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Student Artwork Guide

Last Supper

Name Class Date

Sebastiano Ricci, Last Supper (1713), National Gallery of Art. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Sebastiano Ricci originaluniqueart.com/en/artists/sebastiano-ricci/
Artist’s dates
1659 – 1734
Painted
1713
Medium
Oil On Canvas
Original size
67 x 104 cm
Movement
High Renaissance The brief peak when balance, depth and anatomy came together — Leonardo, Raphael, Michelangelo.
Held at
National Gallery of Art originaluniqueart.com/en/museums/national-gallery-of-art-washington/
Artistic style
Baroque
Influences
Dal Sole
Notable elements
Dramatic scene, Judas betrayal
Subject or theme
Last Supper of Jesus

In context

Last Supper — Sebastiano Ricci

How big is it?

The original measures 67 × 104 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1650
  2. 1660
  3. 1670
  4. 1680
  5. 1690
  6. 1700
  7. 1710
  8. 1720
  9. 1730

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 75 at death.

Painted when the artist was 54. The artist lived to 75. 40 of the 90 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Sebastiano Ricci (1659–1734) ▲ this work, 1713 every dated painting, decade by decade

First works: up to 1702 Main working years: 1702–1720 Late works: from 1720

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/sebastiano-ricci-last-supper-8LT6SS-en/

Colours

Measured from the image

    Main colour

    Rosy Brown #b1a57e

    Catalogued palette

    • #B1A57E
    • #403A24
    • #DFDDCC
    • #706540

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Rosy Brown
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Sebastiano Ricci over the last twelve months — 17 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 68.0%
    2. 2 United States of America 10.7%
    3. 3 Hong Kong 4.9%
    4. 4 Singapore 4.1%
    5. 5 Argentina 1.6%
    6. 6 Germany 1.6%
    7. 7 Australia 0.8%
    8. 8 Brazil 0.8%
    9. 9 Chile 0.8%
    10. 10 Spain 0.8%
    11. · 7 other countries 5.9%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Sebastiano Ricci

    1. 1 Diana and Callisto, 1712 5.4%
    2. 2 Adoration of the Magi, 1726 5.4%
    3. 3 Bathsheba in her Bath 2.7%
    4. 4 Madonna and Child with Saints, 1708 2.7%
    5. 5 Bacchanal in Honour of Pan, 1716 2.7%
    6. 6 Bathsheba at the Bath, 1720 2.7%
    7. 7 Lucretia, 1680 2.7%
    8. 8 The Fall of the Rebel Angels, 1720 2.7%
    9. 9 Venus and Satyr, 1720 2.0%
    10. 10 Childhood of Romulus and Remus, 1708 2.0%
    11. 11 Aeneas Rescuing Anchises, 1700 2.0%
    12. 12 Neptune and Amphitrite, 1691 2.0%
    13. 13 Dream of Aesculapius (detail), 1710 2.0%
    14. 14 Figure Studies 2.0%
    15. 15 The Assumption of the Virgin 2.0%
    16. 16 Memorial to Admiral Sir Clowdisley Shovell, 1725 1.3%
    17. 17 Cupid before Jupiter (Central Section), 1715 1.3%
    18. 18 Bacchus and Ariadne, 1700 1.3%
    19. 19 St Francis of Paola Resuscitating a Dead Child, 1733 1.3%
    20. 27 Last Supper, 1713 this painting 1.3%

    Together these works take 47.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 166 works by this artist, of which 77 were looked at at least once. This painting ranks 27 of them, with 1.3% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Last Supper — Sebastiano Ricci

    A Moment Frozen in Time: The Story of the Last Supper

    Sebastiano Ricci’s “Last Supper,” a monumental fresco dominating the refectory of Santa Maria delle Grazie in Milan, isn't merely a depiction of a biblical event; it’s a profound exploration of human emotion and betrayal. Painted between 1713 and 1714, this work captures the immediate aftermath of Jesus’ announcement that one among his disciples will betray him – a moment charged with disbelief, apprehension, and simmering resentment. Ricci masterfully conveys the palpable tension in the room, drawing the viewer into the heart of this dramatic exchange. The composition is carefully orchestrated; Jesus sits at the center, radiating an almost serene authority, while the apostles react with a spectrum of responses—shock, denial, suspicion, and outright anger – each face meticulously rendered to reveal their individual personalities and inner turmoil.

    The painting’s historical context is crucial to understanding its power. Commissioned during the late Baroque period, Ricci's work reflects the era’s fascination with dramatic narratives and intense emotional expression. The Renaissance ideals of humanism are present, not in a purely idealized form, but through the realistic portrayal of flawed humanity – the vulnerability beneath the bravado, the fear masked by defiance. Ricci was part of a vibrant artistic milieu in Venice, influenced by masters like Dal Simè and Titian, yet he developed a distinct style characterized by a luminous palette and dynamic compositions. His work stands as a bridge between the grandeur of the High Renaissance and the more emotionally charged sensibilities of the Baroque.

