanation. Caravaggio is definitely one of the greatest masters.
Great HUB
regard Zsuzsy
Thank you, Zsuzsy Bee! Great Comment! :)
This was just wonderful! I enjoyed your interpretation of Caravaggio's depiction of a beardless Christ, and also about those who "stand and wait". I minored in art history in college (considering going back eventually and getting a full degree in it) and I've never had a professor interpret a painting with anywhere near the same enthusiasm. Off to check out your other hubs!
Great hub, Kenny. Truly, a man ahead of your time.
Thanks again, Colleen! For the kind words and for saying you will check out my other hubs. :)
Aw, Peter, thank you! Somebody do a portrait of my swollen head, quickly! :D
This painting is striking, speaking volumes beyond what you have already mentioned. Let's look at the body language. The men seated at the table with Christ are in awe, the fellow to Christ's right (His perspective, not ours) may not be familiar to Jesus, as he is not seated at the table, but he hangs on every word from Christ.
Definitely interesting, and a beautiful painting.
Also, the fruit appears to possibly be ready to fall. Our instinct is to lean forward and put out our hands to catch the fruit.. in effect meaning we feel this urge to reach our hands out to Christ.
Thank you, Charlotte for your inputs. Added value to this hub! :)
thank you very much Kenny for doing this ;) It was an amazing read.
I love your observation in your hubs which are always very educational..
PS. this article is very appropriate at present because i shall be eating my last supper until i can get to the shops and buy more food! :P
I like your interpretation as well, Kenny! It has motivated me to look at this painting more often and to think about what you have written.
Kenny
Interestingly enough, I didn't even notice the missing beard. The main concept that stuck out to me was that there was food on the table but in the presence of this man, it lost it's appeal. He was the true bread of life and they hungered for no other. Even the fruit of the vine was soon to fall, because He was the true vine. The men on his right are listening intently, hanging on every word he utters, the one furthest away ever leaning to get closer to him. The man on his left, even though his arms are outstretched, he seems more intent on getting his own point across, possibly missing the teaching that the master is giving, reminding us that we want to be found standing on his right hand. This is a marvelous picture with an awesome commentary to follow. Thank you for your observations.
Interesting observations Kenny! I know this painting, and always was surprised by the "unconventional" Jesus, but I never actually thought along those lines. Thanks!
Very nice hub, Kenny. My first thoughts on the image of Christ was surprise that he was so chubby in the face. Not that he looks really, really chubby, but all the paintings Ive seen of him show him as rather svelte! I hadnt given much thought to him not having a beard, though. Very interesting stuff, you're so clever!
Wow there is nothing left to say to you..Except bravo my gentle man..and i agree you are a man ahead of your time....an the new photo is good..but i like the last one better he he of you i mean..And i too thought Christ looked heavy in the face and also loved the fruit basket hanging over the side and aggreed with In The Doghouse. Love you Kenny -Ma :O)
Excellent, Kenny. I know that picture and have been fortunate enough to see several Caravaggios in Rome, some in museums, but many still in their original church settings. I think it is great that you are producing high art hubs. You inspire me.
I agree. Not visiting art museums as much as I want to do, this Hub helps to fill that gap.
I've never seen any of this photos. You definately put a new perspective on the picture. I never would have thought of it that way.
The first thing to catch my eye is that Jesus looked chunky and sadder than in any photos i had ssen before.Great pic to bring forward to appreciate.
Kenny, I asked you what height could you ascend to ?
You have replied in style. Thank you!
I am not surprised that Christ was pensive after all
he knew God's Plan regarding his son.
In Matthew 26. v39
"My father, if it is not possible for this cup to be taken away
unless I drink it, may your will be done."
Matthew 27.v46.
"Eloi, Eloi, Lama sabachthani?
"My God, My God, Why have you forsaken me?
This is a great hub
May your will be there to do many more.
Thank you
A full table! I love all of you for your appreciation and insights. I am overwhelmed, really! :)
Thooghun, this is your request, your hub; was waiting for you to join me for supper!
Compu-smart, hope you have replenished your board!
Thanks, Patty, glad to have added to your experience.
Doghouse, thanks for your take. Much appreciated!
Misha, brother, thanks for that!
Isabella, you hit on a point I forgot to cover!
Thanks for that insight.
There were complaints about the plumpness of this portrait at that time, too.
Maybe Caravaggio wanted to increase the unrecognisability a bit more!
Love you, G-Ma! And your beautiful comment! :)
Paraglider, you are truly fortunate to see the originals in their settings. While you are inspired by me, let me envy you!
