Titian (c. 1488/90- 1576), Supper at Emmaus, c. 1530, Oil on canvas, 169 x 244 cm, The Louvre, Paris
This painting, created circa 1530, is one of several interpretations of this theme by the artist. The work’s sonorous gravity and the way its colours traverse the spectrum, as noted by scholars of Titian, reflect the influence of the Brescian school, particularly the art of Moretto. Titian was not afraid to borrow from other artists to create his masterpieces. Here, the striking orange-yellow of the page’s costume appears to be borrowed from the similarly placed disciple in Moretto’s ‘Supper at Emmaus’ of around 1526, which originally hung in the Church of St Luke in Brescia and is now housed in the Tosio-Martinengo Museum. Additionally, the disciple dressed in green and leaning back in Titian’s composition is directly modelled on the Judas figure in Leonardo da Vinci’s ‘Last Supper’, highlighting Titian’s engagement with several important Renaissance precedents.
The scene, taken from Luke 24:13–35, captures the moment the resurrected Christ blesses the bread and reveals his identity to two disciples. The table has simple yet symbolically charged items, including wine glasses, bread rolls, a chicken, broad bean pods, and delicate blue borage flowers. Broad beans, considered peasant food, were typically served to poor pilgrims. At the same time, borage was believed to dispel sadness and bring joy, reflecting Venetian customs and adding layers of meaning to the depiction. The white tablecloth, intricately rendered with realistic folds, may symbolise the altar cloth used in the Eucharist, reinforcing the sacramental theme.
Over time, certain colours in the painting have faded and oxidised due to the ageing of pigments and varnishes, affecting the original tonal balance intended by Titian. Despite these changes, the composition retains its integrity, with the evening sunlight filtering across the background landscape, enhancing the serene yet revelatory atmosphere of the scene. The painting’s warm evening light and balanced arrangement of figures amplify the narrative’s dramatic tension.
