| (눅 24:15) | 그들이 서로 이야기하며 문의할 때에 예수께서 가까이 이르러 그들과 동행하시나 |
Fritz von Uhde 1848 – 1911
Walking to Emmaus
pastel on paper (66 × 90 cm) — 1891
Gemäldegalerie Alte Meister, Dresden
This work is linked to Luke 24:15
Atmospheric painting by Von Uhde. Every detail is dedicated to portraying the earnest attention paid by the men to the stranger who accompanies them on their way to Emmaus – a mere blot in the distance. See the heads bowed in concentration and the small steps, emphasizing how the men are taking their time listening to what is being said.
Note that the landscape is a little greener than is usual in the Middle East. Uhde tended to situate biblical scenes in contemporary country settings.
The original German title is Der Gang nach Emmaus.
| (눅 24:31) | 그들의 눈이 밝아져 그인 줄 알아 보더니 예수는 그들에게 보이지 아니하시는지라  눅4:30 |
Caravaggio 1573 – 1610
Supper at Emmaus (1601)
oil on canvas (139 × 195 cm) — 1601
This work is linked to Luke 24:31
Also known as Pilgrimage of Our Lord to Emmaus. The painting shows the moment the two men finally realize who has been talking to them all day: their deceased teacher.
The man on the right is generally believed to be Peter because of the pilgrim's shell on his clothes, in which case the man on the left is Cleophas - the only one mentioned in by name in Luke's version.
The still-life elements on the table have symbolic meanings. The bread and the wine obviously refer to the Eucharist that is taking place. The grapes in turn refer to the wine, the apples to the Fall of Man, and the pomegranates symbolize the Church. So the table is not an ordinary table but an altar.
Some think the fish-tail shaped shadow to the right of the fruit basket may be an Ichthys symbol (the Jesus fish).
The painting was commissioned by Ciriaco Mattei, a brother of cardinal Mattei in whose Roman palazzo Caravaggio lived at the time. In 1606, Caravaggio made another version of this painting. In 1601 he may very well have been inspired by this Emmaus by Titian.
Almost identical copies of this painting and of The Incredulity of Saint Thomas were found in a church in the French Loire town of Loches in 1999. After investigation, it was announced in 2006 that both works were authentic Caravaggios. Both contain the shield of arms of Philippe de Bethune, a friend of Caravaggio's and French ambassador in Rome. Records show that De Bethune acquired four paintings from his friend. Caravaggio often made several copies of his own paintings.
Caravaggio 1573 – 1610
Supper at Emmaus (1606)
oil on canvas (141 × 175 cm) — 1606
This work is linked to Luke 24:31
This version of Supper at Emmaus is more modest than the one Caravaggio made in 1601. The two men at the sides of the table suddenly realize that the man they have spent most of the afternoon with is their deceased master. one of them raises his hands, the other clutches the table. The innkeeper and his wife remain calm, as they do not know what is happening.
Rembrandt Harmensz. van Rijn 1606 – 1669
Supper at Emmaus (1628)
oil on paper on panel (39 × 42 cm) — 1628
Rembrandt Harmensz. van Rijn biography
This work is linked to Luke 24:31
Rembrandt's first Supper at Emmaus. It shows the exact moment when the two men realize that the person who has been accompanying them on their journey to Emmaus is their deceased master, not just some passer-by. one of the disciples falls on his knees, another recoils.
This early work shows Rembrandt's skill in handling light and darkness.
- Walking to Emmaus
- Supper at Emmaus (1628)
- Supper at Emmaus (1648)
- Supper at Emmaus (1648)
- The disappearance from Emmaus
Rembrandt Harmensz. van Rijn 1606 – 1669
Supper at Emmaus (1648 [1])
oil on panel (68 × 65 cm) — 1648
Rembrandt Harmensz. van Rijn biography
This work is linked to Luke 24:31
This is the most famous of Rembrandt's works on Emmaus. Rembrandt had painted the supper in Emmaus before, in 1626.
The atmosphere is solemn. Again, the servant does not yet realize what is going on.
