Ludovico Mazzolino. Sheila Diemert. Old master. Fray Miguel de Herrera. Italian School. Rebecca Mike. Giacomo Galli. Ivan Kramskoi. Christopher Panza. Viktor Mikhaylovich Vasnetsov. Hungarian School.
Andrea Solario. Willem Jacob Herreyns. Philippe de Champaigne. Guido Reni. Bartolome Esteban Murillo. Michael Grubb. Post a Comment. Typical 20th Century "holy card" image of the Sacred Heart Most Catholics are aware of the devotion to the Sacred Heart of Jesus, and the kitschy images that currently go with it. According to most information about it the devotion dates back to the late seventeenth century, to the apparition of Jesus to Saint Margaret Mary Alacoque, a Visitation nun living in a Visitation monastery at Paray-le-Monial in the Franche-Comte region of east-central France.
In these apparitions Jesus is said to have appeared to her and, among other things, requested that pictures of His Sacred Heart should be set up and venerated in churches and homes. He also made several promises that people who venerate His Heart would receive special graces for their lives. The image of the Sacred Heart underwent many changes from the time of Saint Margaret Mary to the present until it became a piece of Catholic kitsch, off-putting to many. Indeed, the back history of the image may have contributed greatly to the image she and her followers promoted.
Very little about the image was actually new. From the Sixth Century to the Middle Ages. It all begins with images of the crucified Jesus being pierced by a Roman spear, causing blood to issue from His wounded side, and with the image of the Man of Sorrows , the devotional image in which the figure of Christ, scourged and crowned with thorns, displays His wounds for veneration.
The five wounds are to the hands, feet and heart of Christ, since the spear thrust to His side reached His heart. The three panels are: top right panel, bottom panels: second from the left shown below left in detail and second from the right. The Angel at the left holds a flaming heart. It is unclear.
Margaret Mary—the cross set in the top, the encircling crown of thorns, and the open wound on one side. Early renditions of the Sacred Heart after that date emphasize its fleshly reality. In the frontpiece illustration for De Cultu Sacrosancti Cordis Dei ac Domini Nostri Jesu Christi , by Charles-Joseph Natoire , the Sacred Heart is shown in intensely realistic detail, almost like what one might expect from a medical textbook of the time, according to art historian Simonetta Marin see her article here.
In some instances, the Sacred Heart was displayed apart from the crucified body of Christ but with the figure of St. Margaret Mary, such as this oil painting of the saint, kneeling before a darkly knotted Sacred Heart in the foreground. That date also marks the year that the Vatican instituted the Feast of the Sacred Heart. But towards the end of the century, images of the Sacred Heart underwent a dramatic shift from focusing on the heart itself to displaying it with the figure of Jesus, according to scholar David Morgan.
In the painting, Jesus is wearing a red tunic with a blue cloak wrapped on his shoulders—traditional colors signifying His Passion, or humanity, and His royalty or divinity, respectively.
He is holding His heart out to the person viewing the image, almost as some sort of invitation. In one version, He is pulling back His outer clothing to reveal the Sacred Heart. In the other, He is pointing to it , according to Morgan. But it changed the way that people engaged with the Sacred Heart.
Pompeo Batoni is the painter who depicted the most famous image of the Sacred Heart of Jesus. He was born in Lucca in and his father was a skilled goldsmith who imposed the family trade on his son. Once in the Eternal City, the young painter became fascinated by the antique sculptures in and around the Vatican and the frescos by Raphael and Annibale Carracci.
Batoni soon became famous due to his ability to copy the classical sculptures.
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