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LUIS DE MORALES "The Divine" (Badajoz, 1509 - Alcántara, 1586)."Ecce Homo".Oil on panel, engraved.
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Description
LUIS DE MORALES "The Divine" (Badajoz, 1509 - Alcántara, 1586).
"Ecce Homo".
Oil on panel, engraved.
Enclosed report issued by Dña. Isabel Mateo.
Measurements: 39 x 29 cm; 74 x 62 cm (frame).
Frame with losses and damage.
Provenance
- Christie's, New York, 3 June 1983, lot 125.
- Old Master Paintings; Sotheby's, New York, 24 April 1995, lot 49 (Illustrations P. 27 of the catalogue). As Luis de Morales.
- Antique and 19th and 20th century paintings; Sotheby's, London (location Sotheby's Madrid), 11 November 1997, lot 3 (Illustrations p. 11 of the catalogue). As Luis de Morales.
- Spanish private collection.
This panel depicts the theme of Ecce Homo, with the half-length Christ in the foreground against a dark background. The lighting is a tenebrist, artificial and directed light that falls directly on the face of Christ, leaving the rest in semi-darkness and creating expressive chiaroscuro effects that give the volumes a naturalistic quality. It should also be noted that the sober, clear composition lends great expressiveness to the image, which is intended to move the viewer's mood and is probably a work intended for private devotion. It is probably a work intended for private devotion, and painting thus had to reflect the ideals prevailing in these circles, religious themes being the main subject matter of Spanish painting of this period.
The theme of Ecce Homo belongs to the Passion cycle 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 as that of the rulers who were judging him there. In works intended for private devotion it was usual to summarise the scene in a single figure, that of Christ, who was normally depicted as we see here, half-length, against a dark background that emphasises his corporeality and without any narrative elements other than those required by the iconography. In this way the expressiveness and drama of the image is concentrated, touching the soul of the faithful who pray before it and preventing their attention from being distracted by the details.
Due to its subject matter and aesthetics, this work is strongly influenced by the painting of Luis Morales "El divino", whose tormented and almost hysterical atmosphere is highlighted by the tormented and almost hysterical atmosphere that his characters breathe, filled with melancholy and ascetic renunciation.
"Ecce Homo".
Oil on panel, engraved.
Enclosed report issued by Dña. Isabel Mateo.
Measurements: 39 x 29 cm; 74 x 62 cm (frame).
Frame with losses and damage.
Provenance
- Christie's, New York, 3 June 1983, lot 125.
- Old Master Paintings; Sotheby's, New York, 24 April 1995, lot 49 (Illustrations P. 27 of the catalogue). As Luis de Morales.
- Antique and 19th and 20th century paintings; Sotheby's, London (location Sotheby's Madrid), 11 November 1997, lot 3 (Illustrations p. 11 of the catalogue). As Luis de Morales.
- Spanish private collection.
This panel depicts the theme of Ecce Homo, with the half-length Christ in the foreground against a dark background. The lighting is a tenebrist, artificial and directed light that falls directly on the face of Christ, leaving the rest in semi-darkness and creating expressive chiaroscuro effects that give the volumes a naturalistic quality. It should also be noted that the sober, clear composition lends great expressiveness to the image, which is intended to move the viewer's mood and is probably a work intended for private devotion. It is probably a work intended for private devotion, and painting thus had to reflect the ideals prevailing in these circles, religious themes being the main subject matter of Spanish painting of this period.
The theme of Ecce Homo belongs to the Passion cycle 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 as that of the rulers who were judging him there. In works intended for private devotion it was usual to summarise the scene in a single figure, that of Christ, who was normally depicted as we see here, half-length, against a dark background that emphasises his corporeality and without any narrative elements other than those required by the iconography. In this way the expressiveness and drama of the image is concentrated, touching the soul of the faithful who pray before it and preventing their attention from being distracted by the details.
Due to its subject matter and aesthetics, this work is strongly influenced by the painting of Luis Morales "El divino", whose tormented and almost hysterical atmosphere is highlighted by the tormented and almost hysterical atmosphere that his characters breathe, filled with melancholy and ascetic renunciation.
