Art Reproductions - Canvas Prints - Oil Painting Reproductions by TOPofART

The Supper at Emmaus, 1601 by Caravaggio

Oil Painting Reproduction
Oil Painting Reproduction
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Creation time: 4-5 weeks
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The Supper at Emmaus, 1601 | Caravaggio | Painting Reproduction

Painting Title:

The Supper at Emmaus, 1601


Michelangelo Merisi da Caravaggio (1571-1610)


National Gallery London United Kingdom



Original Size:

141 x 196.2 cm


This painting reproduction will be completely painted by hand with oil paints on a blank linen canvas. We add additional 1.6" (4cm) of blank canvas above the offered size which will be used to stretch the canvas on a stretcher-bar.

The Time it Takes to be Created:

To paint your Caravaggio Hand-Painted Art Reproduction time is needed. The painting should not be made too hastily, nor should any deadlines be pursued. For the painting to acquire high quality and precision of detail, time is necessary. It also needs time to dry in order to be completely ready for shipping. Depending on the complexity, the level of detail, and the size of the painting, we'll need 4-5 weeks to make the painting.
Should a change of deadlines become necessary, or should your order arrive at a time when we are overloaded with work, then we will notify you by e-mail concerning how much time we would need to complete your painting reproduction.


We do not frame our oil painting reproductions. Hand-Painted Art Reproduction is an expensive product, and the risks of damaging a painting stretched on a frame during transportation are too high. The Supper at Emmaus by Caravaggio is, therefore, not framed, and will be sent to you rolled up and packaged in a strong and secure postal tube.
You can check the price for shipping the order on the shopping cart screen.

The reproduction of a painting with oil on a canvas - the process of painting in pictures step by step
The paintings we create are only of museum quality. Our academically trained artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

The Supper at Emmaus is a painting by the Italian Baroque master Caravaggio, executed in 1601. Originally painted for the Roman nobleman Ciriaco Mattei, and later purchased by Cardinal Scipione Borghese, it is now in the National Gallery in London.

The painting depicts the moment when the resurrected but incognito Jesus, reveals himself to two of his disciples (presumed to be Luke and Cleophas). The moment captures when Christ reveals himself to the astonished disciples, only to soon vanish from their sight (Gospel of Luke 24: 30-31). Luke wears the scallopshell of a pilgrim. The other apostle wears torn clothes. Luke gesticulates in a perspectively-challenging extension of arms in and out of the frame of reference. The standing groom, forehead smooth and face in darkness, appears oblivious to the event. The painting is unusual for the life-sized figures, the dark and blank background. The table lays out a still-life meal. Like the world these apostles knew, the basket of food teeters perilously over the edge.

In the Gospel of Mark (16:12) Jesus is said to have appeared to them "in another form", which may be why he is depicted beardless here, as opposed to the bearded Christ in Calling of St Matthew, where a group of seated money counters is interrupted by the recruiting Christ. It is also a recurring theme in Caravaggio's paintings to find the sublime interrupting the daily routine. The unexalted humanity is apt for this scene, since the human Jesus has made himself unrecognizable to his disciples, and at once confirms and surmounts his humanity. Caravaggio seems to suggest that perhaps a Jesus could enter our daily encounters. The dark background envelops the tableau.

Caravaggio painted a second version of the Supper at Emmaus (now in Pinacoteca di Brera) in 1606. By comparison, the gestures of figures are far more restrained , making presence more important than performance. This difference possibly reflects the circumstances of Caravaggio's life at that point (he had fled Rome as an outlaw following the death of Ranuccio Tomassoni), or possibly, recognising the ongoing evolution of his art, in the intervening five years he had come to recognise the value of understatement.


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