"Ecce Homo, Atelier De Bartolomé Esteban Murillo (seville 1617-1682)"Bartolomé Esteban Murillo's Atelier (Seville 1617 - 1682)
Spanish master of the seventeenth century
Oil on canvas, 56 x 43 cm.
Framed 71 x 60 cm.
This intense Ecce Homo, loaded with photos and refined quality, is the work of a painter active in the workshop of the Sevillian Bartolomé Esteban Murillo (1617 - 1682); tracing the compositions of the great master, the artist brilliantly engages with this classic of religious painting, where the dramatic baroque style is concretized with a skilful play of lights and shadows, highlighted by the intense red of Christ's tunic.
The work shows in full the characteristics of Murillo's style, who made numerous versions of this subject during his career, but with elements of great innovation, which shows that our author has not slavishly copied the works, but has brought his own remarkable personality. In particular, for the iconographic comparison, see Murillo's superb Ecce Homo proposed at Sotheby's in London on 5 July 2017.
Ecce Homo is the Gospel episode during which Jesus, pending his condemnation and after the scourging, is presented to the people by Pontius Pilate, then Roman governor of Judea. Ecce homo, an expression that literally means Here is the Man, was the phrase uttered by Pilate to designate Jesus scourged and crowned with thorns.
The canvas immortalizes the moment in which Jesus accepts his final destiny: in his face, not only his humiliation but a moment of deep introspection and emotion. It is also possible to ascertain its mastery while capturing with its brush strokes the delicate muscles of the bust through the use of color and light, creating subtle contrasts that define the figure of Christ.
The artist manages to capture the different textures with extreme realism, from the softness of the skin to the roughness of the cords that bind the wrists or to the hardness of the crown of thorns.
Bartolomé Esteban Murillo learned the basics of painting with the painter Juan del Castillo (1584-1640), here he knew Flemish painting, because Seville at the time had important commercial contacts with Northern Europe. Between 1641 and 1644, he then went to Madrid to study the works of Rubens, Van Dyck, Tiziano, masters who strongly influenced his way of painting.
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