(Jàtiva 1591–1652 Naples)
Ecce Homo,
oil on canvas, 127 x 90 cm, framed

Provenance:
sale, Sotheby’s, New York, 22 January 2004, lot 255 (as Studio of Jusepe de Ribera);
sale, Sotheby’s, London, 30 October 2008, lot 25 (as Studio of Jusepe de Ribera);
European private collection;
art market, Italy;
where acquired by the present owner

Previously unknown to him, Nicola Spinosa has recently analysed the present painting on the basis of a high resolution photograph and is convinced that it is an autograph work. His written report accompanies the present lot.

The present Ecce Homo is an intense, focused devotional picture representing Christ after his torture and mockery by Roman soldiers. Ribera painted the work in the 1630s at the height of his popularity, and it illustrates his ability to combine a strong spiritual image with poignant realism. Christ gazes at the viewer with confidence amidst the mockery, knowing that the crown of thorns and reed-sceptre are emblems of a heavenly power unrecognized by mankind. The plain background, and the engaging look in Christ’s eyes create an arrestingly moving image. Christ is depicted against an almost entirely dark background, which emphasises the presence of the figure as his gaze is focused on the viewer.

In his recent analysis of the present Ecce Homo, Spinosa compares it to the version in The Bob Jones University Museum, Greenville, South Carolina, which is signed and dated 1638, and appears to be closely related (fig. 1, see N. Spinosa, L’opera completa del Ribera, Milan 1978, p. 113, cat. no. 123, reproduced p. 112, fig. 123). Spinosa proposes a similar date of execution for the present painting.
With its intense chiaroscuro effects and striking simplicity in the triangular composition along with its strong, contrasting reds against the white flesh tones of Christ, the Ecce Homo is a characteristic work of Ribera’s mature phase.

Spinosa cites other comparable variants of ‘Mezze Figure’ in Ribera’s oeuvre, among them the painting in St. Petersburg and another in the Pizzi Collection in Venice (see N. Spinosa, op. cit., 1978, p. 384, cat. nos. A144; A 145), as well as another in the Zeri Collection (see N. Spinosa, op. cit., 1978, p. 384, cat. no. A 176).

The present painting, whilst definitely belonging to the group of half-length figures of Christ and Saints painted by Ribera throughout his career, and stylistically close to the version in Greenville, is an entirely independent composition. It bears testament to the Spaniard’s ability to conceive works of great spirituality, whilst employing a marked realism.

Ribera was born in Jàtiva, Spain and presumably apprenticed in his homeland until he left for Naples in 1607. There he saw the works of Caravaggio for the first time and developed an early affinity for the master’s style. Caravaggio’s art was a continual influence throughout Ribera’s career, but he was also influenced by the classical style of Carracci and Guido Reni whose work he encountered on a trip to Rome. Despite living in Italy for most of his life where he made such a considerable impact on the Baroque artists, Ribera always considered himself to be a Spaniard and his work also greatly influenced the art of his native land.