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Toledo school; circa 1620."Ecce Homo".Oil on canvas. Re-retouched.It presents faults and
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Beschreibung
Toledo school; circa 1620.
"Ecce Homo".
Oil on canvas. Re-retouched.
It presents faults and repainting.
Measurements: 96 x 77 cm; 114 x 94 cm (frame).
Devotional scene in which the religious theme allusive to the Ecce Homo is represented. It is a work that abandons the traditional representation of this theme, as it avoids the pictorial sobriety and the conception of Christ, portrayed half-length. In this painting, the figure of Jesus is in the centre, inscribed in a break of glory that stands out for its bright, golden tonality. Standing in the foreground of the composition, Jesus shows the faithful his suffering, wearing the crown of thorns and holding the rope with which the Roman soldiers bound him. However, he is not alone in his suffering; at his side is a whole cortege of angels. Two on either side of Jesus, holding his cloak. This concave composition, open to the viewer, is a characteristic feature of the Toledo school. The theme of Ecce Homo belongs to the cycle of the Passion, and immediately 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 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 there.
The Toledan school is characterised by the use of calm, sober compositions, conceived with great clarity as in this case, and, as is typical of the Spanish Baroque school, the scene is painted with great attention to detail, the painter having treated the anecdotal elements that add narrative to the scene with precision and meticulousness. During the 16th and 17th centuries Toledo witnessed a convergence of different artistic trends that crystallised throughout the 17th century. One of these was introduced by the Italian painters who worked at the Escorial. In addition, a school of painting with its own identity was created in Toledo.
"Ecce Homo".
Oil on canvas. Re-retouched.
It presents faults and repainting.
Measurements: 96 x 77 cm; 114 x 94 cm (frame).
Devotional scene in which the religious theme allusive to the Ecce Homo is represented. It is a work that abandons the traditional representation of this theme, as it avoids the pictorial sobriety and the conception of Christ, portrayed half-length. In this painting, the figure of Jesus is in the centre, inscribed in a break of glory that stands out for its bright, golden tonality. Standing in the foreground of the composition, Jesus shows the faithful his suffering, wearing the crown of thorns and holding the rope with which the Roman soldiers bound him. However, he is not alone in his suffering; at his side is a whole cortege of angels. Two on either side of Jesus, holding his cloak. This concave composition, open to the viewer, is a characteristic feature of the Toledo school. The theme of Ecce Homo belongs to the cycle of the Passion, and immediately 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 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 there.
The Toledan school is characterised by the use of calm, sober compositions, conceived with great clarity as in this case, and, as is typical of the Spanish Baroque school, the scene is painted with great attention to detail, the painter having treated the anecdotal elements that add narrative to the scene with precision and meticulousness. During the 16th and 17th centuries Toledo witnessed a convergence of different artistic trends that crystallised throughout the 17th century. One of these was introduced by the Italian painters who worked at the Escorial. In addition, a school of painting with its own identity was created in Toledo.
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Toledo school; circa 1620.
"Ecce Homo".
Oil on canvas. Re-retouched.
It presents faults and repainting.
Measurements: 96 x 77 cm; 114 x 94 cm (frame).
Devotional scene in which the religious theme allusive to the Ecce Homo is represented. It is a work that abandons the traditional representation of this theme, as it avoids the pictorial sobriety and the conception of Christ, portrayed half-length. In this painting, the figure of Jesus is in the centre, inscribed in a break of glory that stands out for its bright, golden tonality. Standing in the foreground of the composition, Jesus shows the faithful his suffering, wearing the crown of thorns and holding the rope with which the Roman soldiers bound him. However, he is not alone in his suffering; at his side is a whole cortege of angels. Two on either side of Jesus, holding his cloak. This concave composition, open to the viewer, is a characteristic feature of the Toledo school. The theme of Ecce Homo belongs to the cycle of the Passion, and immediately 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 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 there.
The Toledan school is characterised by the use of calm, sober compositions, conceived with great clarity as in this case, and, as is typical of the Spanish Baroque school, the scene is painted with great attention to detail, the painter having treated the anecdotal elements that add narrative to the scene with precision and meticulousness. During the 16th and 17th centuries Toledo witnessed a convergence of different artistic trends that crystallised throughout the 17th century. One of these was introduced by the Italian painters who worked at the Escorial. In addition, a school of painting with its own identity was created in Toledo.
"Ecce Homo".
Oil on canvas. Re-retouched.
It presents faults and repainting.
Measurements: 96 x 77 cm; 114 x 94 cm (frame).
Devotional scene in which the religious theme allusive to the Ecce Homo is represented. It is a work that abandons the traditional representation of this theme, as it avoids the pictorial sobriety and the conception of Christ, portrayed half-length. In this painting, the figure of Jesus is in the centre, inscribed in a break of glory that stands out for its bright, golden tonality. Standing in the foreground of the composition, Jesus shows the faithful his suffering, wearing the crown of thorns and holding the rope with which the Roman soldiers bound him. However, he is not alone in his suffering; at his side is a whole cortege of angels. Two on either side of Jesus, holding his cloak. This concave composition, open to the viewer, is a characteristic feature of the Toledo school. The theme of Ecce Homo belongs to the cycle of the Passion, and immediately 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 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 there.
The Toledan school is characterised by the use of calm, sober compositions, conceived with great clarity as in this case, and, as is typical of the Spanish Baroque school, the scene is painted with great attention to detail, the painter having treated the anecdotal elements that add narrative to the scene with precision and meticulousness. During the 16th and 17th centuries Toledo witnessed a convergence of different artistic trends that crystallised throughout the 17th century. One of these was introduced by the Italian painters who worked at the Escorial. In addition, a school of painting with its own identity was created in Toledo.
10th March - Old Masters from America and Europe
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