The Art of Holy Week

National Catholic Register, 13 April 2025

The Register presents five of Tissot’s works that reflect Christ’s path, with reflections.

French artist Jacques Joseph “James” Tissot (1836-1902) was known for his paintings of European high society during the latter part of the 19th century. However, in 1885, he experienced a religious conversion at the Church of St. Sulpice in Paris, inspiring him to focus his work on the sacred, notably the life of Christ. His series of 365 illustrations was bought by the Brooklyn Museum in 1900. 

As Catholics and Orthodox Christians around the world prepare to celebrate Holy Week, culminating in a joint celebration of Easter, the Register presents five of Tissot’s works that reflect Christ’s path, with reflections from Susanna Spencer, Father Raymond de Souza, Jesuit Father Mitch Pacwa, Msgr. Roger Landry and Dominican Sister Mary Madeline Todd. 

Blessed Holy Week! 

— Register Staff

SPY WEDNESDAY

‘JUDAS GOES TO FIND THE JEWS’ (Photo: Tissot | Public domain)

On Spy Wednesday, Matthew 26 is read at Holy Mass. Three preparations are underway for Passover. 

First, there is the conspiracy of Caiaphas and his cohort, who “schemed to arrest Jesus secretly and kill him” (26:4).

Second, there’s the woman at Bethany. Jesus explains what she has done: “When she poured this perfume on my body, she did it to prepare me for burial” (26:12).

Third, the apostles are attending to the logistics of the Passover meal, which Jesus will eat with them (26:17-19). 

Judas separates himself from the apostles, condemns the woman’s gesture, and seeks out those desiring to kill Jesus. He has three choices; he went to the chief priests (26:15) and said, “What are you willing to give me if I hand him over to you?” 

Tissot shows us that Judas is not passive. He has sought out the assemblage of elders and priests. They are gathered in a clandestine conclave, but now turn to accommodate an interloper. He is not one of them, as the railing makes clear. He intrudes to make an offer. When treachery is afoot, unlikely accomplices are welcome.

Tissot gives us another figure, dominant in the foreground, walking away from Judas. Who is this man? 

Is he part of the Caiaphas cohort but simply passing by? Is he the first of the many passersby of the Passion, glancing backward with a sinister sympathy? 

Is he slinking away because he objects to the buying and selling of Jesus but does not have the courage to oppose it?

Or has he rejected their scheme and walks away with disgust on his face? Is this Nicodemus or Joseph of Arimathea? 

Perhaps Tissot wants us to consider our options. The Passion is a time for choosing. Judas makes his choice today.

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