[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:06.37,0:00:07.48,Default,,0000,0000,0000,,We’re in S G M
Dialogue: 0,0:00:07.48,0:00:10.63,Default,,0000,0000,0000,,across the Grand Canal from S M in Venice.
Dialogue: 0,0:00:10.63,0:00:13.82,Default,,0000,0000,0000,,And we’re looking at Tintoretto’s 'Last Supper.'
Dialogue: 0,0:00:13.82,0:00:16.94,Default,,0000,0000,0000,,It’s located in the sanctuary of the church –
Dialogue: 0,0:00:16.94,0:00:18.18,Default,,0000,0000,0000,,on the right wall
Dialogue: 0,0:00:18.18,0:00:19.38,Default,,0000,0000,0000,,And it’s huge.
Dialogue: 0,0:00:19.38,0:00:21.66,Default,,0000,0000,0000,,This is such an untraditional version
Dialogue: 0,0:00:21.66,0:00:23.82,Default,,0000,0000,0000,,of this subject – very mannerist.
Dialogue: 0,0:00:23.82,0:00:26.31,Default,,0000,0000,0000,,We’re so used to looking at Leonardo da Vinci’s
Dialogue: 0,0:00:26.31,0:00:28.06,Default,,0000,0000,0000,,Last Supper in Milan.
Dialogue: 0,0:00:28.06,0:00:29.41,Default,,0000,0000,0000,,That’s a painting where the table
Dialogue: 0,0:00:29.41,0:00:31.50,Default,,0000,0000,0000,,is drawn across horizontally –
Dialogue: 0,0:00:31.50,0:00:33.52,Default,,0000,0000,0000,,which is such a high Renaissance example
Dialogue: 0,0:00:33.52,0:00:35.00,Default,,0000,0000,0000,,of the use of linear perspective –
Dialogue: 0,0:00:35.00,0:00:36.91,Default,,0000,0000,0000,,with Christ as the vanishing point –
Dialogue: 0,0:00:36.91,0:00:38.32,Default,,0000,0000,0000,,at the very center of the painting –
Dialogue: 0,0:00:38.32,0:00:40.11,Default,,0000,0000,0000,,at the very center of the table.
Dialogue: 0,0:00:40.11,0:00:42.40,Default,,0000,0000,0000,,And here, everything is askew.
Dialogue: 0,0:00:42.40,0:00:46.69,Default,,0000,0000,0000,,And Leonardo uses natural light – without halos.
Dialogue: 0,0:00:46.69,0:00:48.36,Default,,0000,0000,0000,,Christ is framed by a window.
Dialogue: 0,0:00:48.36,0:00:52.77,Default,,0000,0000,0000,,But here, the figure of Christ actually glows from within –
Dialogue: 0,0:00:52.77,0:00:56.01,Default,,0000,0000,0000,,in a return to spiritual symbolism.
Dialogue: 0,0:00:56.01,0:00:59.37,Default,,0000,0000,0000,,And the spiritual permeates the entire space of this painting
Dialogue: 0,0:00:59.37,0:01:01.74,Default,,0000,0000,0000,,in a very evident way.
Dialogue: 0,0:01:01.74,0:01:04.30,Default,,0000,0000,0000,,Light is central to understanding this painting.
Dialogue: 0,0:01:04.30,0:01:06.28,Default,,0000,0000,0000,,There are really only two light sources here
Dialogue: 0,0:01:06.28,0:01:08.37,Default,,0000,0000,0000,,in this very dark painting
Dialogue: 0,0:01:08.37,0:01:09.94,Default,,0000,0000,0000,,Closer to us, on the upper left,
Dialogue: 0,0:01:09.94,0:01:11.17,Default,,0000,0000,0000,,you have a lantern,
Dialogue: 0,0:01:11.17,0:01:13.06,Default,,0000,0000,0000,,which just dances with light
Dialogue: 0,0:01:13.06,0:01:14.83,Default,,0000,0000,0000,,and flame and smoke.
