His expertise lay in realistic representations and not in the enigmatic stylizations of Mannerism. This can clearly be seen in his tempra of the last supper. The figures are realistic, and posed in a more classical style. There is not a visible source of light like in Tintoretto’s work, though Jesus is illuminated more than the others. The light itself is very natural, giving the room a soft an intimate feel. Here the light emphasises the betrayal. The supper is one of close friends having a good time, only to be shocked by Jesus’s proclamation. Though only painted a hundred years apart these two suppers show how the use of light changed during the
His expertise lay in realistic representations and not in the enigmatic stylizations of Mannerism. This can clearly be seen in his tempra of the last supper. The figures are realistic, and posed in a more classical style. There is not a visible source of light like in Tintoretto’s work, though Jesus is illuminated more than the others. The light itself is very natural, giving the room a soft an intimate feel. Here the light emphasises the betrayal. The supper is one of close friends having a good time, only to be shocked by Jesus’s proclamation. Though only painted a hundred years apart these two suppers show how the use of light changed during the