Tissot’s What Our Lord Saw From the Cross stands out among Crucifixion paintings for its unique perspective. By depicting the scene through Christ’s eyes, Tissot challenges viewers to reimagine the event, forcing them to see it with fresh eyes and perhaps even experience a deeper level of empathy.

Tissot’s Unexpected Turn: From Fashion to Faith

Tissot was a financially successful artist who had achieved critical acclaim for his society paintings. Most notable were his paintings of fashionable women, and their lavish attire. At age 48, Tissot experienced a vision that rekindled his Catholic faith. Soon after, he journeyed to the Middle East, embarking on a ten-year project that resulted in 350 paintings depicting the life of Christ.

Tissot’s Biblical paintings were small watercolors that accurately portrayed the narrative of Christ life. While Tissot made an effort to accurately imagine, from the perspectives of those who were at the events, he also included the traditional iconography used by all Biblical artists. This allowed the viewer to instantly recognize the story and connect with it, while at the same time experiencing the story from a fresh perspective.

Initially the works were shown to rave reviews and brought Tissot a great deal of wealth. However, both his contemporaries and later artists considered these watercolors a bit embarrassing when compared to the gorgeous oil paintings he’d become famous for. The Brooklyn Museum, which owns the collection put the exhibit in storage in the 1930’s and has only shown them twice in the last 100 years.

In recent decades there has been a re-evaluation of the works, with art historians recognizing the unique place they play in the history of Christian art. Along with a resurgence of interest in narrative art, there has been a trend to reconsider religious art of the 1800’s.

Those who have seen the works displayed together in the exhibition’s narrative cycle describe the experience as spellbinding, and that no reproduction or book can capture the experience.

Tissot’s Unique Perspective

Today we view one of the most intriguing paintings from the collection, in fact it qualifies as one of the most unique interpretations of the crucifixion ever painted. While paintings of the crucifixion are a staple in Western European art, no one had dared to paint the scene from Christ’s perspective.

Point of view is a crucial tool for any artist. As viewers, we are often unaware of how an artist’s choice of perspective subtly manipulates our emotional response. Tissot, a master of this technique, employed a method inspired by Ignatius of Loyola. Like Loyola, who imagined himself within biblical scenes and experienced them from multiple perspectives, Tissot explored various viewpoints before selecting the most impactful one for his painting.

Each character’s perspective offers a unique interpretation of the story. For Tissot’s contemporaries his innovative approach to framing and perspective was groundbreaking, even shocking. However, none of his perspectives are more striking than the Crucifixion as seen through Christ’s eyes. Demonstrating a vibrant imagination he gives us a perspective we might have never explored otherwise. What did Christ see as he died?

The Cropped Crucifixion

Our exploration of this painting begins with an unexpected detail: the feet of Christ. Positioned centrally in the foreground, only the tips of his feet are visible. This unconventional cropping is jarring. We’ve encountered similar instances in Baroque paintings, where a fragment of a figure hints at a narrative beyond the frame. However, here, the most crucial element of the story – Christ himself – is largely concealed.

Framing these feet is Mary Magdalene, her long red hair cascading down her back. Her hands are raised in prayer, a gesture of grief as she gazes upon Christ, offering him solace in his final moments. As our gaze moves outward, we find ourselves in a luminous, open space partially enclosed by a low wall. This creates a sense of duality, suggesting two simultaneous scenes: one within the enclosed area and another unfolding beyond its confines.

A Variety of Reactions

The most notable soldier is the centurion, set apart by his red cape which draws our attention. We are meant to connect his presence with the line he will speak after Christ breathes his last,

“Surely this man was the Son of God.”

Within the enclosure, a diverse group of Roman soldiers observe the scene. They are striking in their differences. Some appear utterly indifferent, desensitized to violence after years of witnessing brutality. Two soldiers, seated on the ground, appear more troubled, their expressions suggesting contemplation as they witness the unfolding drama.

However, the most prominent figure is the centurion, easily distinguished by his red cape that immediately draws the viewer’s attention. This visual emphasis is meant to foreshadow the words he will speak after Christ’s death. “Surely this man was the Son of God.”

The Faithful Few

In front of the centurion, we find a small group of faithful followers: the Apostle John, the Virgin Mary, and two other female disciples. These few individuals occupy an open, empty space emphasizing the desertion of many of Christ’s disciples who have fled in fear. Only these few remain.

John gazes upon Christ with steadfast devotion. This scene foreshadows his later proclamation,

“Perfect love casts out fear.”

As the disciple beloved by Christ, and perhaps the disciple who loved Christ most deeply, John alone seems devoid of fear, driven only by a desire to remain close to his Lord for as long as possible.

The presence of the Virgin Mary and the other mourning women provides a familiar counterpoint to the unconventional perspective. Their traditional portrayal of grief and suffering – the swooning Virgin – offers a visual anchor, grounding the scene within the familiar iconography of the Crucifixion

The Triumph of His Rivals

In stark contrast to the grieving followers stand the self-satisfied Jewish leaders, mounted on their horses. They have come to witness their rival’s death, certain that this will be the end of the Jesus movement. Their elegant horses and fine clothing attest to their wealth and social status. One of these leaders gazes up at the sky, perhaps to hint of the coming darkness that will fall when Christ breathes his last.

On the ground in front of the Jewish leaders is the jug of vinegar which will be given to Christ, fulfilling a prophecy.

Outside the Circle

Stepping beyond the immediate circle of figures, we encounter the crowd. Some may have been drawn by Christ’s teachings, while others were likely driven by mere curiosity. This fickle crowd, however, exemplifies the capricious nature of popular opinion. Just a week prior, they had hailed him as a savior, crying “Hosanna!” Now, they clamor for his crucifixion.

As this crowd fills the hillside, we notice that Christ’s tomb is depicted on the hillside, waiting for his body to be interred there.

In Conclusion

Although small in size, and currently locked away, Tissot’s detailed, imaginative watercolor provides the art world with a unique perspective on a common theme. Changing the medium he painted with, his subject matter, and even physical location Tissot’s artistic journey took some twists and turns that no one, including the artist could have foreseen. Personally, I’m grateful I happened upon this intriguing depiction of a scene I’ve viewed so many times. I hope you find it as captivating as I do.

If you would like to see an analysis of this work in video form you can find it here.

Sources

E.H. Gombrich, The Story of Art. (New York, Phaidon Press, 2016)
Professor Sharon Latchaw Hirsh, How to Look at and Understand Great Art, Lecture series, Great
Courses
Professor William Koss, History of European Art Lecture series, Great Courses
Sister Wendy Beckett, The Story of Painting (London, Dorsey Kindersley, 2000)
Marilyn Stokstad, Art History. (New Jersey, Pearson Education, 2005)
National Gallery of Art website www.nga.gov
Metropolitan Museum of Art website www.metmuseum.org
The Getty Center www.getty.edu
The Masterpiece Cards, www.themasterpiececards.com
Interpreting Christian Art: Reflections on Christian Art edited by Heidi J. Hornik, Mikeal Carl Parsons
And thanks to the Met and Wiki commons quality images for public domain art is now much more
easily accessible.