Ecce Homo (detail). Titian, ca. 1488-1576. Italy Kunsthistorisches Museum. ID=AVK still image Painting eng The main figure of Christ is found not in the centre as was customary but at the outermost edge of the canvas. Additional Mannerist devices may be seen here in the vigorous movement motifs and the uneven use of colour, sometimes dull and then again aggressive. The painting was conceived for the city palace (on the Grand Canal) of the Flemish businessman Giovanni dAnna (actually, van Haanen). This explains the pictures theme, rarely found in Italy but highly regarded in the North. Depicted is the dramatic and portentous scene (John 19:4-16) in which Pontius Pilate, the Roman procurator of Jerusalem, leads Christ, after his questioning and scourging, before the masses and says, "Ecce homo! (Behold the man!) and offers his release. The main figure of Christ is found not in the centre as was customary but at the outermost edge of the canvas. Additional Mannerist devices may be seen here in the vigorous movement motifs and the uneven use of colour, sometimes dull and then again aggressive. The painting was conceived for the city palace (on the Grand Canal) of the Flemish businessman Giovanni dAnna (actually, van Haanen). This explains the pictures theme, rarely found in Italy but highly regarded in the North. Depicted is the dramatic and portentous scene (John 19:4-16) in which Pontius Pilate, the Roman procurator of Jerusalem, leads Christ, after his questioning and scourging, before the masses and says, "Ecce homo! (Behold the man!) and offers his release. Style: Italian High Renaissance. School: High Renaissance. Movement: Renaissance. Italian. Painting; Art and Art History Collection (Saskia)
Ecce Homo (detail).
Titian, ca. 1488-1576. Italy
Kunsthistorisches Museum. ID=AVK
still image
Painting
eng
The main figure of Christ is found not in the centre as was customary but at the outermost edge of the canvas. Additional Mannerist devices may be seen here in the vigorous movement motifs and the uneven use of colour, sometimes dull and then again aggressive. The painting was conceived for the city palace (on the Grand Canal) of the Flemish businessman Giovanni dAnna (actually, van Haanen). This explains the pictures theme, rarely found in Italy but highly regarded in the North. Depicted is the dramatic and portentous scene (John 19:4-16) in which Pontius Pilate, the Roman procurator of Jerusalem, leads Christ, after his questioning and scourging, before the masses and says, "Ecce homo! (Behold the man!) and offers his release.
The main figure of Christ is found not in the centre as was customary but at the outermost edge of the canvas. Additional Mannerist devices may be seen here in the vigorous movement motifs and the uneven use of colour, sometimes dull and then again aggressive. The painting was conceived for the city palace (on the Grand Canal) of the Flemish businessman Giovanni dAnna (actually, van Haanen). This explains the pictures theme, rarely found in Italy but highly regarded in the North. Depicted is the dramatic and portentous scene (John 19:4-16) in which Pontius Pilate, the Roman procurator of Jerusalem, leads Christ, after his questioning and scourging, before the masses and says, "Ecce homo! (Behold the man!) and offers his release.
Style: Italian High Renaissance.
School: High Renaissance.
Movement: Renaissance.
Italian.
Painting;
Art and Art History Collection (Saskia)