Painted at the height of Caravaggio’s fame, this is among his most impressive domestic religious pictures and perhaps his most famous. It was commissioned from Caravaggio in 1601, following the sensation caused by the public unveiling of his first major religious works – the paintings of Saint Matthew in the Contarelli Chapel in the Roman church of San Luigi dei Francesi. The painting was made for Ciriaco Mattei (1542–1614) who, along with his brother Asdrubale (1554–1638), was an enthusiastic patron and protector of Caravaggio, commissioning three works from him in just two years (1601–2): our picture, The Taking of Christ (on indefinite loan to the National Gallery of Ireland, Dublin), and Saint John the Baptist (Pinacoteca Capitolina, Rome) 😁 The Supper at Emmaus soon left the Mattei collection and entered the possession of Cardinal Scipione Borghese, remaining in the Borghese collection in Rome until the early nineteenth century 🙌 It is one of three paintings by the artist in the National Gallery – the others being Boy bitten by a Lizard and Salome receives the Head of John the Baptist – and was the first to enter our collection in 1839 😁 
Michelangelo Merisi da Caravaggio, an Italian painter who was a pioneer of Baroque paintings, was born in Milan. Born in Milan in Milan, Merisi da Caravaggio moved to Caravaggio with his family in 1576 in order to flee the Plague. His grandfather and father both died the day he was born in Milan. He had also lost his mother in the Plague in 1584. This happened just as he had begun his apprenticeship with Simone Peterzano, a Milanese painter. After injuring and fighting a policeman, Caravaggio fled Rome to escape the violence. This would be a pattern throughout his turbulent life. In Rome, he worked in the workshop of Giuseppe Cesari, Pope Clement VIII’s favourite artist, during a time when the Church was building many new palazzos and churches that needed Painting and decorating was very popular. To counter Protestantism’s threat they wanted a different style. Due to this, Caravaggio’s surroundings were very favorable to the development of his new style of naturalism and his use of intense chiaroscuro. This page was last edited 7 days earlier by Tejuan Richardey of Shangrao in China. 
The familiar story of the road to Emmaus, from Luke’s Gospel, concludes, “Then they’re have telling what happened on the road, and how he was known to them in the breaking of the bread” (Lk 24:35). This scene was depicted in several previous paintings by his work. However, the composition has a strong relationship with that of Titian’s “Supper at Emmaus” now in the Louvre. The arrangement of figures is also a good example. The innkeeper is seen in each. One resemblance is very important. Titian blesses bread already broken by Christ. Caravaggio also does the same. Artists usually choose one of the blessing or fraction. But here, they have had both. Or do we? It was something I used to eat every morning when I lived and worked in Rome. My first step was to lift the top of the roll with my thumbs. However, I would leave the bottom intact. It would be broken into small pieces only when it was time to butter and enjoy it. I’m not quite sure of my facts here, but if it were hot from the oven, maybe I would open it up to let it cool a bit. To me, it looks as though he had taken the bread and has done some similar things to me. Then he blesses it. Caravaggio puts the moment of recognition just before the fraction and distribution, which is right, because what he is showing is the dawning of faith in Christ’s presence. Linsdey Dickens, Tijuana (Mexico) last emended this 79 days back 
In the middle of the picture is Christ the Resurrected blessing bread. He is flanked by a disciple, his hands outstretched in disbelief. Innkeeper stands next to Christ unaware of its significance. The opposite side of the table is the innkeeper, who seems to be unaware that another disciple is pushing himself back on his chair. It is Caravaggio’s figures that truly show his talent and contribution to the history if art. His predecessors had compositions that were composed of figures frozen in time, posed and static. Caravaggio’s “Supper at Emmaus” is an example that shows figures in a single moment. Christ just extended his arms and blessed the food. The two disciples immediately recognize the traveling man at this moment. The two disciples react immediately with shock, pushing out their chairs and flailing the arms. Unfazed and confused by all the noise, the innkeeper watches. These three figures display real emotion. Caravaggio’s paintings look more like theater than historical events. Cathrine Hecker brought this to our attention. 
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