- Walking to Emmaus
- Supper at Emmaus (1628)
- Supper at Emmaus (1648)
- Supper at Emmaus (1648)
- The disappearance from Emmaus
Rembrandt Harmensz. van Rijn 1606 – 1669
Supper at Emmaus (1648 [2])
oil on canvas (89 × 111 cm) — 1648
Statens Museum for Kunst, Copenhagen
Rembrandt Harmensz. van Rijn biography
This work is linked to Luke 24:31
This version of the Supper at Emmaus is more introverted than the panel Rembrandt painted that same year. The dim light and the curtain create an intimate atmosphere.
It used to be considered an original Rembrandt, but these days it is attributed to an unknown pupil.
- Walking to Emmaus
- Supper at Emmaus (1628)
- Supper at Emmaus (1648)
- Supper at Emmaus (1648)
- The disappearance from Emmaus
Jan Havicksz. Steen ca. 1626 – 1679
Supper at Emmaus
oil on canvas (134 × 104 cm) — 1665-68
This work is linked to Luke 24:31
A different take on a well-known scene. Usually the scene is frozen at the moment the travelers realize who has been keeping them company. Contrary to custom, Jan Steen has them dozing off, tired as they are after dinner and the long walk. From the background their master appears, almost like a ghost.
Titian 1487/90 – 1576
Supper at Emmaus
oil on canvas (169 × 244 cm) — c. 1530 - 1535
This work is linked to Luke 24:31
When the man in the middle takes the bread in his left hand and begins to share it, his fellow travellers suddenly recognize him as their deceased master. Titian captured the startling moment.
On the table are the ingredients of the Eucharist: bread and wine. The crisp white tablecloth strengthens the suggestion of a church altar.
The blue flowers on the table are borage flowers. In Venice they were used to add a fresh flavour to wine and salads.
The dog under the table may refer to a passage in Matthew 15. There a non-Jewish woman tells Jesus that even the dogs eat the crumbs that fall of his table, suggesting that he may be relevant to non-Jews as well. The dog is playing with a cat: a playful detail, unusual for Titian.
The canvas was probably ordered by the Maffei family of Verona.
The Walker Art Gallery in Liverpool has an almost identical work, on loan from the collection of the Earl of Yarborough. It was probably executed by assistants in Titian's workshop.
The Judas in Leonardo's Last Supper may have served as an example for the man in green on the left. Some 70 years later Caravaggio would use Titian's composition in his Supper at Emmaus.
Han van Meegeren 1889 – 1947
The Supper at Emmaus
oil on canvas (115 × 127 cm) — 1937
Museum Boijmans Van Beuningen, Rotterdam
This work is linked to Luke 24:31
This is Van Meegeren's best known forgery. At its so-called discovery experts were tripping over themselves in praise of the work, which was assumed to be a genuine Vermeer. Museum Boijmans paid the huge sum of 520,000 Dutch guilders for its acquisition.
Van Meegeren skillfully applied several aging techniques to give the painting a 17th century look and feel. The light entering from the left and the faces of the figures are all typical Vermeer. It is assumed that Van Meegeren's wife modelled for all figures. The composition is clearly inspired by Caravaggio's depiction of the story.
Diego Rodríguez da Silva y Velázquez 1599 – 1660
Supper at Emmaus
oil on canvas (123 × 133 cm) — ca. 1620
Metropolitan Museum of Art, New York
Diego Rodríguez da Silva y Velázquez biography
This work is linked to Luke 24:31
A painting by a young Velázquez. He may have been inspired by a Caravaggio painting on the same subject: the arm gesture of the man in the foreground is very similar.
The painting shows the astonishment of the two followers of the dead Jesus when they realize who their supper guest is. They've been talking with him all day.
Paolo Veronese 1528 – 1588
Supper in Emmaus
oil on canvas (242 × 416 cm) — c. 1559
This work is linked to Luke 24:31
To the left Jesus and his two companions approach on foot, talking to each other vividly. Seated at the table, the two men suddenly recognize their leader when he blesses the bread and turns his eyes to the sky.
Veronese departs from the traditional depiction of this famous episode. Around the main protagonists is a family dressed in the fashion of the Venetian upper class in the 16th century. The setting is not the traditional inn but a palace.
In many of his paintings Veronese shows a preference for large celebrations. The best example of course is his Marriage at Cana. In this Supper at Emmaus the main motif is a bit overwhelmed by the splendour of the surroundings. The linear perspective created by the lines on the floor does not create enough depth: the figures seem to be jammed into the scene.
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