Emilian School, 18th century, Supper at Emmaus

Emilian School, 18th century Supper at Emmaus Oil on canvas, 32 x 46 cm The painting represents the climax of the episode described in the Gospel of Luke: two disciples of Christ, Cleopas on the left and James the Greater, as suggested by the pilgrim's shell on his right shoulder, recognize the resurrected Jesus at the moment when he performs the gesture of blessing the bread and wine, thus alluding to the sacrament of the Eucharist. Previously, they had met Christ on the road between Jerusalem and Emmaus without realizing his true identity; the disbelief of the two disciples is manifested even more strongly when they recognize their master, believed to be dead after the tragic crucifixion. The episode enjoys widespread fame in modern painting and has been revisited by great artists who have traced a true figurative type over the centuries. The subject, like those of the Last Supper or the Wedding at Cana, lends itself perfectly to demonstrate a painter's multiple gifts: the emotionality of the faces of the various characters, the scenic setting, and the details of the table and food ensure that specific genres coexist within a single work. In this case, alluding to the great examples of the past, we find faces, such as that of Christ illuminated by divine light, which are reminiscent of the Emilian or, in any case, Central Italian school. The light emanating from Jesus' head illuminates the entire scene and is contrasted by the darkness of the dimly lit room, creating strong chiaroscuro effects that seem to have learned the important lesson of Caravaggio, whose versions of the Supper at Emmaus, one in Milan and the other in London, are among the greatest examples of this sacred event. Conversely, the expressiveness here is completely different, softened and muted compared to the exceptional nature of the moment: the spirits and gestures of the disciples, as well as those of the boy serving at the table, do not create tension and do not demonstrate a surprise of strong impact. As the light propagates from the face of Christ, it also seems to convey a sense of peace and calm to the environment, almost to appease the upheaval of those present through an ecstatic gaze upwards precisely while performing the gesture of the Eucharist. Although the environment is dimly lit, the colors of the garments emerge with all their brilliance, approaching Venetian tonalism in terms of rendering, with a dense and full-bodied brushstroke, which becomes fine to accurately describe the features of Jesus or the details of the dishes and food placed on the dining table.