Dialogue: 0,0:01:14.83,0:01:17.29,Default,,0000,0000,0000,,And then there’s the divine emanation.
Dialogue: 0,0:01:17.29,0:01:20.12,Default,,0000,0000,0000,,And from that lamp, in the upper left,
Dialogue: 0,0:01:20.12,0:01:21.93,Default,,0000,0000,0000,,angels are illuminated.
Dialogue: 0,0:01:21.93,0:01:24.62,Default,,0000,0000,0000,,And we see them floating all over the ceiling.
Dialogue: 0,0:01:24.62,0:01:27.21,Default,,0000,0000,0000,,It’s not that high Renaissance way of
Dialogue: 0,0:01:27.21,0:01:31.16,Default,,0000,0000,0000,,indicating the spiritual through the natural –
Dialogue: 0,0:01:31.16,0:01:32.52,Default,,0000,0000,0000,,through reality.
Dialogue: 0,0:01:32.52,0:01:35.91,Default,,0000,0000,0000,,Here, Tintoretto is not afraid to paint angels.
Dialogue: 0,0:01:35.91,0:01:38.07,Default,,0000,0000,0000,,There is a kind of divine revelation.
Dialogue: 0,0:01:38.07,0:01:39.80,Default,,0000,0000,0000,,The light that emanates
Dialogue: 0,0:01:39.80,0:01:43.14,Default,,0000,0000,0000,,from Christ’s halo seems quite strong.
Dialogue: 0,0:01:43.14,0:01:44.26,Default,,0000,0000,0000,,If you look at the woman
Dialogue: 0,0:01:44.26,0:01:45.99,Default,,0000,0000,0000,,who kneels in the foreground –
Dialogue: 0,0:01:45.99,0:01:47.14,Default,,0000,0000,0000,,slightly to the right –
Dialogue: 0,0:01:47.14,0:01:48.51,Default,,0000,0000,0000,,you’ll see that, in Christ’s light,
Dialogue: 0,0:01:48.51,0:01:50.82,Default,,0000,0000,0000,,her head casts a deep shadow
Dialogue: 0,0:01:50.82,0:01:53.56,Default,,0000,0000,0000,,that [creates] a diagonal that points us towards Christ.
Dialogue: 0,0:01:53.56,0:01:55.66,Default,,0000,0000,0000,,And then the apostles around the table
Dialogue: 0,0:01:55.66,0:01:57.41,Default,,0000,0000,0000,,also have halos of light –
Dialogue: 0,0:01:57.41,0:02:00.28,Default,,0000,0000,0000,,although smaller than the light from Christ.
Dialogue: 0,0:02:00.28,0:02:02.41,Default,,0000,0000,0000,,But this painting is all about energy.
Dialogue: 0,0:02:02.41,0:02:03.52,Default,,0000,0000,0000,,It’s all about drama.
Dialogue: 0,0:02:03.52,0:02:06.60,Default,,0000,0000,0000,,Look at the way the primary diagonal of the table
Dialogue: 0,0:02:06.60,0:02:09.11,Default,,0000,0000,0000,,moves us back with incredible speed
Dialogue: 0,0:02:09.12,0:02:10.52,Default,,0000,0000,0000,,back to a vanishing point
Dialogue: 0,0:02:10.52,0:02:12.30,Default,,0000,0000,0000,,in the upper right corner of the painting.
Dialogue: 0,0:02:12.30,0:02:13.45,Default,,0000,0000,0000,,And actually, I’m not even sure
Dialogue: 0,0:02:13.45,0:02:16.09,Default,,0000,0000,0000,,that it’s a correct use of linear perspective.
