01 Work, Interpretation of the bible, Circle of Hans von Aachen’s The Last Supper, with Footnotes — 188
It is interesting for me is the artist’s blatant incorporating Mary Magdalene alongside Jesus.
The Last Supper is the final meal that, in the Gospel accounts, Jesus shared with his Apostles in Jerusalem before his crucifixion. The Last Supper provides the scriptural basis for the Eucharist, also known as “Holy Communion” or “The Lord’s Supper”.
The four canonical Gospels all state that the Last Supper took place towards the end of the week, after Jesus’ triumphal entry into Jerusalem and that Jesus and his Apostles shared a meal shortly before Jesus was crucified at the end of that week. During the meal Jesus predicts his betrayal by one of the Apostles present, and foretells that before the next morning, Peter will deny knowing him.
The three Synoptic Gospels and the First Epistle to the Corinthians include the account of the institution of the Eucharist in which Jesus takes bread, breaks it and gives it to the Apostles, saying: “This is my body which is given for you”. The Gospel of John does not include this episode, but tells of Jesus washing the feet of the Apostles, giving the new commandment “to love one another as I have loved you”, and has a detailed farewell discourse by Jesus, calling the Apostles who follow his teachings “friends and not servants”, as he prepares them for his departure.
Scholars have looked to the Last Supper as the source of early Christian Eucharist traditions. Others see the account of the Last Supper as derived from 1st-century eucharistic practice as described by Paul in the mid-50s. More on The Last Supper
Hans von Aachen (1552–4 March 1615) was a German painter who was one of the leading representatives of Northern Mannerism.
Hans von Aachen was a versatile and productive artist who worked in many genres. He was successful as a painter of princely and aristocratic portraits, and further painted religious, mythological and allegorical subjects. Known for his skill in the depiction of nudes, his eroticized mythological scenes were particularly enjoyed by his principal patron, Emperor Rudolf II. These remain the works for which he is best known. He also painted a number of genre paintings of small groups of figures shown from the chest upwards.
The life and work of Hans von Aachen bear unique witness to the cultural transfer between North, South and Central Europe in the late 16th and early 17th centuries. After training in the tradition of Netherlandish Renaissance painting he moved to Italy in 1574, for about 14 years, mainly working in Venice. He returned in 1587 to his native Germany. His final years were spent in Prague. The combination of the Netherlandish realism of his training and the Italian influences gained during his travels gave rise to his unique painting style. More on Hans von Aachen
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