Ecce Homo: Behold the Man

16., Felix

IN THIS SHOW

IMAGE GALLERY

CALENDAR

LISTING OF IMAGES

Ecce homo is Latin for “behold the man.” This declaration refers to the presentation of Christ by the Roman ruler, Pontius Pilate, before the Jewish mob as described in John 19. Jesus, who had been falsely accused by the high priests and elders, was beaten, mockingly dressed as a king with both a crown of thorns and a purple robe, and then presented to the mob. “When Jesus came out wearing the crown of thorns and the purple robe, Pilate said to them, “Behold the man!” As soon as the chief priests and their officials saw him, they shouted, “Crucify! Crucify!”

 

“But Pilate answered, ‘You take him and crucify him. As for me, I find no basis for a charge against him.’” Pilate, whether from fear or self-preservation, declared that although he found no basis for the death of Jesus, he would hand him over to be crucified. Max Beckmann’s Ecce Homo captures an intense moment when Pilate, portrayed as an evil character with an extended jaw and bald head, speaks to Jesus. We can only imagine the conversation.

 

The earliest depictions of the Ecce Homo scene appear in the ninth and tenth centuries in the Syrian-Byzantine art. Many high-ranking Jewish officials attended the questioning of Jesus, but to remain ceremonially clean, they did not wish to enter the house of the Roman ruler. Therefore, historians believe Pilate had to bring Jesus outside of his house to present him to the crowd. The early Syrian-Byzantine artists often pictured Jesus, crowned in thorns and wearing a purple robe outside of Pilate’s palace. Bonfils’ photograph,  Ecce Homo, provides the physical setting on the Jerusalem street where this took place over 2000 years ago just inside the St. Stephen’s Gate.

 

Two pieces in this show by Jacques Callot and Cornelius Cort show Christ being presented by Pilate to the crowd of people in the street. Otto Dix’s Ecce Homo imagines the crowd seething with anger, pointing fingers and taunting Jesus.

 

In contrast to these early Christian artists who depicted the presentation in its entirety, many 15th century artists began to portray a wounded Jesus alone with a focus on the crown of thorns and the purple robe. Historians surmise that this image, although preceding the actual ecce homo scene, became almost a symbolic remembrance of the event. This idea developed around 1400 in Burgundy and then spread in popularity to Northern Europe.

 

In the tradition of their predecessors the 20th century French artists, Michel Ciry and Georges Rouault, portray Christ bare-chested with a robe slung over his shoulders. Christ was crowned with thorns and clothed with a purple robe in a defiant and hostile way.

 

Bruce Herman’s O Sacred Head shows the jarring and ironic coronation as almost too difficult to comprehend. Jesus accepts the crown, for he is the one true ultimate King and should rightfully be crowned, but this is a crown of thorns symbolizing that Jesus took on the sins of the world. He wears the purple robe and is clothed as royalty, but he also walked to Calvary with the bloody scourged back. The motif of the lone suffering Christ enables the viewer to identify personally with the events of the Passion.

 

After the Christmas season concludes, the liturgical church calendar slows to somber expectancy. Advent has passed, and Lent has not yet begun. “Ecce Homo: Behold the Man” and “Most Highly Favored: The Life of the Virgin Mary,” two new exhibitions from the collection of Sandra Bowden, offer space to reflect on familiar — yet unfamiliar — Biblical scenes and figures. [read article]

This show contains:

 

  •  An essay on the show by Sandra Bowden and Sarah Colago
  • File to print a handout for visitors to your gallery [download]
  • File with high-resolution images of all works in the show
  • File with text for labels
  • File for Introduction panels
  • Information on unpacking and repacking show
  • Information on shipping the exhibition

 

Cost of rental is $4o0 per month (4 weeks) plus shipping.

 

‘Ecce Homo’: Calvin art gallery explores the faces of Jesus

By K.D. Norris

ken@wktv.org

 

There may be no human faces in art more explored than those of Jesus of Nazareth and the Virgin Mary, and with Jesus there is a certain “historic” image of the man. But in the hands of artists such as Salvador Dali and Otto Dix, the accepted image is altered.