    Technique and Materials: A Delicate Balance

    What sets Ricci’s “Last Supper” apart is not just its subject matter, but also the innovative – and ultimately problematic – techniques he employed. Unlike traditional fresco methods, which involve painting directly onto wet plaster, Ricci utilized tempera on a prepared gesso ground. This allowed for greater flexibility in altering details after the paint had dried, a crucial element for a work of this scale and complexity. However, it also introduced instability; the materials used were not entirely compatible with the wall’s structure, leading to rapid deterioration over centuries. The painting's surface has undergone numerous restorations, each attempting to mitigate the damage caused by humidity, temperature fluctuations, and the inherent fragility of tempera paint.

    The Gesso Ground: A carefully prepared layer of gesso provided a stable base for the pigment.

    Tempera Paint: Ricci used tempera, a fast-drying emulsion of pigments in egg yolk, known for its luminosity and rich colors.

    Pitch and Mastic: These substances were applied to seal the wall and create a barrier against moisture, though they ultimately proved insufficient to protect the delicate paint layer.

    Symbolism and Emotional Resonance

    Beyond the immediate narrative of betrayal, Ricci’s “Last Supper” is rich in symbolic detail. The arrangement of the apostles around the table reflects their social standing and relationships within the group. Judas Iscariot, often depicted with a subtly averted gaze and a gesture of offering, embodies deceit and treachery. The use of light and shadow – chiaroscuro – dramatically emphasizes key figures and creates a sense of drama and psychological intensity. Notice how Ricci uses subtle shifts in color to convey the emotional state of each apostle; the vibrant reds and yellows associated with Jesus contrast sharply with the muted blues and grays used for the disciples, highlighting their internal conflict.

    The inclusion of the dog at the bottom left corner is a particularly intriguing detail. While its precise meaning remains debated by art historians, it’s often interpreted as representing loyalty or perhaps even the impending doom that awaits Judas. The overall effect is one of profound emotional depth – a visceral portrayal of human fallibility and the devastating consequences of betrayal.

    A Timeless Masterpiece: Reproduction and Legacy

    “The Last Supper” remains one of the most studied and admired paintings in the world, captivating viewers with its dramatic composition, masterful technique, and profound emotional resonance. High-quality reproductions capture much of the original’s power, offering a window into this pivotal moment in Christian history. When selecting a reproduction, consider factors such as print quality, color accuracy, and archival suitability to ensure that you are preserving the essence of Ricci's masterpiece for years to come. This iconic image continues to inspire artists, designers, and art lovers alike, solidifying its place as a cornerstone of Western artistic heritage.

    Artist and museum

    Artist

    Sebastiano Ricci

    Born in Belluno, Italy

    biography of a vigorous and luminous painter

    sebastiano ricci, an italian painter from belluno, was born on august 1, 1659, and passed away on may 15, 1734. he was a prominent figure in the late baroque school of venice, known for his grand manner fresco painting style.

    early life and training

    ricci's artistic journey began at a young age. in 1671, he was apprenticed to federico cervelli of venice. however, some sources claim that his first master was sebastiano mazzoni.

    notable works and commissions

    * bacchus and ariadne (national gallery, london, united kingdom), a painting showcasing ricci's mastery of the baroque style. * memorial to admiral sir clowdisley shovell (oil on canvas), a testament to his ability to capture the essence of a moment. * the decoration of the oratory of the madonna of the seraglio (1685-1687) in collaboration with ferdinando galli-bibiena, receiving a payment of 4,482 lira.

    artistic style and influences

    ricci's work was influenced by giovanni gioseffo dal sole's style during his time in bologna. his paintings often featured grand, luminous, and vigorous themes, making him a representative of the late baroque school of venice.

    legacy and later life

    ricci's artistic career was marked by periods of turmoil, including imprisonment and scandals. however, he continued to produce notable works, such as venus takes leave from adonis, which showcased his skill in capturing heavenly depictions. he ultimately accepted foreign patronage in london, working on a commission for lord burlington.

    view sebastiano ricci's artwork on AllPaintingsStore.com

    explore more about the baroque school of venice and its influences on wikipedia

    discover other notable artists from the same period, such as luigi bonazza, on AllPaintingsStore.com

    important: this article is based on the available information from AllPaintingsStore.com and may be subject to change as more data becomes available.

    Museum

    National Gallery of Art

    On show in Washington, USA

    A Vision Born of Generosity

    The story of the National Gallery of Art begins with the ambition of Andrew W. Mellon, a man whose influence as a banker and U.S. Treasury Secretary shaped the very foundations of this institution. In 1937, through a joint resolution of the United States Congress, a plan emerged to establish a gallery for the American people, fueled by Mellon's private collection and significant funds. This was not merely an act of donation but a deliberate effort to create a space where art could be encountered freely. The initial acquisitions arrived in the early 1930s, including twenty-one paintings from the Hermitage Museum in St. Petersburg, which brought works such as Raphael’s

    Alba Madonna

    and Jan van Eyck’s

    Annunciation

    to Washington.

