Depicting the Holy Passion: A Visual Journey to the Resurrection

Holy Week in 14 paintings, and the hidden theological difference between the Orthodox and Western Church

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As we go through Holy Week in the Orthodox Church, a period of deep devotion, inner reflection, and anticipation, and while the Easter celebrations in the Western Church have just concluded, I thought we could take a different, visual journey through the Holy Passion. Through the following paintings by master artists, I provide a brief description of what transpires each day, highlighting the thematic differences between the Western and Orthodox traditions during the first three days. It is a visual and spiritual journey from the entry into Jerusalem to the redemption of the Resurrection.

If you are wondering why there is this divergence at the start of the week, the answer does not lie simply in the Great Schism of 1054, which in any case sealed this difference by cutting off any bridges of interaction. The essence lies in the fact that, over the centuries, the two churches developed entirely different psychological and theological approaches to how the faithful should experience the Passion.

The West followed a linear, historical approach, influenced by Roman pragmatism. Later, during the Middle Ages, the emphasis was placed on the realistic representation of events. This continued into the Renaissance, which perhaps explains why iconography in the Western Church gradually drifted away from the transcendental, Byzantine style. The purpose of the Liturgy and of art was to accurately depict the biblical events for the illiterate believer. This is why the Western Holy Week liturgy invites the faithful to follow the events strictly chronologically, as witnesses: it places them in Jerusalem, right next to Jesus, “walking” in His footsteps, day by day, hour by hour, from the welcoming with palm branches (Palm Sunday) to the Crucifixion and Resurrection (Easter Sunday).

In the Eastern, Byzantine Rite, however, the approach is not strictly chronological, but parabolic, ascetic, and eschatological. Like we did with the Western iconography, we must keep in mind the Byzantine iconography that is preserved to this day in the East: the transcendent gold background, lack of realism and perspective, and minimal or entirely absent ornamentation. The Orthodox Church “suspends” historical time during the first three days to create a psychological and spiritual bridge. The goal is not merely narration, but the preparation of the soul to endure the Passion.

This divergence was primarily consolidated between the 8th and 11th centuries. While in the West the Pope of Rome was moving towards full independence, even attempting to assert authority over Frankish monarchs—which led to the Investiture Controversy—in the East, the liturgical books (the so-called Typikon) were shaped largely by major monastic centers, such as the Mar Saba Monastery in Palestine and the Monastery of Stoudios in Constantinople.

So the Stoudite monks introduced their own ascetic ideals into the Holy Week liturgy: continuous repentance, the fear of the final judgment (Eschatology), and spiritual vigilance. Thus, the historical narrative of the first three days was replaced by parables and hymns that call upon individuals to cleanse themselves before reaching the Last Supper and Golgotha.

Holy Monday

“My house shall be called the house of prayer; but ye have made it a den of thieves.” (Matthew 21:13)

Western Theme (The Cleansing of the Temple): In the work “Christ Driving the Money Changers from the Temple” (c. 1600), El Greco captures the moment Jesus imposes order. The leading figure of Spanish Mannerism, with his Byzantine roots, uses intense, unnatural colors and elongated figures here to emphasize the spiritual dimension of the event. The composition pulsates with energy, with the light highlighting divine wrath.

El Greco, Christ Driving the Money Changers from the Temple (Spanish: La expulsión de los mercaderes del templo), 1600, National Gallery, London | Wikimedia Commons

Orthodox Theme (Joseph and the Bridegroom): In the Orthodox tradition, Holy Monday specifically commemorates the Old Testament story of Joseph the All-Comely—who was betrayed and sold by his brothers, serving as a prefiguration of Christ’s Passion—as well as the cursing of the barren fig tree. However, the overarching spiritual figure that sets the tone for the day is the “Bridegroom” (Nymphios), calling the faithful to spiritual vigilance. In the painting “Behold the Bridegroom Cometh” (1899), the Greek master Nikolaos Gyzis, toward the end of his life, is overcome by profound religious and metaphysical feelings that culminate in the visionary dimension he always brought to his art. Here, he depicts Christ enthroned and radiant, set against a gold-crimson background. The coming of the Savior as a gentle god bringing the light of redemption and solace to the world is heralded by four angels with trumpets, while the Archangel Gabriel hovers at the top of the composition.

Nikolaos Gyzis, Behold the Bridegroom Cometh, 1899-1900, National Gallery of Athens | Wikimedia Commons

Holy Tuesday

“Render therefore unto Caesar the things which are Caesar’s; and unto God the things that are God’s.” (Matthew 22:21)

Western Theme (Teaching in the Temple): The painting “The Tribute Money” (1516) by Titian, the Italian artist of the High Renaissance and the most prominent representative of the Venetian school, focuses on Jesus’ dialectical skill. The contrast between the bright, noble profile of Christ and the dark face of the Pharisee is exemplary. This is likely the earliest depiction of this scene in art, which held personal significance for Alfonso I d’Este, Duke of Ferrara, who commissioned it.

Titian, The Tribute Money, 1516, Gemäldegalerie Alte Meister, Dresden | Wikimedia Commons

Orthodox Theme (The Parable of the Ten Virgins): The watercolor “The Parable of the Wise and Foolish Virgins” (1822) by William Blake divides the world into those who have the “oil” of faith and those left in the dark, calling for vigilance. The English Romantic poet and painter lends the work a dreamlike, almost otherworldly atmosphere, characteristic of his powerful mystical visions.

