The Last Supper 1610 - 1646

Curator: Welcome. Here we have "The Last Supper," an engraving by Nicolaas van der Horst, dating roughly between 1610 and 1646. It’s currently held at the Metropolitan Museum of Art. Editor: The first thing that strikes me is the arrangement, somewhat chaotic but theatrically staged, wouldn't you agree? A central round table dominating the scene, surrounded by a flurry of figures. Curator: It is a particularly dynamic rendering of this pivotal biblical scene. Considering van der Horst's origins and the context of early 17th-century printmaking in Antwerp, this work speaks volumes about the commodification of religious imagery. The labor involved in producing and distributing engravings made such scenes accessible to a broader public, turning faith into a household commodity. Editor: Yes, but look at the composition: the strong diagonals converging toward Christ. And observe how the linear quality of the engraving— those tight cross-hatching marks— lends a certain dramatic tension. The architectural setting provides an intriguing frame that draws your eye toward the narrative core. Curator: Notice, too, the staffage in the background— the servants with food, the glimpse of city architecture outside. This elevates a biblical story into an earthly, almost commonplace event. Editor: I'm drawn to the play of light and shadow—how it articulates form and imbues the scene with such somber reflection. There's a palpable sense of foreboding that seeps from the image’s graphic depth. It almost creates its own visual language. Curator: And this highlights a shift towards accessibility through art making; engraving allowed for wider circulation of religious stories at a time when the Reformation was reshaping cultural identities and how devotional material circulated. The material realities of this print are crucial to understanding its societal impact. Editor: Ultimately, "The Last Supper," as Van der Horst interprets it, utilizes this engraving process as a powerful lens through which we confront our mortality and examine human relationships against the backdrop of divine events. Curator: Agreed. And situating it within the socio-economic conditions of its creation illuminates the intersection of labor, faith, and consumption in shaping cultural narratives.