Here we have a second presentation of Ecce Homo, Behold the Man.
This painting was completed over a half century after the Ecce Homo presented in my last blog by an unknown Milanese artist. Note the shift in style.
You can approach a religious painting in at least two ways:
One: You might meditate on the mystery of Christ's suffering and this is the reason for the commission of the the painting below. It was created for a Catholic church as a means to inspire prayer and worship through the visual.
Contemplate what is being presented here and work yourself into the scene.
Two: You might read a biography about the artist who created the artwork and the era and location in which he/she lived and worked. Most often their stories are fascinating and sometimes concerning.
What was happening in the century that this painting was being created?
I500's: A Very Brief Overview
The Raphaelesque, a style popular during the late Renaissance, came to an end (more or less) with Raphael's untimely death in 1520; some claim he was poisoned. Ongoing conflicts, wars among regional rivals, and invaders disrupted artistic communities. Both Leonardo da Vinci and Michelangelo fled cities at different times during their careers to avoid conflict and/or death.
Northern Catholic realms were collapsing under the weight of the Reformation. England had separated from Catholicism under the perverse rule of Henry XIII. Catholic artists were no longer wanted, needed or valued in these parts. Churches were confiscated, whitewashed and Catholic arts destroyed.
During this century, youthful (and older) Italian painters were introduced to several new artistic methods and innovations. What was termed the "Italian Renaissance", with its emphasis on perfect balance, form, and beauty was gradually supplanted by a flowing form called Baroque. An excellent example of this style would be St Charles Church, Vienna.
But art never stands still. Nor does the God who inspires artists such as this.
About the Artist
Luca Cambiasi, (1527 – 1585), also known as Luca Cambiaso and Luca Cangiagio was an Italian painter and draftsman and the leading artist in Genoa in the 16th century. He is considered the founder of the Genoese school.
Cambiasi had an ardent fancy, and was a bold designer in a Raphaelesque mode. His main influences are said to have been Correggio and the Late Renaissance Venetian school. His extreme facility astonished the Spanish painters. It is said that Philip II [one of his patrons], watching one day with pleasure the off-hand zest with which Cambiasi was painting a head of a laughing child, was allowed the further surprise of seeing the laugh changed, by a touch or two upon the lips, into a weeping expression. The artist painted sometimes with a brush in each hand, and with a certainty equaling or transcending that even of Tintoretto (Wikipedia search).
I suggest that the man depicted next to Christ is Caiaphas, the high priest, or another as described here in John 18:12-13 "So the band of soldiers, the tribune, and the Jewish guards seized Jesus, bound him, and brought him [to the priest] Annas first, who was the father-in-law of Caiaphas, the high priest that year" and not Pontius Pilot as the museum scribe has indicated above. Placards are known to be inaccurate.
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Christi Marie (CM) Jentz
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Original artwork, as opposed to a print of any type, is quite wonderful and by far the most sumptuous and "tactile" of all.
I do accept and appreciate art commissions.
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