Ecce Homo

Technique: Giclée quality print
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** Welcome to an evocative, deeply moving exploration of one of Bartolomé Estebán Murillo's significant works, "Ecce Homo". In this poignant oil painting by the acclaimed Spanish Baroque artist, we witness a powerful representation of Jesus Christ immediately before his crucifixion.The painting displays Christ in a state of solemn resignation. His head bowed slightly forward, bearing a crown of thorns that symbolizes both his suffering and his regality. Murillo's mastery is evident in the delicate rendering of Christ's facial features, imbued with a profound sadness yet a graceful acceptance of his fate. The soft shadows on his face highlight the emotional intensity of the moment captured within this scene.Christ's torso is exposed, displaying the physical strains of his ordeals. His wrists are bound with a coarse rope, and he holds a reed scepter in one hand, elements mocking him as the king of the Jews. The stark contrast provided by the vivid red drapery adds a depth to the sorrowful ambiance, serving both to draw attention to Christ and to enhance the dramatic impact of his predicament.Murillo's expert use of chiaroscuro adds a three-dimensional quality to the image, giving the figure of Christ a lifelike presence. This artistic technique helps to focus the viewers’ attention on the emotional state of Jesus and the divine light that appears to emerge from within him, signifying his spiritual authority despite his physical degradation.The title "Ecce Homo," which translates from Latin to "Behold the Man," invites viewers to contemplate the theme of human suffering and divine sacrifice. Murillo's portrayal goes beyond mere historical recount; it implores empathy and introspection, encouraging admiration for the figure’s quiet dignity amidst profound agony.

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Bartolomé Esteban Murillo (December 1617, January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively realistic portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. He also painted two self-portraits, one in the Frick Collection portraying him in his 30s, and one in London's National Gallery portraying him about 20 years later. In 2017–18, the two museums held an exhibition of them.