Whitney, it's very gratifying to hear that I gave you a new angle!
Morals, thanks for sharing your experience. Maybe without a beard, men do look chunkier? What do you say, Isabella? ;)
And Frank, you have commented in style. In your own unique style. Thanks.
Give thanks for your daily bread and enjoy your dinner, my dear hubbers!
I love you all!
I used Digg for this one. The score must increasre to 100!
Patty, you kind soul! I feel like it's increased to 110! :)
I too studied this particular painting at school. I always loved Caravaggio for his dramatic lighting. The plumpness of Christs' face is what struck me the first time I saw it (as with Isabella.) I must say I did not notice the missing beard until I took in the painting as a whole. The eye seems to go straight to Christs' face and then along his arm to the outstretched hand. (Incredible what great lighting will do.)
For me I always felt as though the two men seated were in mid argument when Jesus broke the bread and intervened. It's the way the men are posed, ready to leap to their feet. And Christ has his hand out in between them as if to settle everyone down. That was always my impression. Of course knowing the story behind this painting I understand that it is shock at seeing Christ risen that has the men almost leaping to their feet in reverance. However, without the biblical reference this painting takes on a whole different meaning. This duality and ability to stir strong emotions is why Caravaggio is a Master.
Wonderful thought-provoking hub!
Rachelle, your comment is thought-provoking as well. Maybe I should look at it without the biblical reference and see the difference. When I see it that way, Christ's head seems like He's meditating. Similar to sculptures of the Buddha. And, as in the last supper, He's a triangle of light.
Thank you!
I enjoyed the hub, Kenny, and the comments. Unfortunately, I'm a guy who took an Art Appreciation course at UConn and came away with little appreciation for art. My visit to the Louvre was a disappointment. I simply judge a painting by the reaction I feel when I see it. It matters little to me how hard an artist works to produce a painting, rather its value is simply in whether lor not I enjoy viewing it.
That's the primary definition of art, William. If it moves one, it is art. Thank you for the honest comment.
I agree with Zsuzy, amazing painting and great explanation. I haven't seen this painting before, so your explanation makes a whole lot of sense for amateurs like us. I have known about this chiascuro painting technique, I found a painter before I don't have the details but I will add it soon. Well done Kenny.
Please do add, Cgull. Thank you!
Wonderful. Have you seen it in the flesh?
No, Mark, I haven't stepped abroad from my country. Sad. But one day I will. First, the National Gallery, London, and then the Louvre.
Thank you.
(I read your stock hub, but didn't have anything relevant to say,
except that I made a loss, so refrained from leaving a comment.) :)
Kenny, you have truly out done yourself. This is an amazing insightful depiction, and causes one to abandon all preconcieved ideas as to episode in biblical history. Thank you for your insightful contributions. I find it rewarding.
I am delighted at your reaction, Wehzo. That is my reward!
Hey Kenny _ even though I am English, the louvre is a better collection in my opinion. But they are selling out by opening a satellite in Abu Dhabi and the way the property boom is going in Mumbai, I would expect to see one there in a few years time - maybe they will come to you?
Although, for me, part of the experience is making the effort to go and see it. I think part of the apprecieation of this sort of art is to be able to see it as much as possible in the context it was created.
I hope you get the opportunity to see all of these in the future.
My favorite - The Sistene Chapel in Rome.
Mark, thank you for the second visit.
I agree with you that part of the experience is seeing it in context and making a sort of pilgrimage out of the travel involved. England first, because my hero, Wodehouse, has set many of my favourite stories there. Then France and Italy.
I'll do the Sistine Ceiling in a hub after I do the requests, thanks for that inspiration!
If there were more such pilgrimages, there would be less war. I must go on one - pligrimage not war. Kudos to Mark and Kenny for discussing this aspect.
Thanks for the kudos, Patty of the Peaceful Pilgrimage!
That would make a very good children's book...and a concept for me to live up to.
There is a slim book about a lady that developed back pain and the cure was found in her pilgrimages to plant lupines everywhere she could, for beauty. She was cured. I cannot recall the name of it...
Ah, I don't know that book. Will tell you if I see it. There's magic, and I might get it!
Here it is: Miss Rumphius by Barbara Cooney:
"The Lupine Lady lives in a small house overlooking the sea..."
Ah, wonderful! Thank you, Patty!
Beautiful and fascinating hub! I went to a Caravaggio exhibit at the Metropolitan Museum of Art in New York years ago and was fascinated by his esthetic, his influence and his place in history. Your remarks take me much more in depth to the work of this great master and the philosophy behind his genius.
