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Les objets les plus raffinés présentés par {name}

Blanca Marsal

The work is carried out over white preparation, which is indicative that it's an Hispanic work following the typology of preparations typical of the 17th century and in use until the first half of the 18th century. 
Through the analysis of the back of the work, the technical and scientific research that the work was submitted to in the year 2014 identifies the relined of the work, allowing you to use part of the original fabric that’s tighten again and the new one.  As for the former, attached to the new one using in addition of glue (surely a synthetic resin) ten forge nails in each side. It can be said that it is a flat composition or simple thick taffeta, set by braided threads on a more or less regular basis, taking into account the change of tensions due to the effect of the relined on an adjustable frame. The frame is configured from four wooden ensembles which can be opened and closed with wedges of which three out of four original that would contain the work are kept.
The frame has a smooth structure with the shape of half-reed, very simple and neatly gold coated. 
With the application of ultraviolet light, the appearance of a sweep in the entire pictorial surface of the front can be seen. This is probably due to the fact that at a certain moment in the history of the piece, it was subjected to a rough varnishing intervention of its paint layer.
During the process of study of the work digital reflectographies were also obtained using an infrared filter. This technology reveals, if it exists, the preparatory drawing of the work, as well as possible pentimenti, or changes in the composition of the work made during the creative process of the artist. 
In our case, but, as the presence of these modifications in the canvas were not detected, we confirm the great mastery and skill of the author of the piece, since we can not appreciate any kind of correction of the final appearance. This fact is probably due to the fact that the person who painted the work already knew very well the organization of the composition, perhaps because he had already captured it previously or, at least, he had studied it taking as an example other artists representing it. 
It can be deduced that the author must very likely be Spanish, of good plastic making and a supporter of the painterly work of Antonio Allegri da Correggio (Correggio, 1489 - idem., 1534). Although so far it has not been possible to clarify with more detail the geographical origin or the concrete workshop where the work was done, it is true that the thematic, composition and style is consistent with the production of the aforementioned Italian master, who was greatly copied all over Europe during the 16th -19th centuries.  
Condition: 
It should be noted that the Ecce homo studied here in general is in an acceptable condition. However, the work suffers from a major craquelure of the pictorial surface, being particularly delicate the area of the face and in the shadows of the neck of Christ. Although for the moment a major loss of pigmentation has not occurred, according to researchers, it would be interesting to meet this factor of the painting to preserve its future integrity.
DESCRIPTION AND ICONOGRAPHIC ANALYSIS 
The Ecce homo analysed in this study is a very well composed and captured testimony of this famous episode of the passion of Christ so usually represented throughout Europe from the 15th century and until the middle of the 19th century. 
The figure of Christ appears at the very forefront and on an abstract background, head-on, with his head slightly inclined to his left. Without a doubt the expression of his face is the point of main attention to all who gaze at the painting. This portrait shows great skill in the representation of the human figure, above all by the delicacy of the contours and the gradation with which the shadows are reflected, shadows that appear in the right area of the face and around the neck. Christ's eyes are painted large and expressive, addressed directly to the public. His nose is prominent and well profiled, and mouth remains slightly ajar and with dried up lips. Regarding his brown and wavy mane, it slips gently from the head to rest on the shoulders, and the meticulous representation of the slightly orange beard also stands out. Over the head of the Lord the Crown of sharp thorns is placed, and his naked torso is only covered on the shoulders by a reddish chlamys. 
The use of this depiction of Christ before the people, after the whipping and the crowning with thorns in the Christian iconography has been constant in the West since the middle ages; However, after the Council of Trent, this motif would be even used with more determination in Catholic countries. This is how in the devout Hispanic environment (and not stopping to take as a reference the omnipresent influence of Italian art) an interesting repertoire of Ecce homos would emerge in the Baroque environment of the middle of the 16th century and during the 17th century, both at a pictorial and sculptural level. In the latter case, it is considered a clear example of the Ecce homo by Juan de Juni (Joigny, 1506 - Valladolid, 1577) of the Diocesan Museum of Valladolid, dated around 1540-1545.
Among the homonymous Italian works that would influence this environment we can include the Ecce homo of Guido Reni (Bologna, 1575-1642) Musée du Louvre; the namesake of the Alte Pinakothek of Munich and the Galleria Nazionale D'Arte Antica Di Palazzo Corsini, both of the Italian painter Giovanni Francesco Barbieri, known as Il Guercino (Cento, 1591 - Bologna, 1666); or, especially and as you will see in more detail, the Ecce homo by Antonio Allegri da Correggio (Correggio, 1489-1534) of the the National Gallery in London. 
Some of these works, or the European schools that they directly influenced - for example, as happened with the production of the French Pierre Mignard, called the Roman (Troyes, 1612 - Paris, 1695) and his closest circle, they would even be made as engravings to enable a better dissemination of its forms over the centuries, reaching well into the 19th century. This was the case of the eponymous print work of the Alonso García Sanz from Soria (Duruelo de la Sierra, 1781-1812), who was directly inspired by the work of Il Guercino, Pietro Fontana Italian engraving of (Bassano Romano, 1762 - Rome, 1837), also inspired in the production of this master, the Domingo Martínez Aparici (1822-1898), who took as a reference the work of one of the followers of Reni, Mignard. 
