Virgin Of The Sacred Heart Analysis

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It was only in 1927 that the Corsican painter Corbellini, curator of the Fesch Museum, discovered the painting at Ajaccio’s Cathedral. Indeed, Corbellini had read in the Gazette des beaux-arts an article from André Joubin describing the subject. Thus, he came in the cathedral, sketched the composition and sent it to Joubin who confirmed that it was the painting searched for more than half a century, as related by Corbellini: “M. André Joubin après examen du croquis de notre tableau en confirme l’interprétation .” Then, exhibited in the Louvre for the Romanticism centenary in 1930, the Virgin of the Sacred Heart - also called the Triumph of Religion from that moment -, was transferred to the Fesch Museum in 1931 when a solution to replace it in the cathedral had been found . After the World War II and the disappearance in Ajaccio of the archives indicating reasons for the transfer to the museum, the Virgin of the Sacred Heart, once more, was placed in the…show more content…
Recently, Margaret MacNamidhe, analyzing the old woman’s expression in the Chios, noticed that the figures of Ajaccio are the first of a series which continues with the Girl in a Cemetery. In her demonstration, upturned faces of the Raft incarnate an evocation of the sound, used by Géricault as a pictorial translation of terror as Poussin in the Massacre of the Innocents . However, if Delacroix already represented fear in the Ajaccio painting, with the old woman of the Chios, he tried to emphasize the expression. As discovered by MacNamidhe, the selected solution had to close the lips: thus, the attention exclusively focused on the frightened look. Although the Girl in a Cemetery is the continuation of the upturned faces of the Virgin of the Sacred-Heart, the Portrait of an Old Woman (Fig.10) shows something different. MacNamidhe highlighted that the breaking is with the last one , and this is a stylistic breaking
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