Pope Francis’ favorite painting is on the move and headed his way. The Art Institute of Chicago packed up and shipped out Marc Chagall’s 1938 work “White Crucifixion” on Sept. 15. Destination? An exhibition at the Palazzo Strozzi in Florence, Italy, where it will be on loan until Jan. 24.

In a 2010 biography, Pope Francis labeled “White Crucifixion” his favorite of all paintings and on Nov. 10, Art Institute staff is arranging for him to view it while he’s in Florence for a visit to the Catholic community.

For the day, “White Crucifixion” will be moved to the Baptistery of St. John, one of the city’s most important religious buildings and home to Lorenzo Ghiberti’s famous “Gates of Paradise.” Pope
Francis is supposed to make a brief visit to the site after a one-day visit to Florence.

Chagall was a Jewish artist born in present-day Belarus. He died in 1985 and is considered part of the first generation of European modernist artists.

The oil-on-canvas painting, which is roughly 5 feet by 4.5 feet, was purchased by the Art Institute of Chicago in 1946 from Chagall’s daughter. It depicts a Jewish Christ crucified amid turmoil of houses and synagogues on fire, troops burning synagogues and Jews fleeing persecution.

It includes other symbolism such as: Christ wearing a loincloth made from a Jewish prayer shawl; instead of a crown of thorns his head is wrapped in cloth; “Jesus, king of the Jews” is written above Christ’s head in Aramaic written in Hebrew characters; and there is a Christian halo above Christ’s head and a second halo illuminates a menorah at Christ’s feet. A ray of light penetrates down from the top of the painting behind Christ.

“White Crucifixion” launched Chagall to do other paintings of the Jewish crucified Christ but none were so moving, says Chicago artist John David Mooney.

“This painting is different than all of his other crucifixions. He was doing a lot of them and they were all clearly Christ as a Jew,” Mooney said. “But this one is totally different and I think he knew that at the time.”

Mooney, who has a permanent sculpture on the lawn of the Adler Planetarium in Chicago and a permanent sculpture at Castel Gandolfo in Italy — the traditional summer home of popes — said it’s a timeless painting.

“It’s such a contemporary piece,” Mooney said because, within the painting, the Jews fleeing persecution end up in boats as refugees, much like those fleeing persecution in the Middle East today and trying to make their way to Europe.

While Chagall did not leave an account of the meaning behind “White Crucifixion,” he painted it during a time when the Nazi government was growing in power and had already set its sights on the Jewish people across Europe.

After its initial exhibition in France, Chagall painted over a Nazi swastika on a soldier’s arm and a sign on a figure’s chest that read, “I’m a Jew” in German. Mooney believes this was to save the painting because Adolf Hitler was destroying paintings that were anti-Nazi.

By painting a Jewish Christ, Chagall was sending a message to the “Christian” countries persecuting the Jews. Yet, at the same time he was speaking to all generations, Mooney believes.

But most of all there is hope in the work Chagall created. The ray of light coming down from the top of the painting represents the hope of God for his people.

“I really see it as a very, very pastoral painting,” Mooney said and a good painting for Pope Francis to use as a teaching tool.

“He has to teach the Gospel and he chose a painting that teaches the Gospel,” he said. “God is found in humanity and he’s accompanying humanity.”

That pastoral painting, “White Crucifixion,” has been prepared to journey to Italy where it can inspire more people and Pope Francis.

Because “White Crucifixion” is in “pristine” condition, meaning there is no support material affixed to the painting as has been done to some other works in the past, special preparations were made to ensure the safety of the painting during transport and while it is on exhibit in Florence.

In August, Art Institute staff removed the painting from display in the modern art wing and moved it to the conservation lab. Conservators constructed a strong frame for the painting, which they then covered with glass and sealed tightly.

“It’s in an environmentally secure package so that it won’t be vulnerable to changes in temperature and humidity or vibrations,” said Allison Langley, a conservator for the Art Institute.

Staff also specially made a crate in which to pack and ship the painting. They have much experience preparing works to go on loan and follow a protocol for any piece that goes on display at another museum.

A curator travels with the work every step of the journey and the receiving gallery or museum cannot open the work on the other end without that curator. It’s a tight process, said Stephanie D’Alessandro, the Gary C. and Frances Comer curator of International Modern Art.

In fact, a curator will be on hand to move the painting from Palazzo Strozzi to the baptistery for the day in November. Nothing is left to chance.

Prior to any work of art leaving the Art Institute, conservators document the work “inch by inch” noting any imperfections or details. All of that documentation and more accompanies the work to where it will be displayed on loan.

“But that’s key to keep artwork safe when you travel abroad,” Langley said.

In the end, the acquisition of “White Crucifixion” back in the 1940s created a longtime relationship between Chagall and the Art Institute, D’Alessandro said.

“He found supporters here and continued to be impressed by the city,” she explained adding that the painting is important to the Art Institute because “it becomes a kind of kernel of the relationship that our city had with the artist.