For this reason, in short, that compositions and strokes similar to the works of Reni, Il Guercino, Correggio and its closest surroundings were everywhere and were easily available and within reach to all those painters or painter apprentice that needed it; Therefore, it is logical that many of them arrived and were reinterpreted in the Hispanic environment of the time.
APPROACH TO THE AUTHORSHIP OF THE WORK 
The European school admired deeply the production of the cinquecentista Correggio, mostly posthumously. Due to this fact, many were the engravings that were reproduced in this environment since the 16th century imitating his compositions, forms and style, a trend that would continue until well into the 19th century. That is why it is possible to reach easily many versions of Ecce homo directly inspired by his work; for example, the homonymous engraving dated in 1589 of the British Museum in London; the carried out by Cornelis Galle I and dated between 1581-1650; engraving of Pietro Bettelini, dated between 1778-1829; or William Thomas Fry, to 1840.
With the circulation of this material over the continental geography, artists of all types and origins may have the opportunity to use these prints in his compositions. It is this way how multiple copies and interpretations of the works of Correggio proliferated, either carried out in the same 16th century or until the 18th century. Let’s set the example of the Ecce homo of the Pinacoteca Capitolina, depicted by an anonymous Emiliano painter of the 16th century; the homonymous work of the National Gallery in London, the auctioned by Bonhams in the year 2010, the auctioned in the House changed in 2012, and another anonymous copy of the 17th century, belonging to the American collection Klein - at least, during the Decade of the sixties of the last century.
As for the Hispanic sphere, we should contemplate the fact that, in part, the pictorial corpus of Correggio was already known and appreciated during the 17th century corpus, either through their direct contact with his original works or through copies placed in such emblematic places of the Hispanic crown as the Monastery of San Lorenzo de El Escorial. And it is for this reason, as well as the fruitful commercial network of engravings latent in its geography that, while not stopping to take as a pictorial reference the existing Hispanic tradition, well made compositions are done with certain points of connection with Italian repertoires as the one of Correggio. 
Accordingly, in the Spanish environment of the 17th century, seat of the Court - the most active and significant artistic centre throughout Hispanic territory -, there are some works that are similar to ours not only in their themes, but also with regard to the treatment of the face and the mastery of the shadows that sweeten the body which, no doubt, also feed from the Italian tradition extended in the engraving. In this area the homonymous work of the Madrid painter Francisco de Solís (Madrid, 1620 - ibid., 1684) stands out strongly. Francisco de Solis is the master of one of the unofficial Madrid academies of fine arts, among many others that emerged around the Court of lower quality. 
It specially stands out, in the same way that happens with ours, the effect of shadows that Solis captured on the face and in the area of the neck of Christ, delicate and expressive at the same time, being this the area of greater attention without having to apply a large chiaroscuro to the rest or of the work. On the other hand, it is also worth mentioning the obvious connection between our Ecce homo - close model in terms of ways the face of the Ecce homo by Correggio- with the 18th-century painter Jacinto Molina Mendoza, preserved at the Museum of fine arts in Granada. 
As it has been drawn from our speech, many are features that allow us to link our work with European production of modern era that would take as a model to follow the production of the Italian Correggio. However, and while our conclusions are not definitive since, to do so, it would be necessary to continue studying it more deeply, it is possible that our Ecce homo, of correct execution, is a Hispanic copy - perhaps, Castilian - of the 17th century based on the prints that disseminated the forms of Correggio everywhere, since there are also many other works of this environment that remind us of the composition of the master. This reality, in addition, makes sense if we take into account that it was then that numerous commissions of religious themes in a small format would be done, especially for particular devotions to ecclesiastical or lackeys of the Court. Therefore, it would be logical for our work to attend to this same demand of small painterly custom-made production,very much in consonance with the Baroque fashion of the time, with a good command of the forms of the human body as well as the expressiveness of the face. 
Visual evidence of the study of the work process
On April 2, 2014, the research team of the Centre d'art d' època Moderna (CAEM) of the Universitat de Lleida received at its facilities in the scientific and technological park the oil painting on canvas Ecce homo. It was subjected to a comprehensive visual analysis and a set of high resolution photographs and examined with ultraviolet light. 
Images that document the cited research process during several working sessions.
CONCLUSIONS 
The research team of the CAEM attributes this work, well made and fairly well preserved, to an anonymous master of the Hispanic area - perhaps from Castilla; or Andalucía - of the 17th century, who perfectly knew the native tradition as well as the Italian compositions of masters as interesting as it was Antonio Allegri da Correggio, many of them would have arrived and travelled along the Iberian Peninsula thanks to the dissemination of repertores of religious prints.

Huile sur toile - Non signé(e) - 1650-1670

Escuela Castellana (Seguidor da Correggio) - Ecce Homo

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Escuela Castellana (Seguidor da Correggio) - Ecce Homo

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Cet objet n’est plus disponible, mais il en reste beaucoup d’autres à découvrir

Escuela Castellana (Seguidor da Correggio) - Ecce Homo

1778 objets

Collections en lien avec ce thème