A performance during the Paris Olympics’ opening ceremony has ignited a wave of criticism from church leaders and conservative politicians, who argue that it bore a striking resemblance to Leonardo da Vinci’s “The Last Supper,” interpreting it as a mockery of Christianity.
The ceremony’s organizers have firmly denied any such intentions.
Performance Details and Controversy
The contentious scene featured a woman in a silver, halo-like headdress standing at the center of a long table, flanked by drag queens. Later, a giant cloche revealed a nearly naked man, painted blue and surrounded by fruit, who began to sing while the drag queens danced. Critics, including the French Bishops’ Conference and American Bishop Robert Barron, condemned the tableau, seeing it as a parody of the iconic biblical scene.
Official Responses
Thomas Jolly, the artistic director of the opening ceremony, addressed the controversy at a news conference, asserting that the performance was not meant to offend or mock anyone. “It is Dionysus who arrives at the table,” he explained, referring to the Greek god of festivities and wine, not Jesus. Anne Descamps, a spokeswoman for Paris 2024, expressed regret if the performance caused any offense.
Diverse Interpretations
Art historians are divided on whether the scene was a deliberate parody. Sasha Grishin, an art historian and professor emeritus at the Australian National University, noted the undeniable resemblance to “The Last Supper,” citing the central figure with a halo and the disciples’ poses. However, Louise Marshall, an honorary senior lecturer at the University of Sydney, pointed out discrepancies, such as the presence of more than twelve figures, questioning the direct reference to the biblical painting.
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