Saturday, July 07, 2007
The Supper at Emmaus
Caravaggio2
The one word that best captures this painting by Caravaggio is recognition. In the Gospel according to Luke, we are told two men were walking from Jerusalem to Emmaus. Jesus has been killed and the Passover has ended. However, these men have heard stories of women seeing angels and an empty tomb. The two men have met a stranger on the road. They eventually invite him into their home for dinner. “When he was at the table with them, he took break, gave thanks, broke it and began to give it to them. Then their eyes were opened and they recognized him.” (Luke 24:30, 31)
Caravaggio paints the stranger in an unusual way. In most paintings, this famous individual has a beard, a quality that would have made him more recognizable. Yet the two men did not recognize him.
Note the realization in the painting. The man on the left has just recognized the stranger and is standing to his feet because of shock or joy or maybe both. The man on the right just throws his arms out wide. However, notice this man has not focused his eyes. He is in the stage of shock, and you can sense his brain swirling with thoughts.
Now shift your eyes to the basket of fruit on the table. Do you recognize something? The basket is on the edge of the table and is about to fall. Caravaggio has even translated the tension of the moment to the still-life on the table.
Unfortunately, not everyone recognizes the traveler. The man standing in the back has a blank expression. He acknowledges the stranger. However, to him, the stranger is just another stranger.
Caravaggio captures the moment of recognition. I am almost afraid to look away from the man in the center because in the next moment he would have disappeared.
Caravaggio paints the stranger in an unusual way. In most paintings, this famous individual has a beard, a quality that would have made him more recognizable. Yet the two men did not recognize him.
Note the realization in the painting. The man on the left has just recognized the stranger and is standing to his feet because of shock or joy or maybe both. The man on the right just throws his arms out wide. However, notice this man has not focused his eyes. He is in the stage of shock, and you can sense his brain swirling with thoughts.
Now shift your eyes to the basket of fruit on the table. Do you recognize something? The basket is on the edge of the table and is about to fall. Caravaggio has even translated the tension of the moment to the still-life on the table.
Unfortunately, not everyone recognizes the traveler. The man standing in the back has a blank expression. He acknowledges the stranger. However, to him, the stranger is just another stranger.
Caravaggio captures the moment of recognition. I am almost afraid to look away from the man in the center because in the next moment he would have disappeared.
# posted by Wesley Son of Cornelius @ 11:07 PM 
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I've never liked how they paint Jesus in this time period. I know that it has to do with portraying his holiness and purity but I think he looks like a girl!
There is much truth in what you say but one thing bothers me. To their eyes the lack of beard and pudginess suggest innocence, I guess, but I see effeminate or weak character. This is not my Lord. He is strong with penetrating eyes that search with perfect love. I know His bodily form had no loveliness that we would desire Him, yet His demeanor and eyes would tell all and He was a laborer accustomed to work and walk. And yet He was in glorified form, or was it vailed. So the problem I have is it is not likely that the painter could represent Him and most always they seem to do a poorer job than on all others. Why? He is so like us and yet so unlike us. How do you paint that?
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# posted by 
: 7/31/2007 6:43 PM
: 7/31/2007 6:43 PM << Home
