The Last Supper 

Editor: So, this is "The Last Supper," attributed to Maarten de Vos and held at the National Museum of Western Art in Tokyo. It's an oil painting, and what really strikes me is the opulence of the scene - all the rich fabrics and those ornate columns in the background. What’s your take on it? Curator: I see a confluence of material concerns driving the composition. De Vos isn't simply depicting a biblical scene; he's showcasing wealth, power, and access. Consider the pigments: where did that ultramarine blue come from? How were these canvases woven and prepared? Each of these elements reveals networks of trade and exploitation. Editor: I hadn't considered that. Does that level of detail speak to a specific audience or intention? Curator: Precisely. De Vos caters to a wealthy elite, showcasing not only their religious piety but also their ability to afford the finer things – the materials that literally constitute the painting itself. Think about the labour involved: from grinding pigments to weaving the canvas. The painting becomes a monument to the systems of production it relies on. What does the Italian Renaissance art movement add in understanding those power relations and making methods? Editor: I see what you mean. It is about showcasing power, not only as a painting on a biblical scene, but within the production itself and it is more interesting than I thought at first sight. Thank you for opening my mind to it! Curator: Indeed. Looking beyond the subject matter reveals how intertwined art, economy, and social status were, and still are today. It helps understand paintings as a material objects with stories and connections of human stories.