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Flemish school; early 16th century."Ecce homo".Oil on panel. Engatillada.It has faults, losses and
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Beschreibung
Flemish school; early 16th century.
"Ecce homo".
Oil on panel. Engatillada.
It has faults, losses and repainting.
It has an ebony frame from the 16th century.
Measurements: 24.5 x 18 cm; 30.5 x 24 cm (frame).
Formally this work is dominated by the light treatment, very contrasted and effective, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene, reflected in the blood of the body that falls on Christ's body, contrasts with the austere and recollected attitude of the body's posture. It is this composition of the body that brings the artist closer to the Flemish school.
This devotional canvas, painted for a private altar or chapel, depicts the theme of Ecce Homo, which is very common in this type of painting. The composition is simple and clear, with Christ's face in the foreground, and the absence of narrative details enhances the expressive power and pathos, designed to move the soul of the faithful who pray before the image, in a sense of tremendism very typical of the Baroque period in Catholic countries. The theme of Ecce Homo belongs to the Passion cycle and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, the symbolic colour of the Passion) and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in comparison with that of the rulers who were judging him. Formally, this work is dominated by the highly contrasted and dramatic treatment of light, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene is reflected in the blood of the body falling on the skin.
"Ecce homo".
Oil on panel. Engatillada.
It has faults, losses and repainting.
It has an ebony frame from the 16th century.
Measurements: 24.5 x 18 cm; 30.5 x 24 cm (frame).
Formally this work is dominated by the light treatment, very contrasted and effective, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene, reflected in the blood of the body that falls on Christ's body, contrasts with the austere and recollected attitude of the body's posture. It is this composition of the body that brings the artist closer to the Flemish school.
This devotional canvas, painted for a private altar or chapel, depicts the theme of Ecce Homo, which is very common in this type of painting. The composition is simple and clear, with Christ's face in the foreground, and the absence of narrative details enhances the expressive power and pathos, designed to move the soul of the faithful who pray before the image, in a sense of tremendism very typical of the Baroque period in Catholic countries. The theme of Ecce Homo belongs to the Passion cycle and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, the symbolic colour of the Passion) and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in comparison with that of the rulers who were judging him. Formally, this work is dominated by the highly contrasted and dramatic treatment of light, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene is reflected in the blood of the body falling on the skin.
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Flemish school; early 16th century.
"Ecce homo".
Oil on panel. Engatillada.
It has faults, losses and repainting.
It has an ebony frame from the 16th century.
Measurements: 24.5 x 18 cm; 30.5 x 24 cm (frame).
Formally this work is dominated by the light treatment, very contrasted and effective, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene, reflected in the blood of the body that falls on Christ's body, contrasts with the austere and recollected attitude of the body's posture. It is this composition of the body that brings the artist closer to the Flemish school.
This devotional canvas, painted for a private altar or chapel, depicts the theme of Ecce Homo, which is very common in this type of painting. The composition is simple and clear, with Christ's face in the foreground, and the absence of narrative details enhances the expressive power and pathos, designed to move the soul of the faithful who pray before the image, in a sense of tremendism very typical of the Baroque period in Catholic countries. The theme of Ecce Homo belongs to the Passion cycle and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, the symbolic colour of the Passion) and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in comparison with that of the rulers who were judging him. Formally, this work is dominated by the highly contrasted and dramatic treatment of light, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene is reflected in the blood of the body falling on the skin.
"Ecce homo".
Oil on panel. Engatillada.
It has faults, losses and repainting.
It has an ebony frame from the 16th century.
Measurements: 24.5 x 18 cm; 30.5 x 24 cm (frame).
Formally this work is dominated by the light treatment, very contrasted and effective, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene, reflected in the blood of the body that falls on Christ's body, contrasts with the austere and recollected attitude of the body's posture. It is this composition of the body that brings the artist closer to the Flemish school.
This devotional canvas, painted for a private altar or chapel, depicts the theme of Ecce Homo, which is very common in this type of painting. The composition is simple and clear, with Christ's face in the foreground, and the absence of narrative details enhances the expressive power and pathos, designed to move the soul of the faithful who pray before the image, in a sense of tremendism very typical of the Baroque period in Catholic countries. The theme of Ecce Homo belongs to the Passion cycle and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, the symbolic colour of the Passion) and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in comparison with that of the rulers who were judging him. Formally, this work is dominated by the highly contrasted and dramatic treatment of light, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene is reflected in the blood of the body falling on the skin.
22nd June - Important Collection of Old Masters
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