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Spanish school; circa 1546."Eco homo".Oil on panel.Size: 98 x 70 cm, 119 x 92 cm (frame).The
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Description
Spanish school; circa 1546.
"Eco homo".
Oil on panel.
Size: 98 x 70 cm, 119 x 92 cm (frame).
The author of this devotional work conceives the theme of the Ecce Homo, through the use of a simple and clear composition, with the long bust of Christ in the foreground and the figure of Pontius Pilate behind him, supporting his body on Jesus. The absence of narrative details in the dark background that closes the scene enhances the expressive power and pathos, designed to move the spirit of the faithful who pray before the image, in a tremendist sense very typical of Catholic countries. Visually, the lighting treatment dominates, very contrasting and effective, based on a spotlight that falls directly on the figure of Christ, creating expressive effects, and leaving the rest in semi-darkness, against a dark, neutral background that further enhances the physical presence of the figure. The colour scheme is also based on a restrained, warm palette of ochre, earthy and carmine tones. Technically speaking, it should be noted that during the 16th century the influence of the Flemish school of painting was a key factor in the development of European art, especially in Spain, which was linked to the Low Countries by political and economic ties. At that time, Flemish painters established a stylistic model based on the search for reality, focusing on capturing the qualities of objects, giving special importance to secondary details and using a smooth, draughtsmanlike technique. In the 16th century, as a result of the introduction of the novelties of the Italian Renaissance, the Flemish style evolved towards a more classical and sculptural sense, while retaining its own characteristics. This change also affected the Hispano-Flemish school, which also had independent channels for the penetration of the Italian style. Influences mainly came to Spain from Raphael and his followers, through engravings, oil paintings and painters who travelled between the two countries.
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 (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 no match for that of the rulers who were judging him there.
"Eco homo".
Oil on panel.
Size: 98 x 70 cm, 119 x 92 cm (frame).
The author of this devotional work conceives the theme of the Ecce Homo, through the use of a simple and clear composition, with the long bust of Christ in the foreground and the figure of Pontius Pilate behind him, supporting his body on Jesus. The absence of narrative details in the dark background that closes the scene enhances the expressive power and pathos, designed to move the spirit of the faithful who pray before the image, in a tremendist sense very typical of Catholic countries. Visually, the lighting treatment dominates, very contrasting and effective, based on a spotlight that falls directly on the figure of Christ, creating expressive effects, and leaving the rest in semi-darkness, against a dark, neutral background that further enhances the physical presence of the figure. The colour scheme is also based on a restrained, warm palette of ochre, earthy and carmine tones. Technically speaking, it should be noted that during the 16th century the influence of the Flemish school of painting was a key factor in the development of European art, especially in Spain, which was linked to the Low Countries by political and economic ties. At that time, Flemish painters established a stylistic model based on the search for reality, focusing on capturing the qualities of objects, giving special importance to secondary details and using a smooth, draughtsmanlike technique. In the 16th century, as a result of the introduction of the novelties of the Italian Renaissance, the Flemish style evolved towards a more classical and sculptural sense, while retaining its own characteristics. This change also affected the Hispano-Flemish school, which also had independent channels for the penetration of the Italian style. Influences mainly came to Spain from Raphael and his followers, through engravings, oil paintings and painters who travelled between the two countries.
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 (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 no match for that of the rulers who were judging him there.
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Spanish school; circa 1546.
"Eco homo".
Oil on panel.
Size: 98 x 70 cm, 119 x 92 cm (frame).
The author of this devotional work conceives the theme of the Ecce Homo, through the use of a simple and clear composition, with the long bust of Christ in the foreground and the figure of Pontius Pilate behind him, supporting his body on Jesus. The absence of narrative details in the dark background that closes the scene enhances the expressive power and pathos, designed to move the spirit of the faithful who pray before the image, in a tremendist sense very typical of Catholic countries. Visually, the lighting treatment dominates, very contrasting and effective, based on a spotlight that falls directly on the figure of Christ, creating expressive effects, and leaving the rest in semi-darkness, against a dark, neutral background that further enhances the physical presence of the figure. The colour scheme is also based on a restrained, warm palette of ochre, earthy and carmine tones. Technically speaking, it should be noted that during the 16th century the influence of the Flemish school of painting was a key factor in the development of European art, especially in Spain, which was linked to the Low Countries by political and economic ties. At that time, Flemish painters established a stylistic model based on the search for reality, focusing on capturing the qualities of objects, giving special importance to secondary details and using a smooth, draughtsmanlike technique. In the 16th century, as a result of the introduction of the novelties of the Italian Renaissance, the Flemish style evolved towards a more classical and sculptural sense, while retaining its own characteristics. This change also affected the Hispano-Flemish school, which also had independent channels for the penetration of the Italian style. Influences mainly came to Spain from Raphael and his followers, through engravings, oil paintings and painters who travelled between the two countries.
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 (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 no match for that of the rulers who were judging him there.
"Eco homo".
Oil on panel.
Size: 98 x 70 cm, 119 x 92 cm (frame).
The author of this devotional work conceives the theme of the Ecce Homo, through the use of a simple and clear composition, with the long bust of Christ in the foreground and the figure of Pontius Pilate behind him, supporting his body on Jesus. The absence of narrative details in the dark background that closes the scene enhances the expressive power and pathos, designed to move the spirit of the faithful who pray before the image, in a tremendist sense very typical of Catholic countries. Visually, the lighting treatment dominates, very contrasting and effective, based on a spotlight that falls directly on the figure of Christ, creating expressive effects, and leaving the rest in semi-darkness, against a dark, neutral background that further enhances the physical presence of the figure. The colour scheme is also based on a restrained, warm palette of ochre, earthy and carmine tones. Technically speaking, it should be noted that during the 16th century the influence of the Flemish school of painting was a key factor in the development of European art, especially in Spain, which was linked to the Low Countries by political and economic ties. At that time, Flemish painters established a stylistic model based on the search for reality, focusing on capturing the qualities of objects, giving special importance to secondary details and using a smooth, draughtsmanlike technique. In the 16th century, as a result of the introduction of the novelties of the Italian Renaissance, the Flemish style evolved towards a more classical and sculptural sense, while retaining its own characteristics. This change also affected the Hispano-Flemish school, which also had independent channels for the penetration of the Italian style. Influences mainly came to Spain from Raphael and his followers, through engravings, oil paintings and painters who travelled between the two countries.
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 (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 no match for that of the rulers who were judging him there.
9th November - Old Masters
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Carrer de Cirilo Amorós 55, Valencia
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