An Olympics Scene Ignites Controversy: Was It Truly a Parody of ‘The Last Supper’?
In a recent spectacle at the Paris Olympics’ opening ceremony, a contentious scene has provoked indignation among church leaders and conservative politicians, sparking debate over whether it caricatured Leonardo da Vinci’s iconic portrayal of “The Last Supper.” While some have denounced the display as a “mockery” of Christianity, art historians remain divided.
The organizers and planners of the event have firmly denied any intent to draw inspiration from “The Last Supper” or to mock religious beliefs.
During the performance, a woman adorned with a silver, halo-like headpiece stood at the center of a long table, flanked by drag queens. At one point, a large cloche was lifted to reveal a nearly naked man, painted blue, lying on a platter surrounded by fruit. The man began to sing as the drag queens danced in the background.
This tableau has been criticized by some viewers, who perceived it as a parody of the New Testament scene famously depicted in da Vinci’s painting. The French Bishops’ Conference, representing the nation’s Catholic bishops, issued a statement condemning the ceremony for what they saw as “scenes of mockery and derision of Christianity.” Similarly, Bishop Robert Barron of Minnesota, a prominent American Catholic figure, labeled it a “gross mockery.”
The backlash extended beyond religious circles. C Spire, a Mississippi-based telecommunications company, announced it would withdraw its advertisements from the Olympics broadcasts. Speaker Mike Johnson described the scene as “shocking and insulting to Christian people.”
Thomas Jolly, the artistic director of the opening ceremony, addressed the controversy at a news conference on Saturday. He insisted that the performance was not designed to “be subversive, or shock people, or mock people.” On Sunday, Anne Descamps, the spokesperson for Paris 2024, expressed regret, saying, “If people have taken any offense, we are, of course, really, really sorry.”
Jolly clarified that the inspiration behind the performance was not “The Last Supper.” He explained in an interview with the French media outlet BFMTV, “It is Dionysus who arrives at the table.” Dionysus, the Greek god of festivity and wine, and father of Sequana, the goddess of the Seine River, was central to the intended theme of a grand pagan celebration tied to the gods of Olympus and Olympism.
However, for some observers, the resemblance to da Vinci’s masterpiece was unmistakable.
“The idea of the central figure with a halo and a group of followers on either side — it’s so typical of ‘The Last Supper’ iconography that to read it in any other way might be a little foolhardy,” commented Sasha Grishin, an art historian and professor emeritus at the Australian National University.
Professor Grishin noted that the central figure’s headpiece evoked the High Renaissance style, where Jesus is often depicted with a halo or a radiant light. In some interpretations, this is symbolized by a golden circle, while in others, such as da Vinci’s, Jesus is backlit by a window or has a subtle glow.
The poses struck by the drag queens also drew comparisons to the disciples’ arrangement in “The Last Supper,” adding to the perception that the scene was a deliberate reference to the sacred moment when Jesus announced his impending sacrifice for humanity’s sins.
Nevertheless, others have argued that the connection to “The Last Supper” was not immediately evident.
For instance, there were at least 17 drag queens, surpassing the twelve apostles depicted in da Vinci’s work, observed Louise Marshall, an honorary senior lecturer at the University of Sydney and an expert in Renaissance art. “That’s basic. You kind of have to have that number.”
Dr. Marshall explained that to accurately reference “The Last Supper,” especially da Vinci’s version, the apostles are typically grouped in threes, visually connected through gestures. The drag queens’ movements, which seemed more akin to vogueing—a dance style closely associated with drag culture—did not align with this iconography. Additionally, the presence of fruit instead of a meal spread across the table further distanced the scene from traditional depictions.
“Frankly, when I looked at the clips, ‘The Last Supper’ isn’t necessarily what springs to mind,” she remarked. “It seems very lighthearted and funny and witty and very inclusive.”
Comparisons have also been drawn to a different artwork, “The Feast of the Gods,” painted by Dutch artist Jan van Bijlert in the 17th century. This painting depicts a gathering of gods around a long table, with Apollo, the sun god, at the center, crowned with a halo of light.
On Sunday, the Musée Magnin in Dijon, France, which houses the painting, posted images of it on X, with a playful caption: “Does this painting remind you of something?” accompanied by a winking emoji.
The ongoing debate underscores the complex interplay between art, interpretation, and cultural sensitivity, as the world continues to grapple with the boundaries of creative expression.
