The Last Supper, Washington, D.C.

Sebastiano Ricci painted the Last Supper at least twice, and this version, distinguished in the Wikidata record by its Washington, D.C. location, reflects the sustained demand for this subject among ecclesiastical and devotional patrons. The Last Supper in the Venetian tradition was dominated by Veronese's lavish interpretation and Tintoretto's dramatic chiaroscuro version, both of which Ricci knew intimately. His own treatment would have navigated between these powerful precedents, bringing the event into the Rococo register of lighter palette and more informal figural arrangement while maintaining the sacramental gravity appropriate to a Eucharistic subject. The Washington location suggests this work passed through the American market, likely acquired for a Catholic church or institutional collection before entering a museum or private holding.

The Last Supper's compositional challenge is the arrangement of thirteen figures around a table while maintaining clear identification of Christ and the moment of institution or betrayal announcement. Ricci's Venetian heritage provided compositional models through Veronese and Tintoretto that he adapted to his lighter, more atmospheric handling. The table as horizontal compositional spine organizes the multi-figure group effectively.