ID de tableau:: 8272
Ecce Homo Ecce Homo Panel
Hispanic Society of America, New York Lambriser la Société Hispanique d-Amérique, New York Spanish Mannerist Painter, ca.1520-1586
ID de tableau:: 28939
Ecce Homo Ecce Homo mk65
Oil on canvas
68 7/8x53 3/8in
Pitti
mk65 Pétrole sur le canevas 68 7/8x53 3/8in Pitti Italian Baroque Era Painter, 1559-1613
ID de tableau:: 29027
Ecce Homo Ecce Homo mk65
Oil on canves
53 9/16x44 1/16in
Uffizi
mk65 Pétrole sur canves 53 9/16x44 1/16in Uffizi Italian painter ,
Rome 1589 - Venice 1623
ID de tableau:: 34436
Ecce Homo Ecce Homo mk93
1634
Oil on paper
21 1/2x17 1/2in
National Gallery,London
mk93 1634 Huilent sur le papier 21 1/2x17 1/2in Galerie Nationale, Londres Born 1606, Died 1669
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 42448
Ecce Homo Ecce Homo mk168
1512
117x75mm
mk168 1512 117x75mm b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 55985
ecce homo mk247
c.1500,tempera on canvas,21.25x16.5 in,54x42 cm,musee jacquemart-andre,paris,france Italian
1431-1506
Andrea Mantegna Locations
Spanish painter (b. ca. 1626, Burgos, d. 1666, Madrid)
ID de tableau:: 62365
Ecce Homo 98 x 75 cm Museum of Fine Arts, Budapest This painting shows the influence of Van Dyck, both the colours and the composition is close to the Flemish Baroque painting. However, its pathos and sentimentality relate it to contemporary Spanish religious painting Spanish painter (b. ca. 1626, Burgos, d. 1666, Madrid)
ID de tableau:: 62415
Ecce Homo 1560-70 Polychrome wood Diocesan Museum, Valladolid One of the more interesting foreign artists who worked in Spain during the second third of the sixteenth century is the Frenchman Juan de Juni, whose sculpture is noted for its spirituality, manifested in full and beautiful forms, natural in their proportions but declamatory in their distortion of gesture. Juni may have been trained in Italy, since his art shows evidence of contact with the Lombard Renaissance and Michelangelo. In about 1533 he appears in Le?n but by 1541 he was settled in Valladolid. Several of his works deserve individual mention, among them the retables in Valladolid and Burgo de Osma cathedrals, and the Entombment in Segovia cathedral, dating from 1571, which combines figures on the same theme forming part of another Entombment, preseved in the Museum in Valladolid
Italian painter (b. ca. 1475, Milano, d. 1515, Pavia).
ID de tableau:: 63556
Ecce Homo Panel Accademia Carrara, BergamoArtist:SOLARI, Andrea Title: Ecce Homo Painted in 1501-1550 , Italian - - painting : religious Italian painter (b. ca. 1475, Milano, d. 1515, Pavia).
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 78620
Ecce Homo Oil on panel
Dimensions Deutsch: 30 x 19 cm
cyf b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 79673
Ecce Homo Oil on panel
Dimensions Deutsch: 30 x 19 cm
cyf b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
(born Adam Hilary Bernard Chmielowski; 1845 - 1916) was a Polish religious brother and founder of the Albertines. He is a saint of the Catholic Church. Albert is also known as Brat Albert (Brother Albert); in recognition of his holiness, he has also been called the "Brother of Our Lord", "Brother of Our God", and "Our God's Brother".
Adam Chmielowski was born to a wealthy aristocratic family, and initially studied agriculture with the intention of managing the family estate. Involved in politics since his youth, he lost a leg at the age of 17 while fighting in an insurrection. He became a well-known and well-liked artist in Krakew, his political convictions inspiring his interest in the human condition. A gentle and compassionate spirit, Chmielowski felt compelled to help those in need and after years of reflection, decided to follow his calling into the service of God.
In 1880, Chmielowski joined the Jesuits, took up the name Albert and abandoned painting. He began a life of service to the poor. In 1887, he founded the Brothers of the Third Order of Saint Francis, Servants of the Poor, known in honor of their founder as the Albertines or the Gray Brothers, after their rough gray habits. In 1891, he founded the women's congregation, the Gray Sisters. The Albertines organized food and shelter for the poor and homeless.
Albert believed that the great calamity of our time is that so many refuse to see and relieve the suffering of others. The so-called "haves" live away from the "have-nots", ignoring them and leaving their care to society.
ID de tableau:: 81567
Ecce Homo Date 1881(1881)
Medium Oil on canvas
Dimensions 146 x 96.5 cm (57.5 x 38 in)
cjr (born Adam Hilary Bernard Chmielowski; 1845 - 1916) was a Polish religious brother and founder of the Albertines. He is a saint of the Catholic Church. Albert is also known as Brat Albert (Brother Albert); in recognition of his holiness, he has also been called the "Brother of Our Lord", "Brother of Our God", and "Our God's Brother".
