Description of the painting by Andrei Rublev Last Supper

Description of the painting by Andrei Rublev Last Supper

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The "Last Supper" icon by Andrei Rublev, painted in 1425-1427, is currently stored in the Trinity-Sergius Monastery and is one of the brightest representatives of Russian icon painting.

In the center of the composition is an oval table, decorated in yellowish tones with small streaks of whitish spaces, which, approaching the edges of the table, turn into pure white. Colors and shades in the composition are of central importance, symbolizing the apostolic light (white) and the world opposed to it, which is mired in debauchery and unbelief (yellow).

The background is an architectural composition, presented in the form of a building with a cornice, which is adjacent to the building, with its features resembling a classical basilica with a portal, columns and a semicircular completion.

Jesus and the apostles are evenly placed around the table. Christ himself is leaning toward the people to his right, a scroll in his left hand is whitened, and his right is raised to the level of his chest. His face is largely lost, the viewer is given the opportunity to catch only the general features of the character.

It is also visible on the icon that the Apostle John is leaning towards Christ and as if looking for salvation and protection on the chest of his teacher. Jesus, bending over John, meanwhile turns to Peter. These relationships of these three characters are perfectly conveyed by Rublev. In addition, they correspond to all biblical canons.

The image of the bodies of the apostles and Christ is voluminous, which denounces Rublev’s recognition of icon-painting laws and principles of the 13th and 14th centuries.

The figure of Judah, as well as the apostle’s hand seated on his left, is made in very dark colors, which enlarges the figure of the traitor and makes it much more massive than it actually is. The apostle sitting next to Judah is a calm and silent dignity. He laid his right hand on the hand of Judas, tearing toward the cup, as if trying to keep him from committing sin.

An interesting fact is that behind Judas there is a construction of that very building, similar to a basilica, whose arch and columns rise with gloomy cold and hang over a future traitor, as if anticipating future terrible events.

According to the general tone, Rublev saturated the work with sharp and contrasting tones. Experts note that this technique is atypical for the author, since other Rublev's icons are made in much more restrained and calm color solutions.

If we talk about the preservation of the icon, it is worth noting that the background, as well as the side parts, suffered rather severe damage.

The fall of Icarus

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