St. Veronica, El Greco
- Posted by El Greco
- Museum: Santa Cruz Museum
- Year: Around 1579
Overviewof the painting :
Saint Veronica – El Greco. Around 1579
El Greco addressed the topic of the sacred scarf several times. In a picture written around 1579.a thoughtful look of aristocratic St. Veronica is set aside, which allows the viewer to focus on the image of Christ, captured on the scarf that she shows. Christ looks directly at the viewer, the features of his face are calm and sophisticated, and not distorted by wounds or pain.
Such an idea of the human image of Christ is similar to the majestic non-manual Savior – a way revered by Orthodox Christians with whom El Greco, as a Cretan, should have been familiar. Like Veronica’s scarf, the shroud was a piece of fabric on which the image of Christ was wonderfully sealed when he brought it to his face, so it is believed that it conveys its true features. Both the shroud and the scarf of Veronica were important relics for medieval Christianity, but in painting the image on the scarf is more often represented only by Christ’s face with streams of sweat and blood, which encourages the viewer to focus on reflections on the suffering of Christ, which he accepted as atonement of human sins.
SV. VERONIKA. In the apocryphal gospels of Veronica is referred to as a woman who suffered bleeding and was healed by touching the edge of Christ’s clothes. It was also known that she had an image of the face of Christ, which, according to legend, she received by wiping sweat from his face with a piece of linen cloth when Christ carried a cross on Calvary: his face was miraculously imprinted on this piece of fabric. The fabric, called the Veronica scarf, subsequently found itself in Rome and became an important relic of the basilica of St. Petra. The name “Veronica” can be considered to have come from the Latin words of the faith of icons, meaning “true image.”. This saint is portrayed holding his handkerchief, as in the picture of El Greco, or standing among the disgusting crowd that surrounded Christ before his crucifixion, standing out from the grace of his appearance, as in the picture of Bosch (c. 1450-1516).