Christoffer Wilhelm Eckersberg, 1783-1853 by Philip Conisbee

(Washington: National Gallery of Art, 2003), 120. Lene Bøgh Rønberg, “The Last Supper,” Christoffer Wilhelm Eckersberg, 1783-1853, Philip Conisbee, Kasper Monrad, and Lene Bøgh Rønberg, eds. The placement to f his vanishing point at the far edge of the painting also seems to indicate not only his physical but his mental and spiritual movement away from the harmonious whole of the painting and toward betrayal.” Artist: Christoffer Wilhelm Eckersberg (Danish, Blåkrog 17831853 Copenhagen) Date: ca. Thus the new perspective defines this seat, and Judas is given his own horizon line, which is placed below the division of heaven and earth in the painting’s divine hierarchy, making clear that he is damned.

This departure is emphasized by the light thrown on Judas’ empty seat, but also by the fact that, quite unusually, Eckersberg has introduced a second vanishing point at the left edge of the painting, near the elbow of the apostle sitting farthest away. Credit Line: Purchase, Guy Wildenstein Gift, 2003. Medium: Pen and black ink with brush and brown and gray wash. The disciples also find themselves in the earthly region, except that Judas, Christ’s betrayer, has left the scene. Artist: Christoffer Wilhelm Eckersberg (Danish, Blkrog 17831853 Copenhagen) Date: 1830. “Because the horizon line, according to the perspectival construction of the painting, runs along Christ’s shoulders, his head is conceived as already being up in the heavenly realm, while his body still stands on the earth. Find many great new & used options and get the best deals for CHRISTOFFER WILHELM ECKERSBERG, 1783-1853 By Philip Conisbee & C. Lene Bøgh Rønberg explains how Eckersberg utilized perspective to convey meaning: Frederiksberg Church, Copenhagen Documentation:

Christoffer Wilhelm Eckersberg, 1783-1853 by Philip Conisbee