ABSTRACT
Following an examination of unorthodox representations of Christ by Delacroix, Chassériau, and Prud’hon, in which mood is emphasized at the expense of devotional function, the hermetically personal iconography of Janmot comes to the fore. Arguing that this hopelessly ambitious ensemble represents, no less than the religious paintings of Delacroix, a decisive break with pre-revolutionary Catholic tradition in the visual arts, the chapter reveals surprising affinity between a fanatically devout student of Ingres and an un-converted Romantic.
