The Last Supper c. 1664 - 1665

Editor: We’re looking at "The Last Supper," painted by Gerard de Lairesse around 1664-1665, currently housed at the Rijksmuseum. What strikes me is the somber tone, quite different from other depictions I've seen. What aspects stand out to you, particularly from a historical viewpoint? Curator: The painting is undeniably baroque in style, yet it presents "The Last Supper" with a theatrical sensibility common during that era. We have to consider the social function of these large history paintings. De Lairesse was catering to a public steeped in religious narratives, but also increasingly interested in dramatic storytelling. What is emphasized, and who is present in the painting also communicates something of the social values of the era. How does Lairesse position Jesus within this tableau, and what might that tell us about the painting’s function? Editor: It looks as if Jesus is in the midst of washing the feet of his disciples, with a younger disciple in the immediate foreground seemingly overwhelmed by this gesture. So would you say this painting leans into a particular interpretation of the gospel? Curator: Precisely. The artist chooses to focus on the humble service before the revelation of impending betrayal, a common visual trope for communicating devotion, which served an important function, to remind people of piety. It uses accessible emotionality to draw viewers closer to a revered figure while reifying values of humility and faith, essential within the social framework of 17th-century Dutch society. This painting acted as a symbol, reinforcing established norms within society. Editor: So, by depicting this specific scene, Lairesse isn't just telling a story; he's participating in the reinforcement of power structures of the period. It makes me wonder about who the audience for this was initially, and if their reception matched these intentions. Curator: Exactly. By carefully analyzing choices in depiction, composition, and setting, one is better placed to view this tableau with informed, and sometimes skeptical, appreciation of the public role and intention of these works. Editor: It’s a bit eye-opening to consider paintings as active participants in society rather than just passive reflections of biblical history! Thanks for this different insight!