    As decades passed, the collection grew through the contributions of others, including Paul Mellon, Ailsa Mellon Bruce, and Chester Dale. These additions expanded the holdings from Renaissance treasures to the structural revolutions of the twentieth century. The presence of Leonardo da Vinci’s

    Ginevra de' Benci

    remains a singular moment in the Americas, as it is the only painting by this master on permanent public display here. The collection traces a path through the Middle Ages to the present day, encompassing diverse forms such as:

    The heavy, textured brushstrokes of Claude Monet

    The bold, color-driven compositions of Henri Matisse

    The intricate, patterned symbolism in works by Gustav Klimt

    Large-scale kinetic movements found in the mobiles of Alexander Calder

    Architectural Dialogue Between Eras

    The physical presence of the National Gallery of Art is defined by a striking contrast between two distinct architectural philosophies. The West Building, designed by John Russell Pope, reflects the classical traditions of ancient Rome and Renaissance Italy. Its marble floors and soaring ceilings create an atmosphere of quietude, where light enters through arched windows to illuminate the halls. This structure was completed and accepted by President Franklin D. Roosevelt on March 17, 1941, occupying the site where the Baltimore and Potomac Railroad Station once stood.

    In a sharp departure from this neoclassical gravity, the East Building represents the arrival of modernism. Conceived by I.M. Pei and opened in 1978, this wing introduces sharp geometries and marble surfaces that catch the light in new ways. The two buildings are physically linked by an underground passage, a transition made even more striking by the

    Multiverse

    installation by Leo Villareal. This permanent light feature uses over 41,000 LED nodes to cast shifting patterns across a two00-foot span. Adjacent to these structures lies the 6.1-acre Sculpture Garden, where the landscape itself becomes part of the experience, featuring works like Robert Indiana's

    AMOR

    .

    Where to read more

    Find this online

    QR code linking to the download page for Last Supper

    originaluniqueart.com/en/art/download/sebastiano-ricci-last-supper-8LT6SS-en/

    Cite this artwork

    MLA
    Ricci, Sebastiano. Last Supper. 1713, National Gallery of Art. https://originaluniqueart.com/en/art/sebastiano-ricci-last-supper-8LT6SS-en/
    APA
    Ricci, Sebastiano (1713). Last Supper [Painting]. National Gallery of Art. https://originaluniqueart.com/en/art/sebastiano-ricci-last-supper-8LT6SS-en/
    Chicago
    Sebastiano Ricci. Last Supper. 1713. National Gallery of Art. https://originaluniqueart.com/en/art/sebastiano-ricci-last-supper-8LT6SS-en/
    Harvard
    Ricci, Sebastiano (1713) Last Supper. National Gallery of Art. Available at: https://originaluniqueart.com/en/art/sebastiano-ricci-last-supper-8LT6SS-en/

    Look closely

    Last Supper — Sebastiano Ricci

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: last supper, jesus, apostles. Do you agree? What would you add, or take away?
    4. Look back at Diana and Callisto (1712), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. High Renaissance: The brief peak when balance, depth and anatomy came together — Leonardo, Raphael, Michelangelo. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Last Supper — Sebastiano Ricci

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What biblical event is depicted in Sebastiano Ricci’s ‘The Last Supper’?

      • A The Annunciation
      • B The Crucifixion
      • C The Last Supper
    2. 2. According to the image description, what object is prominently located near the bottom left corner of the painting?

      • A A chalice
      • B A dog
      • C A loaf of bread
    3. 3. In what year was Sebastiano Ricci born?

      • A 1659
      • B 1734
      • C 1682
    4. 4. The Last Supper is located in which city’s church?

      • A Florence
      • B Rome
      • C Milan
    5. 5. What artistic technique did Sebastiano Ricci primarily employ when creating ‘The Last Supper’?

      • A Oil painting on wood
      • B Fresco on stone
      • C Tempera on gesso

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2A · 3A · 4C · 5C

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Where can I find statistics about "Last Supper" by Sebastiano Ricci?

    A Stats page exists for "Last Supper". It charts the monthly visits of the artwork and of the artist's other works, with country and language breakdowns.

    What subjects appear in "Last Supper" by Sebastiano Ricci?

    The themes present in "Last Supper" by Sebastiano Ricci include last supper, jesus, apostles, betrayal, judas, renaissance, italian art, dining. Together they summarize the artwork's subject matter.

    How big is the original "Last Supper"?

    The original "Last Supper" by Sebastiano Ricci measures 67 x 104 cm.