Oil on canvas and original stretcher 82 x 66 cm
Frame 103 cm by 84 cm
I would like to thank Madame Clémentine Gustin-Gomez for confirming the autograph character of this painting after a direct examination. In her book, Clémentine Gustin-Gomez quotes a painting mentioned and disappeared which could, subject to all reservations, be our painting (C. Gustin Gomez, Charles de La FOSSE (1636-1716), Dijon, 2006, PP.31): Sous the PP number. 31: The Last Supper located next to the high altar in the church of Saint-Pierre-des-Arcis, in Paris; seized during the Revolution; mentioned by A. LENOIR, November 16, 1793, as an object entered in the Provisional Deposit of Monuments
The Last Supper
The Last Supper, also known as the "Lord's Supper" or "Last Meal", commemorates the last meal of Jesus Christ with its disciples before his crucifixion, as described in the New Testament Gospels of the Bible. During the Last Supper, Jesus shared bread and wine with his disciples identifying them as his body and blood. This is considered a symbol of Jesus' sacrifice for the salvation of mankind. In many Christian traditions, the Last Supper is celebrated regularly during a religious service called the Eucharist. The Last Supper is often depicted in Christian art. To cite only him, Leonardo da Vinci, "The Last Supper". This iconic depiction shows Jesus and his disciples seated at a table during the Last Supper.
Charles de la Fosse (1636; 1716)
Charles de La Fosse was born on June 15, 1636 in Paris and died on December 13, 1716. He was an early pupil of Le Brun, with whom he collaborated in the 1650s at the seminary de Saint-Sulpice and at the Hôtel Lambert. From 1658 to 1663, he stayed in Rome, Parma and for a long time in Venice, of which he will always keep the imprint. After his return to Paris, Le Brun employed him at the Tuileries, then at the large apartment in Versailles. La Fosse was admitted to the Academy in 1673 (Abduction of Proserpine), of which he became director in 1707 thanks to the support of Hardouin-Mansart. He will paint various easel paintings for the Grand Trianon, for Marly, for Meudon, Versailles... La Fosse's favorite subjects were often of mythological or religious inspiration, he is also a great decorator, whose art is far removed of Le Brun or a contemporary like Jouvenet. He made many paintings for churches and palaces, including frescoes. His style has developed over time, moving from a more classical and rigid treatment to more dynamic and expressive compositions. It does not intervene, or more exactly imposes itself by example, in what has been called the quarrel of colors or even the quarrel between ancient and modern which opposes from the 1670s, the tradition of the XVIIth century, faithful to the art of Poussin where the painted work is built on the drawing, with the said modern ones where the importance of the drawing is erased with the profit of the choice and the implementation of the colors. His achievements impose him on everyone as the master of the moderns, thus opening the way to 18th century painting. Charles de la Fosse was appointed first painter to the king in 1685.