Circle of Michael Coxie, Ecce Homo, Pontius Pilate, 1580, Oil on Board, Framed

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Description

Circle of Michael Coxie (Mechelen, 1499 – Mechelen, 1592)
Ecce Homo with Pontius Pilate

Oil on panel (mounted on wood)

… Read more Circle of Michael Coxie (Mechelen, 1499 – Mechelen, 1592)
Ecce Homo with Pontius Pilate

Oil on panel (mounted on wood)

Flemish School, 16th-17th century

112 x 81 cm - framed 121 x 90 cm.

The painting presented here is the work of a Flemish painter active between the 16th and 17th centuries from the circle of Michael Coxie (Mechelen, 1499 – Mechelen, 1592). It follows the famous compositions of the great master, who brilliantly attempted this classic of religious painting on several occasions [1], where the dramatic style is realized with a skillful play of light and shadow.

[1] See for example the painting in the Alte Pinakothek in Munich, a follower of Michiel Coxcie (1497-1592) - Ecce Homo, 16th century
Ecce Homo is the Gospel episode during which Jesus, awaiting his condemnation and after the flagellation, is presented to the people by Pilate, then Roman governor of Judea, who is depicted here at his side.

The canvas immortalizes the moment in which the Savior accepts his final fate: his face reflects not only humiliation but also a moment of profound introspection and emotion. He is portrayed with a crown of thorns resting on his long hair and stripped of his clothes, with his hands tied and crossed, alluding to his immediate crucifixion on Golgotha.

"Ecce homo," literally meaning "Behold the Man," was the phrase uttered by Pilate himself to refer to the scourged Jesus and curry favor with the crowd, knowing they had condemned an innocent man.

This type of depiction of Christ was widespread in the 16th century, giving rise to particularly intense creations, especially in the Flemish school.

This is certainly not an "easy" work, but it is nonetheless capable of moving, captivating even those who do not favor such powerfully emotional subjects. Whipped and mocked as he awaits his martyrdom, his face is strikingly sad, resigned, yet not suffering, evoking the compassion he bestowed on his executioners.

The panel is in good condition considering its age, and is mounted on a wooden support to strengthen its structure.

ADDITIONAL INFORMATION:

The work for sale is presented in a beautiful gilded wooden frame and comes with a certificate of authenticity and guarantee. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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