[read article]

CALENDAR

Feb 10 to April 16, 2018

Grace Point Church of Northwest AK

1201 NE McCollum Road

Bentonville AR, 72712

Contact: Tim Logan, assoc pastor

tim@gracepointchurch.net

479.464.7223 Ext. 108, 479.426.2249

 

March 15 to April 15, 2017

Wilshire Baptist Church

4316 Abrams Rd,

Dallas, TX 75214

Contact: Mark Wingfield, Associate Pastor

(214) 452-3128

mwingfield@wilshirebc.org

 

January 20-March 4, 2017

Calvin Collge

3210 Burton St. SE

Grand Rapids, MI  49546

Contact: Joel Zwart

Calvin College

jhz2@calvin.edu

616-526-6271

 

Feb 12 to March 18, 2016

Grove City College

100 Campus Drive, Box 3016

Grove City, PA  16127

Kathy Rhoades, Gallery Director

724-458-1528

rhoadeskj@gcc.ed

In this Exhibition

 

1. Christ before Pilate

Max Beckmann (1884-1950)

Germany

Lithograph, 1956

15 1/8 x 11 3/4 in

 

2. Christ Shown to the People

Jacques Callot (1592 – 1635)

France

Etching, 1618

from The Passion, one of 7 prints
in the suite

4 1/4 x 8 ¼ in

 

3. Ecce Homo

Michele Ciry (1919 - )

France

Etching, 1950s

19 ½ x 9 in

 

4. Christ Reviled

Tyrus Clutter

United States, 2006

7 x 5 in

 

5. Head of Christ

Artist Unknown

Spanish/Bolivian (Holquin school)

Oil on panel, 1680 - 1820 ?

16 x 12 1/2 in

 

6. Ecce Homo

Cornelis Cort (1533 - 1578)

Netherlands

Etching and engraving, 1602

12 x 8 3/8 in

 

7. Christus

Otto Dix (1881 - 1969)

Germany

Lithograph 2/50, 1957

19 x 15 ½  in

8. Ecce Homo (Behold the Man)

Otto Dix  (1881 - 1969)

Germany

Lithograph, 1960

14 x 11 in

 

9. Ecce Homo

Hubertus Giebe (1953 - )

Germany

Lithograph, 1996

30 x 22 in

 

10. Ecce Homo

Ralph Hall

United States

Collagraph

1984

18 3/8 x 13 ¼ in

 

11. O Sacred Head

Bruce Herman (1953 - )

United States

etching

1993

18 3/4 x 24 in

 

12. Christ

Odilon Redon  (1840 -1916)

France

Lithograph, 1887

13 x 10 5/8 in

 

13. Koph (Head of Christ)

Karl Schmidt-Rotluff (1884 – 1976)

Germany

Woodcut, 1918

5 x 3 ½ in

 

14. Ecce Homo

Unknown artist

France

Paper Lace, 1870

4 5/8 x 2 ¼ in

15. Man of Sorrows and Mater Dolorosa

Unknown artist

Germany

Woodcut, 1524

3 3/16 x 2 1/4 in

 

16. Ecce Homo

George Rouault (1871 – 1958)

France

Aquatint Montval laid paper, 1936

12 9/16  x 8 ¼  in

 

17. Ecce Homo

Felix Bonfils (1831 – 1885)

France

Black and White photograph, 1890

10 x 8 in

 

18. Ecce Homo

Guido Reni (1575-1642)

Italy

Engraving

 

19. Most Loved One

Ioana Dactu

United States

Photo Painting

 

20. Ecce Homo

Salvador Dali (1904 - 1989)

Spain

Ink on paper

Ecce Homo/Behold the Man

 

Bowden Collections is proud to offer the traveling exhibition, Ecce Homo/Behold the Man with images dating from the early 17th century to contemporary works. Among the artists included are Jacques Callot, Georges Rouault, Max Beckmann, Schmidt-Rotluff, Otto Dix, Odilon Redon, Bruce Herman, and Tyrus Clutter. This exhibition is organized to place the viewer at the scene where Jesus was condemned by the crowd as described in Matthew 27, “And the governor said, Why, what evil hath he done? But they cried out the more, saying, ‘Let him be crucified.’”

Bowden Collections offers a variety of traveling exhibitions available to museums, churches, colleges and seminaries: several feature the work of important historical artists such as Georges Rouault, Marc Chagall, Ottos Dix and Alfred Manessier; others explore topics related to the Bible. A packet containing everything needed to mount the exhibition with files for labels, itemized lists, a brochure or flyer in PDF format, high-resolution digital files of art in the exhibition, and shipping information is provided. Venues are responsible for the rental fee and shipping, usually to the following venue.