Yesterday, the New York Police Division launched photographs of Luigi Mangione’s extradition to New York Metropolis. The accused assassin of UnitedHealthcare CEO Brian Thompson seems in prison-jumpsuit orange, a speck of coloration surrounded by a phalanx of gray-garbed and grim-visaged cops brandishing semi-automatic weapons. Behind him, little question excited for the photograph op, is indicted Mayor Eric Adams. The intention behind the {photograph} appears clear: Any violence enacted towards the company state will likely be met with overwhelming pressure, and Mangione — a person with no historical past of earlier violence nor a single prison conviction — is so harmful that he requires a veritable military to restrain him.
The picture backfired spectacularly. The officers put on Kevlar, however solely a skinny pink t-shirt and outsized jumpsuit shields Mangione from the bitter December chilly. The cops maintain weapons, and the accused is handcuffed. To many perceptive web commentators higher educated in Western artwork historical past and visible rhetoric than the NYPD, one comparability particularly stood out. Change the orange jail garb for an orange gown, the weapons for spears, and also you’ll see clearly that the authorities inadvertently remodeled a perp stroll photograph of Mangione right into a Renaissance portray of the arrest of Christ. Author Rebecca Solnit, utilizing the initials that signaled Roman imperial authority, famous on Fb that the {photograph} depicted “SPQR and NYPD, together at last.” That the beatific and dark-curled Mangione is, as many have famous, unusually good-looking, solely underscores the issue of attempting to provide propaganda that casts him as villainous.
Heinrich Hofmann, “Arrest of Christ” (1858), held by Hessisches Landesmuseum in Darmstadt, Germany (picture by way of Wikimedia Commons)
Certainly, the pictures are eerily harking back to work such because the German spiritual portraitist Heinrich Hofmann’s 1858 “Arrest of Christ.” The visible perspective is similar, centered as it’s on a defenseless determine with out weaponry surrounded by closely armed representatives of the state. The association of legionaries about Christ appears to be like virtually similar to that of NYPD officers about Mangione. The 2 are even carrying the identical coloration.
There’s a venerable historical past of depictions of Jesus’ apprehension by the authorities at Gethsemane, drawn from the gospel’s accounts, tracing again to the Center Ages. A Medieval altarpiece from the late fifteenth century held by the Walters Museum in Baltimore depicts an analogous dark-complexioned and curly-haired prisoner being manhandled by a coterie of guards. A century later, the Spanish painter Juan Correa de Vivar’s 1566 “The Arrest of Christ” equally depicts the state’s brutality towards the long run martyr. Such depictions of Christ have spawned an imagistic vocabulary evident in works by artists from Giotto to Caravaggio, creating an archetype that led somebody on X to submit that Mangione is “kinda like a prettier Jesus.” It’s a comparability that will be offensive to many, not least of all as a result of Jesus Christ didn’t kill a healthcare CEO. But Christ’s personal emotions in regards to the wealthy, evidenced by his rivalry in regards to the rich stepping into heaven as simply as a camel by the attention of a needle, counsel what a real Christian response to predatory medical health insurance would possibly appear like.
(submit by @_uncle_gworl by way of X, screenshot Lisa Yin Zhang/Hyperallergic)
You want solely skim the feedback posted beneath articles and editorials about Mangione’s alleged crime to see the disjunct between official censure and public opinion. From the feedback sections of Reddit to Fb to Bluesky to X, there was a surprising (and to many, worrying) response to the assassination that appears to unite left and proper, socialists and Trump true believers: that the capturing was on some stage comprehensible, if not justifiable. Many within the media and authorities reacted to that sentiment with indignation and opprobrium, which has in flip been largely ignored or mocked by the general public. When a columnist at New York Journal opined that whereas the capturing was a tragedy, healthcare inequity in america made it “inevitable,” Pennsylvania Senator John Fetterman (as soon as lauded as a champion of the working class) known as it a “shitty take.” And but practically 41% of voters of their 20s see Mangione’s actions as justified.
In the meantime, Bret Stephens, columnist on the New York Occasions, argued in a risible editorial that Thompson was “the real working-class hero,” that the murdered govt is a “model for how a talented and determined man from humble roots can still rise to the top of corporate life.” You don’t must countenance political assassination to appropriately interpret that Stephens’s argument — {that a} healthcare govt who pioneered using synthetic intelligence to disclaim respectable medical claims is a hero — is a spectacular attain. That this observe little question elevated the loss of life and struggling amongst these whom UnitedHealthcare ostensibly covers in service of enhancing the corporate’s revenue margin solely confirms the ethical incongruities of Stephens’s declare. That’s actually what the overwhelming majority of the aforementioned web commentators famous as heartbreaking tales of denied claims have been shared beneath the editorial. After publishing an op-ed by the CEO of the UnitedHealthcare’s dad or mum firm, the New York Occasions obtained a lot backlash that it turned off the feedback.
No matter one’s place on all of this — that it’s a harmful precedent normalizing homicide or an natural expression of rage from a populace abused by the system — is secondary to the truth that one thing indignant, vengeful, and never with out purpose is brewing among the many American people who the authorities can’t but start to grasp. Possibly artwork historical past can lend a clue as to what that may be.
Unknown artist, “Altarpiece with the Passion of Christ: Arrest of Christ” (c. 1480–95), oil on panel, 50 9/16 x 46 1/4 x 3 3/8 inches (128.5 x 117.4 x 8.6 cm) (picture public area by way of the Walters Artwork Museum, Baltimore)