William Blake, The Parable of the Wise and Foolish Virgins, circa 1825, Yale Center for British Art | Wikimedia Commons

Holy Wednesday

“Verily I say unto you, Wheresoever this gospel shall be preached... there shall also this, that this woman hath done, be told for a memorial of her.” (Matthew 26:13)

Western Theme (The Repentance of Judas): In the work “Judas Returning the Thirty Silver Pieces” (1629) by Rembrandt, the disciple, in a state of absolute despair, tries to cancel the agreement with the priests. The Dutch master of the “Golden Age” masterfully uses intense chiaroscuro to capture on canvas the unbearable psychological weight of human guilt.

Rembrandt van Rijn, Judas Returning the Thirty Pieces of Silver, 1629. Oil on panel. Private collection. Photography courtesy of The National Gallery, London, 2016 | themorgan.org

Orthodox Theme (The Sinful Woman): The painting “Feast in the House of Simon the Pharisee” (c. 1618) by Peter Paul Rubens focuses on the repentance of the woman washing Jesus’ feet with myrrh. As the ultimate exponent of the Flemish Baroque, the artist fills his work with theatricality, rich colors, and dynamic movement, bringing the intensity of the moment to life.

Peter Paul Rubens, The Feast in the House of Simon the Pharisee, c. 1618–1620, The Hermitage Museum, St. Petersburg | Wikimedia Commons

Maundy Thursday

“This is my body which is given for you: this do in remembrance of me.” (Luke 22:19)

The Last Supper: The famous portable icon “The Last Supper” (16th century) by Michael Damaskinos, one of the greatest representatives of the Cretan School. The work ingeniously combines strict Byzantine tradition with Renaissance elements. It is striking how the artist integrates Western standards, such as spatial perspective, while keeping the Eastern spirituality of the figures intact.

Michael Damaskinos, The Last Supper, circa 1591, Monastery of Agia Aikaterini, Heraklion | Wikimedia Commons

The Washing of the Feet: The painting “Christ Washing the Disciples’ Feet” (1548–1549) by Tintoretto uses an unusual, almost theatrical viewing angle to convey the Master’s supreme act of humility. This unconventional painter upends classical Renaissance symmetry, placing the main event at the far right of the canvas, taking the viewer’s eye by surprise.

Tintoretto, Christ Washing the Disciples' Feet, 1548–1549, Museo del Prado, Madrid | Wikimedia Commons

Good Friday

“It is finished.” (John 19:30)

The Crucifixion: In the painting “Christ of Saint John of the Cross” (1951), Salvador Dalí offers a modern yet deeply metaphysical perspective. Jesus hovers above the world, symbolizing the cosmic reach of the sacrifice. The famous Spanish surrealist abandons his familiar distortions here, opting for a strikingly realistic technique to portray a Crucified Christ without nails, blood, or a crown of thorns.

Salvador Dalí, Christ of Saint John of the Cross, 1951, Kelvingrove Art Gallery and Museum, Glasgow | Wikimedia Commons

The Lamentation: The icon “The Lamentation at the Tomb” (1679) by the great Greek painter of the Cretan Renaissance, Emmanuel Tzanes. It captures the mourning around the dead body with Byzantine spirituality and Italian intensity. The Rethymnon-born priest and iconographer was one of the leading successors of Veneto-Cretan art, managing to graft Western emotional sensitivity onto the strict Orthodox tradition.

Emmanuel Tzanes, Lamentation, 1657, A.S. Onassis foundation | Wikimedia Commons

Holy Saturday

“For thou wilt not leave my soul in hell; neither wilt thou suffer thine Holy One to see corruption.” (Psalm 16:10)

The Entombment: The work “The Entombment of Christ” (1603–1604) by Caravaggio is a masterpiece of realism. The darkness and the heavy, lifeless body create a sense of sacred awe and mortality. The subversive Italian artist deliberately places the viewing angle low, giving the viewer the illusion of standing inside the tomb and receiving the Lord’s body themselves.

Caravaggio, The Entombment of Christ (Italian: Deposizione), 1602–1604, Pinacoteca Vaticana, Vatican City, Wikimedia Commons

The Anticipation / The Dead Body: In the harrowing painting “Lamentation of Christ” (c. 1480) by Andrea Mantegna, the extreme perspective (foreshortening) focuses on the wounds on the feet, turning the viewer into a direct witness to mortality before the miracle. A pioneer in the study of anatomy and foreshortening during the Early Renaissance, the creator uses this technique to evoke a deeply visceral feeling of grief.

Andrea Mantegna, The dead Christ and three mourners, c. 1480, Pinacoteca di Brera, Milan | Wikimedia Commons

Easter Sunday

“He is not here: for he is risen, as he said.” (Matthew 28:6)

The Resurrection: In the work “The Resurrection of Christ” (1499–1502), Raphael embodies the balance of the High Renaissance. Christ ascends into the light, while the guards are caught in chaotic postures. The artist, the absolute synonym for harmony and classical beauty, structures his composition on strict geometric standards that elevate the sense of triumph.

Raphael, Resurrection of Christ, São Paulo Museum of Art, Brazil | Wikimedia Commons

The Appearance to Mary Magdalene: The painting “Noli me Tangere” (c. 1525) by Antonio da Correggio is distinguished by the softness of the moment, indicating the new, purely spiritual state of the resurrected Jesus. A representative of the High Italian Renaissance, the painter is renowned for his grace and gentle handling of light, elements that lend a unique lyricism to his work.

Correggio, Do Not Touch Me (Italian: Noli me tangere), c.1525, Museo del Prado in Madrid | Wikimedia Commons

Be sure to also check out the Note on Albrecht Dürer, one of the most important wood and copperplate engravers of the Renaissance and a truly outstanding artistic figure overall. In it, we explored Holy Week through his works:

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