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Jacopo Tintoretto 1518-1594 was considered to be the greatest Mannerist painter in Venice University of Chicago 1969 Often viewed poorly by contemporaries of the time Tintoretto was expelled from the Titian school after just 10 days His painting The Last Supper along with other works was never fully accepted by the prominent families of Venetian life Turner 1996 He painted his versions of The Last Supper at least eight times beginning in 1547 Turner 1996 Like other Renaissance painters of the time his work was primarily of religious content however his hasty brushstroke technique called prestezza was not viewed well by many Venetian contemporaries Turner 1996 In the versions of The Last Supper that would appear in the Scuola de Sacramento Tintoretto placed the protagonist or main action where it would be easiest for the congregation to view it even if this had the main action occurring on the corner of the canvas He would always take into account the place where the painting would be hanging Another common practice of Tintorettos was his fondness of using a dark priming on his canvas without preliminary heightening with white This style was criticized by Goethe University of Chicago 1969 p11 This primer background appears in all of The Last Supper versions however the layout of the painting changes slightly until the final work in 1592 Here the focal point changed from the Betrayal to the Institution of the Eucharist The table acts as an alter and the apostles as the congregation to form a church Turner 1996 The 1566 version has Jesus proclaiming that one of his own people would betray him Differing the 1592 revision shows him holding the Eucharist in the first usage of his body symbolized by bread Jesus is not even the center attention of the painting and there is much action by poor townspeople on the side Not only are the apostles not individualized but also the regular people
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