Through Sallman's partnerships with two Christian publishing companies, one Protestant and one Catholic, the Head of Christ came to be included on everything from prayer cards to stained glass, faux oil paintings, calendars, hymnals and night lights.
Sallman's painting culminates a long tradition of white Europeans creating and disseminating pictures of Christ made in their own image.
But no one knows exactly what Jesus looked like. There are no known images of Jesus from his lifetime, and while the Old Testament Kings Saul and David are explicitly called tall and handsome in the Bible, there is little indication of Jesus' appearance in the Old or New Testaments.
The earliest images of Jesus Christ emerged in the first through third centuries A.D., amidst concerns about idolatry. They were less about capturing the actual appearance of Christ than about clarifying his role as a ruler or as a savior.
To clearly indicate these roles, early Christian artists often relied on syncretism, meaning they combined visual formats from other cultures.
Probably the most popular syncretic image is Christ as the Good Shepherd, a beardless, youthful figure based on pagan representations of Orpheus, Hermes and Apollo.
In other common depictions, Christ wears the toga or other attributes of the emperor. The theologian Richard Viladesau argues that the mature bearded Christ, with long hair in the "Syrian" style, combines characteristics of the Greek god Zeus and the Old Testament figure Samson, among others.
Christ as Self-Portraitist
The first portraits of Christ, in the sense of authoritative likenesses, were believed to be self-portraits: the miraculous "image not made by human hands," or acheiropoietos.
This belief originated in the seventh century A.D., based on a legend that Christ healed King Abgar of Edessa in modern-day Urfa, Turkey, through a miraculous image of his face, now known as the Mandylion.
A similar legend adopted by Western Christianity between the 11th and 14th centuries recounts how, before his death by crucifixion, Christ left an impression of his face on the veil of Saint Veronica, an image known as the volto santo, or "Holy Face."
From the perspective of art history, these artifacts reinforced an already standardized image of a bearded Christ with shoulder-length, dark hair. These two images, along with other similar relics, have formed the basis of iconic traditions about the "true image" of Christ.
In the Renaissance, European artists began to combine the icon and the portrait, making Christ in their own likeness. This happened for a variety of reasons, from identifying with the human suffering of Christ to commenting on one's own creative power.
The 16th-century German artist Albrecht Dürer blurred the line between the holy face and his own image in a famous self-portrait of 1500 (left). In this, he posed frontally like an icon, with his beard and luxuriant shoulder-length hair recalling Christ's. The "AD" monogram could stand equally for "Albrecht Dürer" or "Anno Domini" - "in the year of our Lord."
In Whose Image?
This phenomenon was not restricted to Europe: There are 16th- and 17th-century pictures of Jesus with, for example, Ethiopian and Indian features.
In Europe, however, the image of a light-skinned European Christ began to influence other parts of the world through European trade and colonization.
‘Adoration of the Magi.' (Artist Andrea Mantegna. The J. Paul Getty Museum)
The Italian painter Andrea Mantegna's "Adoration of the Magi" from A.D. 1505 features three distinct magi, who, according to one contemporary tradition, came from Africa, the Middle East and Asia. They present expensive objects of porcelain, agate and brass that would have been prized imports from China and the Persian and Ottoman empires.
But Jesus' light skin and blues eyes suggest that he is not Middle Eastern but European-born. And the faux-Hebrew script embroidered on Mary's cuffs and hemline belie a complicated relationship to the Judaism of the Holy Family.
[Ron: Judaism is based on the Torah and Talmud, ie Jews are Talmudists. Jesus' mother was of Summarian stock and his father's seed was provided by The Gabriel of Nebadon. The famly were not Talmudists which is obvious from the content of Jesus' divine teachings.].
In Mantegna's Italy, anti-Semitic myths were already prevalent among the majority Christian population, with Jewish people often segregated to their own quarters of major cities.
Artists tried to distance Jesus and his parents from their Jewishness. Even seemingly small attributes like pierced ears - earrings were associated with Jewish women, their removal with a conversion to Christianity - could represent a transition toward the Christianity represented by Jesus.
Much later, anti-Semitic forces in Europe including the Nazis would attempt to divorce Jesus totally from his Judaism in favor of an Aryan stereotype.
How the Jews must laugh whenever they think about how they have managed to convince many people who call themselves Christians to believe that Christ was a Pharisee and his teachings were somehow Talmudic.].
White Jesus Abroad
As Europeans colonized increasingly farther-flung lands, they brought a European Jesus with them. Jesuit missionaries established painting schools that taught new converts Christian art in a European mode.
A small altarpiece made in the school of Giovanni Niccolò, the Italian Jesuit who founded the "Seminary of Painters" in Kumamoto, Japan, around 1590, combines a traditional Japanese gilt and mother-of-pearl shrine with a painting of a distinctly white, European Madonna and Child.
In colonial Latin America - called "New Spain" by European colonists - images of a white Jesus reinforced a caste system where white, Christian Europeans occupied the top tier, while those with darker skin from perceived intermixing with native populations ranked considerably lower.
Artist Nicolas Correa's 1695 painting of Saint Rose of Lima, the first Catholic saint born in "New Spain," shows her metaphorical marriage to a blond, light-skinned Christ.
In a multiracial but unequal America, there was a disproportionate representation of a white Jesus in the media. It wasn't only Warner Sallman's Head of Christ that was depicted widely; a large proportion of actors who have played Jesus on television and film have been white with blue eyes.
Pictures of Jesus historically have served many purposes, from symbolically presenting his power to depicting his actual likeness. But representation matters, and viewers need to understand the complicated history of the images of Christ they consume.
[Ron: Esu Immanuel (aka Jesus the Christ) was an incarnation of two spirits, Esu Immanuel Kumara and Christ Michael Aton. Both spirits overshadowed Jesus during his lifetime until Christ Michael left when Jesus was on the Cross. Their spirits overshadowed Jesus' physical body because their high vibrational energies prevented them actually occupying his physical body (meat suit) as their energies would have vaporised that physical body. Esu would have had many physical bodies during his journey through physicality before his incarnation as Jesus. Spiritual essence, NOT the physical body which will vary with each incarnation over myriad lifetimes, constitutes the real identity of ensouled beings. During his eternal journeyJesus, like many individuals on this planet, has had lifetimes in many different racial and physical bodies possibly including both male and female incarnations.
The photo below, said to have been taken in Central America in 1953, is of Esu Immanuel Sananda Kumara subsequent to his return with Christ Michael Aton, as promised, on their mission to take back this planet. That mission is underway and nearing its conclusion. On 5 February 2019 Christ Michael Aton declared the commencement of his Millennial Reign on this planet and his Triodity of Presidents Tump, Putin and Xi and their supporters are currently finalising the actions needed to complete the transition.
[Colour fonts, bolding and comments in square brackets added.].