Dialogue: 0,0:02:16.09,0:02:18.17,Default,,0000,0000,0000,,That table tilts forward –
Dialogue: 0,0:02:18.17,0:02:20.10,Default,,0000,0000,0000,,So that he’s playing fast and loose
Dialogue: 0,0:02:20.10,0:02:23.79,Default,,0000,0000,0000,,with those very ideas that were so critical
Dialogue: 0,0:02:23.79,0:02:25.72,Default,,0000,0000,0000,,to the high Renaissance –
Dialogue: 0,0:02:25.72,0:02:27.35,Default,,0000,0000,0000,,like linearperspective.
Dialogue: 0,0:02:27.35,0:02:29.73,Default,,0000,0000,0000,,Pictorial spaces seem literally up ended.
Dialogue: 0,0:02:29.73,0:02:33.01,Default,,0000,0000,0000,,The space rises so steeply, and so dramatically,
Dialogue: 0,0:02:33.01,0:02:33.92,Default,,0000,0000,0000,,and so quickly.
Dialogue: 0,0:02:33.92,0:02:37.24,Default,,0000,0000,0000,,And form itself seems to have dissolved
Dialogue: 0,0:02:37.24,0:02:40.43,Default,,0000,0000,0000,,under the power of his line and color.
Dialogue: 0,0:02:40.43,0:02:41.84,Default,,0000,0000,0000,,Tintoretto said that his goal
Dialogue: 0,0:02:41.84,0:02:44.95,Default,,0000,0000,0000,,was to unite the two different traditions
Dialogue: 0,0:02:44.95,0:02:46.43,Default,,0000,0000,0000,,of the Florentine Renaissance
Dialogue: 0,0:02:46.43,0:02:47.54,Default,,0000,0000,0000,,and the Venetian Renaissance –
Dialogue: 0,0:02:47.54,0:02:51.37,Default,,0000,0000,0000,,the line of the Tuscan tradition of Michelangelo
Dialogue: 0,0:02:51.37,0:02:52.77,Default,,0000,0000,0000,,and the color of Titian.
Dialogue: 0,0:02:52.77,0:02:55.64,Default,,0000,0000,0000,,He had a sign written on his studio wall
Dialogue: 0,0:02:55.65,0:02:57.18,Default,,0000,0000,0000,,that said exactly that.
Dialogue: 0,0:02:57.18,0:02:58.27,Default,,0000,0000,0000,,When I look at this painting
Dialogue: 0,0:02:58.27,0:03:00.09,Default,,0000,0000,0000,,I feel pulled in different directions.
Dialogue: 0,0:03:00.09,0:03:02.43,Default,,0000,0000,0000,,I feel pulled by the velocity
Dialogue: 0,0:03:02.43,0:03:05.02,Default,,0000,0000,0000,,of the orthogonals of the table.
Dialogue: 0,0:03:05.02,0:03:08.20,Default,,0000,0000,0000,,And then I feel pulled by the light around Christ.
Dialogue: 0,0:03:08.20,0:03:11.02,Default,,0000,0000,0000,,And then I also feel pulled to anecdotal details
Dialogue: 0,0:03:11.02,0:03:13.11,Default,,0000,0000,0000,,that are around the periphery.
Dialogue: 0,0:03:13.11,0:03:15.74,Default,,0000,0000,0000,,The figure serving food on the right, for example.
Dialogue: 0,0:03:15.74,0:03:17.14,Default,,0000,0000,0000,,or in the foreground.
Dialogue: 0,0:03:17.14,0:03:20.80,Default,,0000,0000,0000,,Or the apostles reacting and talking to each other,
Dialogue: 0,0:03:20.80,0:03:22.08,Default,,0000,0000,0000,,after Christ’s words,
Dialogue: 0,0:03:22.08,0:03:23.98,Default,,0000,0000,0000,,”Take this bread, for this is my body,” and,
Dialogue: 0,0:03:23.98,0:03:25.79,Default,,0000,0000,0000,,“Take this wine, for this is my blood"
Dialogue: 0,0:03:25.79,0:03:28.37,Default,,0000,0000,0000,,and Christ has stood up [and] turned.
Dialogue: 0,0:03:28.37,0:03:29.19,Default,,0000,0000,0000,,[And] seems to be offering the bread.
