Fraternity-Testvériség, 1963 (40. évfolyam, 1-12. szám)

1963-11-01 / 11. szám

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FRATERNITY

ALFONZ LENGYEL:

THE LIFE AND ART

OF

ALEXANDER FINTA

HUNGARIAN-AMERICAN SCULPTOR

Chapter VI

FINTA’S WORK IN CALIFORNIA

(Continuation)

In the Last Supper, Finta produced the impression of a strongly-accentuated, three-dimensional room. The walls narrow down in perfect linear perspective. On the wall forming the background three pictures illustrate the main Biblical events in the history of mankind. The left shows Noah’s ark and the rainbow of promise shining after the deluge; the center illustrates the story of Cain and Abel; the right shows the betrayal and capture of Christ.

In the front of the scene is the supper table, extending across the entire room, with a sheep lying beneath is. Two lamps suspended from the ceiling serve to emphasize the table’s length. Christ is sitting in the center, with a halo and tongues of fire about His head. One of the disciples stands with outstretched arms; Judas holds a moneybag in his hand. The other disciples, seated, listen to the last words of Christ. A woman is entering through the left door.

The robe of Christ is markedly different from the simple robes of the disciples, for it is evocative of the vestments of a Catholic priest. The folds of the disciples’ sleeves, caught at the wrists, are carved with great detail and precision.

Finta produced the desired impact with his composition, with his intermittent light and shade effects, and with the penetrating force of expression. The room is tense with a certain feeling: