Ecce Homo, oil on panel, 91 x 63 cm, framed

Provenance:
Sale Millon & Associés, Paris, 6 March 2013, lot 7 (as “Follower of Cornelis Engebrechtsz.”) We are grateful to Till-Holger Borchert, Bruges, for suggesting the lower Rhenish origin of the present painting. He attributes it to a follower of Jan Joest van Kalkar (Kalkar c. 1460 – c. 1519), who ranked amongst the leading artists from the Lower Rhine.

This painting bears some elements characteristic of the work of Cornelis Engebrechtsz. For example, the raised positioning of the horizon is typical of this painter from Leiden. A further aspect which correlates with the known works of the Dutch artist is the sfumato-esque depiction of the landscape. In addition, parallels can be drawn between the proportions of the figures, and there is also a very similar Christ figure with a rather dark complexion. Certain types of figures, such as the caricatured features of the guards on the balcony standing either side of Christ and behind him, along with the delicate style of painting which is particularly noticeable in the velvet appearance of the folds of his robes, also correspond to Egebrechtsz’ work. The extensive architectural elements are impressive in their design and artistic in their rendering, as are the splendid robes worn by the figures. The figure in the foreground wearing the red coat is displayed in a contorted pose, while the male figure directly behind this man looks straight at the viewer, displaying portrait-like features. The figure on the right-hand side of the foreground, with the ornate green robes, is also turned to face the viewer, acting as a repoussoir figure drawing the viewer’s gaze into the depths of the image.

A further Ecce Homo painting by Engebrechtsz. is preserved at the Metropolitan Museum of Art, New York (cf M. J. Friedländer, Early Netherlandish Painting, vol. X, Leiden 1973, pl. 67).