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LUIS DE MORALES "The Divine" (Badajoz, 1509 - Alcántara, 1586).
"Ecce Homo".
Oil on panel, engraved.
Enclosed report issued by Dña. Isabel Mateo.
Measurements: 39 x 29 cm; 74 x 62 cm (frame).
Frame with losses and damage.
Provenance
- Christie's, New York, 3 June 1983, lot 125.
- Old Master Paintings; Sotheby's, New York, 24 April 1995, lot 49 (Illustrations P. 27 of the catalogue). As Luis de Morales.
- Antique and 19th and 20th century paintings; Sotheby's, London (location Sotheby's Madrid), 11 November 1997, lot 3 (Illustrations p. 11 of the catalogue). As Luis de Morales.
- Spanish private collection.
This panel depicts the theme of Ecce Homo, with the half-length Christ in the foreground against a dark background. The lighting is a tenebrist, artificial and directed light that falls directly on the face of Christ, leaving the rest in semi-darkness and creating expressive chiaroscuro effects that give the volumes a naturalistic quality. It should also be noted that the sober, clear composition lends great expressiveness to the image, which is intended to move the viewer's mood and is probably a work intended for private devotion. It is probably a work intended for private devotion, and painting thus had to reflect the ideals prevailing in these circles, religious themes being the main subject matter of Spanish painting of this period.
The theme of Ecce Homo belongs to the Passion cycle 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 as that of the rulers who were judging him there. In works intended for private devotion it was usual to summarise the scene in a single figure, that of Christ, who was normally depicted as we see here, half-length, against a dark background that emphasises his corporeality and without any narrative elements other than those required by the iconography. In this way the expressiveness and drama of the image is concentrated, touching the soul of the faithful who pray before it and preventing their attention from being distracted by the details.
Due to its subject matter and aesthetics, this work is strongly influenced by the painting of Luis Morales "El divino", whose tormented and almost hysterical atmosphere is highlighted by the tormented and almost hysterical atmosphere that his characters breathe, filled with melancholy and ascetic renunciation.
"Ecce Homo".
Oil on panel, engraved.
Enclosed report issued by Dña. Isabel Mateo.
Measurements: 39 x 29 cm; 74 x 62 cm (frame).
Frame with losses and damage.
Provenance
- Christie's, New York, 3 June 1983, lot 125.
- Old Master Paintings; Sotheby's, New York, 24 April 1995, lot 49 (Illustrations P. 27 of the catalogue). As Luis de Morales.
- Antique and 19th and 20th century paintings; Sotheby's, London (location Sotheby's Madrid), 11 November 1997, lot 3 (Illustrations p. 11 of the catalogue). As Luis de Morales.
- Spanish private collection.
This panel depicts the theme of Ecce Homo, with the half-length Christ in the foreground against a dark background. The lighting is a tenebrist, artificial and directed light that falls directly on the face of Christ, leaving the rest in semi-darkness and creating expressive chiaroscuro effects that give the volumes a naturalistic quality. It should also be noted that the sober, clear composition lends great expressiveness to the image, which is intended to move the viewer's mood and is probably a work intended for private devotion. It is probably a work intended for private devotion, and painting thus had to reflect the ideals prevailing in these circles, religious themes being the main subject matter of Spanish painting of this period.
The theme of Ecce Homo belongs to the Passion cycle 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 as that of the rulers who were judging him there. In works intended for private devotion it was usual to summarise the scene in a single figure, that of Christ, who was normally depicted as we see here, half-length, against a dark background that emphasises his corporeality and without any narrative elements other than those required by the iconography. In this way the expressiveness and drama of the image is concentrated, touching the soul of the faithful who pray before it and preventing their attention from being distracted by the details.
Due to its subject matter and aesthetics, this work is strongly influenced by the painting of Luis Morales "El divino", whose tormented and almost hysterical atmosphere is highlighted by the tormented and almost hysterical atmosphere that his characters breathe, filled with melancholy and ascetic renunciation.
26th October - Old Masters
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