Adam Chmielowski was born to a wealthy aristocratic family, and initially studied agriculture with the intention of managing the family estate. Involved in politics since his youth, he lost a leg at the age of 17 while fighting in an insurrection. He became a well-known and well-liked artist in Krakew, his political convictions inspiring his interest in the human condition. A gentle and compassionate spirit, Chmielowski felt compelled to help those in need and after years of reflection, decided to follow his calling into the service of God.
In 1880, Chmielowski joined the Jesuits, took up the name Albert and abandoned painting. He began a life of service to the poor. In 1887, he founded the Brothers of the Third Order of Saint Francis, Servants of the Poor, known in honor of their founder as the Albertines or the Gray Brothers, after their rough gray habits. In 1891, he founded the women's congregation, the Gray Sisters. The Albertines organized food and shelter for the poor and homeless.
Albert believed that the great calamity of our time is that so many refuse to see and relieve the suffering of others. The so-called "haves" live away from the "have-nots", ignoring them and leaving their care to society.
ID de tableau:: 86351
Ecce Homo Date between 1475(1475) and 1480(1480)
Medium tempera and Oil on oak panel
cjr Netherlandish Northern Renaissance Painter, ca.1450-1516
are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art.
The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem.
But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.
ID de tableau:: 87598
Ecce Homo Date 1548(1548)
Medium Oil on slate
Dimensions Height: 68 cm (26.8 in). Width: 53 cm (20.9 in).
cjr are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art.
The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem.
But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.
ID de tableau:: 87887
Ecce Homo Date 1474(1474)
Medium Oil on wood
Dimensions Deutsch: 39,7 x 32,7 cm
cjr 1430-1479
Italian
Antonello da Messina Galleries
van Nuyssen (ca. 1567/1576 - 1632) was a Flemish Baroque painter.
He was born at Antwerp, in a year variously reported between 1567 and 1576. He studied under Jan Snellinck, was a master in 1602, and in 1607 was dean of the master-painters. He died in the city of his birth.
Till the appearance of Rubens he was considered perhaps the best historical painter of his time. The styles of the two artists are not unalike. In correctness of drawing Janssens excelled his great contemporary; in bold composition and in treatment of the nude he equalled him; but in faculty of color and in general freedom of disposition and touch he fell far short. A master of chiaroscuro, he gratified his taste for strong contrasts of light and shade in his torchlights and similar effects. Good examples of this master are to be seen in the Antwerp museum and the Vienna gallery. The stories of his jealousy of Rubens and of his dissolute life are quite unfounded.
His students include Gerard Seghers and Theodoor Rombouts.
ID de tableau:: 91065
Ecce Homo 1612-1613
Medium oil on panel
Dimensions 126 x 96 cm (49.6 x 37.8 in)
cyf van Nuyssen (ca. 1567/1576 - 1632) was a Flemish Baroque painter.
He was born at Antwerp, in a year variously reported between 1567 and 1576. He studied under Jan Snellinck, was a master in 1602, and in 1607 was dean of the master-painters. He died in the city of his birth.
Till the appearance of Rubens he was considered perhaps the best historical painter of his time. The styles of the two artists are not unalike. In correctness of drawing Janssens excelled his great contemporary; in bold composition and in treatment of the nude he equalled him; but in faculty of color and in general freedom of disposition and touch he fell far short. A master of chiaroscuro, he gratified his taste for strong contrasts of light and shade in his torchlights and similar effects. Good examples of this master are to be seen in the Antwerp museum and the Vienna gallery. The stories of his jealousy of Rubens and of his dissolute life are quite unfounded.
His students include Gerard Seghers and Theodoor Rombouts.
ID de tableau:: 92789
Ecce Homo Date c. 1496-1500
Medium oil on oak panel
Dimensions 73 X 57.2 cm (28.7 X 22.5 in)
TTD Netherlandish Northern Renaissance Painter, ca.1450-1516
ID de tableau:: 93657
Ecce Homo 1526(1526)
Medium oil on panel
Dimensions Height: 95 cm (37.4 in). Width: 74 cm (29.1 in).
cjr Flemish Northern Renaissance Painter, ca.1465-1530
ID de tableau:: 94655
Ecce Homo 1475
Type Oil on panel
Dimensions 48.5 cm x 38 cm (19.1 in x 15 in)
cyf 1430-1479
Italian
Antonello da Messina Galleries
are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art.
The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem.
But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.
ID de tableau:: 95773
Ecce Homo between 1600(1600) and 1610(1610)
Medium oil on canvas
cyf are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art.
The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem.
But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.
Ecce Homo are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art.
The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem.
But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.
Ecce Homo