My thoughts on the painting! The face of Jesus is an amazing enigma. I have always found a tight parallel between the face of Jesus here and the Mona Lisa face. Look at the other faces in the painting. They are undoubtedly maleish. Yet Jesus' face has a melting of male/female. Maybe it is the plumpness of the cheeks that creates that illusion. Further, the Mona Lisa face angles right to left on the painting canvas. This face angles left to right! Like an answer? Like a dialogue of spirit?
Back to the male/female perspective. I feel this enhances the feeling that here is a Christ for male and female humanity. He is neither one nor the other and yet he is!
How I love this hub! Thank you for challenging me to think some more!
Smiles and Light
P.S. The "Mona Lisa" is dated c. 1503-6. "Supper at Emmaus" is dated 1601. The 2 paintings are almost 100 years apart; almost an anniversary! Caravaggio, I believe, would know Mona Lisa well!
Thank you, Guru! Appreciate that comment!
Thank you Gemma, for your unique take. Maybe you're right. Angels are often depicted like that.
Caravaggio would have known the Mona Lisa well.
hey Kenny,
i must say you did a very good job interpretating this picture, but you missed a couple significant hints. per example: - The Waiter, he represents the unfaithful. If you trace the shadow he casts upon the wall behind Christ, you can see it creates a "negative" Halo indicating the divinity of Jesus. Now isn't that ironic? A point of special intrest in this painting is the still life in the foreground. Michelangelo da Merisi uses "Vanitas" symbols in most of his paintings, so did he in this one... but i don't want to tell you all the little secrets still hidden in this picture.
But i highly disagree with AuraGem, Leonardo da Vinci surely inspired painters of that time but Caravaggio's favourite inspirational Artist was Michelangelo, you can find way more parallels to his paintings than to Leonardo. Leonardo may have invented and defined Chiaroscuro, but da Merisi reinvented and developed it from there. Again I must repeat the one major secret to Caravaggios work is the aspect and use of Vanitas symbolism. and his special Lighting is part of this...
Best regards, and have fun puzzling on,
D.J. (Art History Student in Germany, please excuse if my english isn't 100% correct)
Thank you, DJ, for increasing the value of my hub! :)
I suspect that the 'negative halo,' the shadow of the waiter, that you mentioned is an artist's trick to increase the contrast, to make Christ's face appear brighter.
of course, the negative halo will make the contrast more visible, but if you compare it to caravaggios other christ paintings, like the calling of saint matthew you can see that caravaggio actually doesn't like halo's, but in certain pictures they are necessary to identify the protagonists. Caravaggio is a naturalist, his main desire is to paint what he actually really sees, how the true nature is, but a halo is not natural, it is divine. so he only uses it reduced to a minimum to keep everything worldly ... take a close look at the clothing the two diciples are wearing, one is torn and the other doesn't look to clean or wealthy at all, he has had serious trouble with the church back then. they often rejected his paintings for using "inproper" Models (like a dead prostitute for a magdalena painting) or showing christians with dirty feet etc.
Thanks DJ :)
I really enjoyed your interpretation.
This is probably my favorite painting.
I regularly visit it in the National Gallery.
I often feel tempted to push the basket
of fruit in to stop it falling!
what's better than a visit by caravaggio himself? Thank you! :)
I came across this painting in the memeber's magazine of the Art Institute of Chicago, where it is now on view. Considering that I just returned from a journey in Southern France, where I learned about the presence and story of Mary Magdelan thru paintings and statues and relics in Basilicas and Grotto where she spent the last days of her life. My first instinct is that this picture you think is Christ, clearly appears to me to be Mary Magdelan. She was painted wearing red and with green cover or visa versa and that is clearly the face and head hair of a woman. How could anyone think that is a face of a man. Although clearly written 'out' of the bible, she no doubt continued in Christ's teachings. The disiples/followers were encouraged to remember him when they broke bread together or shared a cup of wine, when they feasted together, he be with then in their midst. All you need to do is consider a rethink that Mary Magdalen was an intricle part of the life of Jesus Christ and his deciples. Why else would deciples say "why does he life her more than us'.
Dear Sharon,
I have no issues with the Magdalene theory, since it strives to balance early religious chauvinism with feminism. I liked that streak in Dan Brown's novels.
But I stick to my story regarding this painting, and behold the Man!