Dialogue: 0,0:03:29.19,0:03:31.37,Default,,0000,0000,0000,,And so we have the literal enactment
Dialogue: 0,0:03:31.37,0:03:32.31,Default,,0000,0000,0000,,of the Eucharist.
Dialogue: 0,0:03:32.31,0:03:33.59,Default,,0000,0000,0000,,It’s much more active.
Dialogue: 0,0:03:33.59,0:03:35.59,Default,,0000,0000,0000,,I want to go back to that idea of the anecdotal.
Dialogue: 0,0:03:35.59,0:03:36.69,Default,,0000,0000,0000,,Yes, the woman's serving food.
Dialogue: 0,0:03:36.69,0:03:39.27,Default,,0000,0000,0000,,But notice that she’s reaching into a basket.
Dialogue: 0,0:03:39.27,0:03:42.50,Default,,0000,0000,0000,,And a cat happens to be looking in that basket, as well.
Dialogue: 0,0:03:42.50,0:03:44.87,Default,,0000,0000,0000,,There is this very solemn event that's taking place.
Dialogue: 0,0:03:44.87,0:03:46.86,Default,,0000,0000,0000,,And yet, at the same time, it's surrounded
Dialogue: 0,0:03:46.86,0:03:48.72,Default,,0000,0000,0000,,by elements that are simply not important.
Dialogue: 0,0:03:48.72,0:03:51.00,Default,,0000,0000,0000,,and make this a human event.
Dialogue: 0,0:03:51.00,0:03:54.98,Default,,0000,0000,0000,,That's right. Make it, in a way, more real
Dialogue: 0,0:03:54.98,0:03:57.85,Default,,0000,0000,0000,,than the pared down, harmonious, balanced image
Dialogue: 0,0:03:57.85,0:04:00.37,Default,,0000,0000,0000,,that Leonardo gives us of the Last Supper.
Dialogue: 0,0:04:00.37,0:04:02.31,Default,,0000,0000,0000,,And that's what I find so incongruous
Dialogue: 0,0:04:02.31,0:04:04.49,Default,,0000,0000,0000,,about this dark painting.
Dialogue: 0,0:04:04.49,0:04:07.83,Default,,0000,0000,0000,,and all of its solemnity – yes – but all of its energy
Dialogue: 0,0:04:07.83,0:04:10.52,Default,,0000,0000,0000,,within this very staid environment
Dialogue: 0,0:04:10.52,0:04:14.24,Default,,0000,0000,0000,,of the church by P – S G M.
Dialogue: 0,0:04:14.24,0:04:17.65,Default,,0000,0000,0000,,We are in a pristine, white building.
Dialogue: 0,0:04:17.65,0:04:20.72,Default,,0000,0000,0000,,And yet this painting is so dark and so mysterious.
Dialogue: 0,0:04:20.72,0:04:23.76,Default,,0000,0000,0000,,And yet Paladio has made everything evident of us.
Dialogue: 0,0:04:23.76,0:04:27.59,Default,,0000,0000,0000,,with its classicism, its order, its precision, its logic,
Dialogue: 0,0:04:27.59,0:04:29.18,Default,,0000,0000,0000,,its rationality.
Dialogue: 0,0:04:29.18,0:04:31.61,Default,,0000,0000,0000,,And then, in this Tintoretto, we enter into
Dialogue: 0,0:04:31.61,0:04:34.41,Default,,0000,0000,0000,,the realm of the spiritural – the supernatural.
Dialogue: 0,0:04:34.41,0:04:36.47,Default,,0000,0000,0000,,This is not the realm of the rational at all.
Dialogue: 0,0:04:36.47,0:04:39.87,Default,,0000,0000,0000,,We move from the high Renaissance
Dialogue: 0,0:04:39.87,0:04:45.20,Default,,0000,0000,0000,,classicism of Paladio into the mannerism of a Tintoretto.