Last Supper by Castagno

Depictions of the Last Supper are often chosen for representation in refectories (dinning room)
The Tuscan Visual Tradition features Judas on the observer's side of the table
Most depictions of the Last Supper are based on the accounts of Matthew and Mark


Castagno: one of the first Renaissance artists to capture movement
Differs from Domenico by expressing human dilemma in work

"Last Supper"
Based on the John account-shows Judas after devil has entered him
Judas has a hooked nose, jutting beard and a darker complexion: diabolical
Judas was also the last figure painted, setting him apart from the remainder of the fresco
Indicates fate of the disciples (Peter, Andrew and Bartholomew, Thomas and James)
Light seems to come from two windows on the right which corresponds with location of windows in the refectory
Marble panels strengthen narrative and direct focus

INFLUENCES:
Sculptural treatment of figures-Massacio
Expressive realism-Donatello
Style of room-Alberti
Linear perspective and ornate forms-Early Renaissance

Castagno used color highlights in hair, and has the halos recede in perspective

"Famous Men and Women Cycle"

 

             

Intended to awaken emotions-civic pride and delight in figures
3 Florentine military leaders, 3 legendary women, and literary figures
Grandeur and solemnity of figures inspired by Massacio
More diffused light and intricate details (individual hairs in beard and eyelashes) than "The Last Supper"
Figures are strong and wiry-intended to be seen from below
Castagno tried to make his figures more palpable with feet overlapping the edges, folds of garments recede into distance, and no unified perspective

-Emily