Kenny
Kenny:
You have done extremely well to educate the readers here in analyzing this great Caravaggio painting. I have looked at it for years in art historical reference books. As a some-what accomplished astronomy artist, I can tell you that you have educated and shown other viewers this great Caravaggio painting in all of its finest details. The intent of the artist is revealed in the fullest appreciable regard in your concise narrative description.
I have produced and published both award winning photography and astronomy art in pastels. I can tell you and others here that Caravaggio knew in every detail exactly what he was doing. I especially like your reference to the ‘Disturbed Still Life’. As an artist who discovered Salvador Dali in a retrospective in a 1939 LIFE magazines when I was 13 in 1967, I later discovered one of Dali's quotes, "Great Art Disturbs". He too experimented with three-dimensional images in his art. Yet Caravaggio created the most three dimensional realism ever at that point in the time of the Renaissance when he produced this incredible painting. *There is also a great dramatization [for those whop have not seen it] of Carravaggio in the BBC and PBS series The Power of Art by Simon Schama. I spoke to Schama on NPR’s Talk of the Nation on Decemeber 20th 2006 as the first caller. The shows are all archived. Schama does a great historical description of Caravaggio in his BBC series, The Power of Art.
It inspires me to this day, and I have a grateful appreciation to find your critique of this Caravaggio painting of Supper at Emmaus, here today.
Thank you; with deepest respects and most humble regards,
Mark Seibold, artist-astronomy educator, Portland Oregon
Mark, I appreciate the time and effort you took to add value to my hub. Your appreciation actually makes me feel very humble.
Now I must see The Power of Art series. Thank you also for telling us that.
Kenny - this is the most amazing Hub! So glad I found it and read it. I really enjoyed it and learned from you great exposition. Highly original also.
Love and peace
Tony
I'm delighted to hear that, Tonymac! Thank you for making me feel good.
Calling this painting a masterpiece is course an understatement. Naturally there were many from that period. Rembrandt also used that "focus of illumination" you pointed out. (I didn't notice that the still life seems about to fall off the table. What a revelation!) Keep writing about artists and paintings. Later!
Rembrandt focussed on one point in the picture and progressively blurred away from it, just as we see things in real life. Must do a hub on his paintings one day, too.
Thanks, Kosmo, laters! :))
You've made me love this painting all over again. Brilliant!
Hi Kenny, like so many others who have commented here, I also studied this painting as part of an Art History course. I'd never though about the issue of Christ being beardless before reading your explanation. It never occurred to me that he should be otherwise. The thing that always hits me when I look at this picture is the error in perspective. James is stretching out his arms as if to say, "But Lord, I saw you crucified!", and the hand farthest away from us has no recession. Caravaggio always had his own agenda, and that is part of his allure. Even when he paints religious subjects he chooses to skew the story to suit his own ideas. In a strange way, the inaccurate perspective reminds me of Hans Holbein's 'The Ambassadors' with it's distorted skull.
Hi and thanks, Amanda.
You are right about the hand. Caravaggio has played havoc with the rules of perspective. One theory is that he did it to suit his composition and geometry, while the other, recent theory is that they used optical devices to project images on to canvas and trace them. The figures in these paintings are usually life-size and here, the figures look like they were shot with a 'zoom' lens! :D That usually serves to kill foreshortening.
Great comments from all! Thanks for the option of enlarging the photo it gives a better perspective. Have your noticed that the fruit basket is on the edge of the table so that the it's shadow can reflect the tale of a fish on the table cloth and therefore remind us of the original symbol used by Christtians to identify themselves? Some say it is placed on purpose by the great artist as a hidden message among the rest of the secrets to discover. Thaks for the rest of the educative comments.
And I thought it was just my imagination working overtime! Thanks, Eddy!
The fish was the secret code used by early Christians.
The Greek word for fish 'Ichthys' was an acronym for 'Jesus Christ, Son of God and Savior'.
"????? (Ichthys) is an acronym for "?????? ???????, ???? ????, ?????", (I?sous Christos, Theou Yios, S?t?r), which translates into English as "Jesus Christ, God's Son, Savior".
That's from the Wikipedia.
I haven't read all the comments posted but I'm writing my first iconographic analysis of this painting for college and in my research I've found that the beardless christ echos a more ancient symbol from the classical world-Moschophoros in greco-roman as the Calf bearer or good shepherd. interesting how so many symbols hark back to a more ancient time.
I stick to my theory, but thanks, Jen! :)
Kenny Wordsmith Hub Author 4 years ago
Please add your take for the benefit of all of us, thanks!