Christ Presented to the People (Ecce Homo), 1655
Rembrandt Harmensz. van Rijnexpand_more
Drypointexpand_more
The Driscoll Art Accessions Endowment Fundexpand_more 2012.92.1
Not on Viewexpand_more
In 1654, Rembrandt and his mistress Hendrickje Stoffels fell into disgrace when she became pregnant. After church officials subjected her to harsh and unfair judgment, Rembrandt returned to work on the copper printing plate of his drypoint tour de force Ecce Homo, literally “Behold the Man,” the phrase spoken by Pontius Pilate when presenting Christ to the crowd for judgment.
Using a scraper, he set about the onerous task of effacing the crowd scene that had animated the foreground. He also retouched many of the figures remaining in the image, most tellingly that of Christ, whom he transformed from the apparition of the Holy Ghost into sinew and bone, a very physical man. He replaced the ground upon which the crowd had stood with a pit, a bottomless opening leading to hell. Now we stand on one side, Christ on the other, and we viewers become the crowd that must answer Pilate’s entreaty to choose between Christ and Barrabas.
Rembrandt’s highly structured composition imparts a sense of inevitability to the decision. The artist’s sorrow for all involved seems to be reflected in his inclusion of a melancholic river god who mourns the event.
Details
- Title
- Christ Presented to the People (Ecce Homo)
- Artist Life
- 1606–1669
- Role
- Artist
- Accession Number
- 2012.92.1
- Provenance
- The Albertina, Lugt 5d, Vienna; deaccessioned. (Colnaghi, London; their stock no. C. 3680). (Knoedler, N.Y.; their stock no. MK 43715). Richard H. Zinser (about 1883-1983), Forest Hills, N.Y.; thence by descent (until 2006); Shawn Merriman, Denver, 2006-09; seized by United States Federal Marshals, 2009; sale, Gaston & Sheehan, Pflugerville, Tex., online auction concluded July 2, 2012, no. 54; (C.G. Boerner, New York, 2012; sold to MIA)
- Catalogue Raisonne
- Bartsch 76, White/Boon 76 viii/viii
- Curator Approved
This record has been reviewed by our curatorial staff but may be incomplete. These records are frequently revised and enhanced. If you notice a mistake or have additional information about this object, please email collectionsdata@artsmia.org.
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