Supper at Emmaus

To continue in the same vein of the last post (indulge me during the week of the Easter Octave…) would like to write a little about today’s Gospel passage in the light of one of my favourite paintings by my favourite Renaissance artist. Caravaggio (or Michelangelo Merisi da Caravaggio) was an enigmatic painter in the 17th century who was not only a brilliant artist but was also pretty brilliant at creating trouble, leading ultimately to his exile from Rome. His highly naturalistic paintings that captured so clearly the expressions of his subjects along with his use of lights and shadows heightened the drama of every scene that he paints.

The Supper at Emmaus captures the moment when the disciples recognised Jesus at the breaking of the bread – and Caravaggio recreates that exact moment so perfectly. Focus on Christ through the use of light shows the serene mien of the resurrected one and represents also the light of recognition that the disciples saw. The rest of the men in shadows not only gives a great contrast to the central figure of Christ but also makes the nice analogy to them being in shadows till the walk to Emmaus where he opened their eyes and hearts to what the scripture really meant.

Could go on further but would like to let the picture speak for itself. Slightly deeper reflection on this at the bottom of this page.


caravaggioemmaus.jpg
Supper at Emmaus, 1601. Oil on canvas, 139 x 195 cm. National Gallery, London.
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about the brushhead

had a head like a brush (it's more like an egg now). seeks to sweep through thought and faith with that brush. tries to wax philosophical but often forgets to wax off. trying to be good brush to all, while discerning what kind of brush he's meant to be.

Click here to contact the brush

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On a rock, among the flowers, amidst mountains. Nice.

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