Follower of Pieter Candid, late 16th century.

Flemish school of the late 16th century. Follower of PIETER CANDID (Bruges, 1548-Munich, 1628).
"The Last Supper", from an engraving by Jan Sadeler (Flanders, 1548-1628).
Oil on copper.
In very good condition.
It presents golden frame with marks of old non-active xylophages and very slight lack of polychromy.
Measurements: 25 x 20 cm; 34 x 29 cm (frame).

The Last Supper is one of the most relevant representations in the history of western art. In the first place, because it is the concrete moment in which the sacrament of the Eucharist is established, since Jesus in this supper made the analogy between his body and the bread, and the wine and his blood. Secondly, the mythical scene that was painted by Leonardo, established the basis of Renaissance aesthetics, thus providing a conception of perspective that was hegemonic until well into the twentieth century. In this particular case, the scene reflects this aesthetic based on the Leonardesque composition, and the characters present a similar disposition to the one mentioned above. Formally, the scene is part of the academicism, and therefore follows classical rules, the first of which is the high technical quality. Thus, the drawing is rigorous and firm, of great anatomical perfection.

Aesthetically the work is related to the painting of Pieter Candid, painter, tapestry designer and Mannerist draughtsman born in Flanders and active in Italy and Bavaria. He was an artist at the Medici court in Florence and at the Bavarian court of Duke Wilhelm V and his successor Maximilian I in Munich. Peter began his apprenticeship in Italy in the early 1560s under the guidance of an unknown master. The earliest known record of Candid's work as an artist relates to payment for a fresco executed in Florence in 1569. He is first mentioned as a member of the "Accademia delle Arti del Disegno" in 1576. The Accademia delle Arti del Disegno was a prestigious academy of artists in Florence whose members included Michelangelo Buonarroti, Lazzaro Donati, Agnolo Bronzino, Benvenuto Cellini and others. In 1586 he was called to the ducal court of Munich on the recommendation of the sculptor Giambologna, another Flemish artist working in Italy, with whom Candid had a close relationship. He was first court painter to Duke William V of Bavaria and later to Maximilian I of Bavaria. In the period between 1600 and 1628 he was the most important artist in Munich. He also worked as an art dealer and maintained business relations with Philipp Hainhofer, an Augsburg merchant, banker, diplomat and art collector remembered, among other things, for his cabinets of curiosities. Peter Candid was an extremely versatile artist who was not only a painter, but also a designer of tapestries, prints and sculptures. His pictorial work ranged from history paintings, portraits, mythological scenes and allegories to large altarpieces and complex decorative projects. He was an oil and fresco painter. He is credited with introducing Italian fresco painting as the preferred medium in Bavaria. The iconography he developed was influential well into the 18th century.