File:Ecce homo by Hieronymus Bosch.jpg
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Captions
Summary[edit]
Hieronymus Bosch: Ecce Homo | ||||||||||||||||||||||||||||
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Artist |
artist QS:P170,Q130531 |
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Title |
Ecce Homo |
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Object type | painting | |||||||||||||||||||||||||||
Genre | religious art | |||||||||||||||||||||||||||
Depicted people | Jesus | |||||||||||||||||||||||||||
Date |
between 1480 and 1490 date QS:P571,+1450-00-00T00:00:00Z/7,P1319,+1480-00-00T00:00:00Z/9,P1326,+1490-00-00T00:00:00Z/9 |
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Medium | oil and tempera on oak panel | |||||||||||||||||||||||||||
Dimensions |
Height: 71 cm (27.9 in); Width: 61 cm (24 in) dimensions QS:P2048,71U174728;P2049,61U174728 |
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Collection |
institution QS:P195,Q163804 |
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Accession number |
1577 |
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Place of creation | 's-Hertogenbosch | |||||||||||||||||||||||||||
Object history |
Della Faille, Ghent by 1889date QS:P,+1889-00-00T00:00:00Z/7,P1326,+1889-00-00T00:00:00Z/9 : Baron de Crombrugge-Pycke, Ghentby 1899 date QS:P,+1899-00-00T00:00:00Z/7,P1326,+1899-00-00T00:00:00Z/9 : Louis Maeterlinck (1846-1926), Ghent: acquired by Richard von Kaufmann, Berlin, from Louis Maeterlinck, Ghent |
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Exhibition history |
Exposition des primitifs flamands et d'art ancien, Provinciaal Hof Brugge, Bruges, –, cat.no. 137, p. 59. |
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Inscriptions |
top left: Ecce homo center: Crucifige eu[m] |
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References |
AnonymousUnknown author, Städel Museum, as Ecce Homo, 1480/90, Height: 71 cm (27.9 in); Width: 61 cm (24 in) dimensions QS:P2048,71U174728;P2049,61U174728 .
AnonymousUnknown author, RKDimages, Art-work number 59775, as Ecce Homo, circa 1476 date QS:P,+1476-00-00T00:00:00Z/9,P1480,Q5727902 or later (1470-1486), Height: 75 cm (29.5 in); Width: 61 cm (24 in) dimensions QS:P2048,75U174728;P2049,61U174728 .AnonymousUnknown author, Royal Institute for Cultural Heritage Photolibrary, object number 40002054, as Ecce homo, circa 1486 date QS:P,+1486-00-00T00:00:00Z/9,P1480,Q5727902 , Height: 75 cm (29.5 in); Width: 61 cm (24 in) dimensions QS:P2048,75U174728;P2049,61U174728 .AnonymousUnknown author, Bildindex der Kunst und Architektur, object 00004134, as Ecce Homo, year unknown Unknown date , Height: 75 cm (29.5 in); Width: 61 cm (24 in) dimensions QS:P2048,75U174728;P2049,61U174728 Fierens-Gevaert, [Hippolyte] (1912) ‘Jérôme Bosch’, Les Primitifs Flamands. Volume II, Bruxelles: G. van Oest & Cie., p. 175, no image, as Christ présenté au peuple, collection von Kaufmann. Fourcaud, L. de (–) ‘Hieronymus van Aken, dit Jérôme Bosch (vers 1460 † 1516). I-II’, La Revue de l'Art Ancien et Moderne, vol. XXXI, p. 168, no image, as Ecce Homo. Fourcaud, L. de (–) ‘Hieronymus van Aken, dit Jérôme Bosch (vers 1460 † 1516). III-V’, La Revue de l'Art Ancien et Moderne, vol. XXXI, p. 280-281, with image in black and white on p. 283, as Ecce Homo. Friedländer, Max J. (1969) Early Netherlandisch Painting. Volume V. Geertgen tot Sint Jans and Jerome Bosch, Leyden: A.W. Slijthof, Brussels: La Connaissance, p. 83, cat. 77, as Christ Shown to the People. date QS:P,+1476-00-00T00:00:00Z/9,P1480,Q5727902 or later, Height: 75 cm (29.5 in); Width: 61 cm (24 in) dimensions QS:P2048,75U174728;P2049,61U174728 , with color image.Tolnay, Charles de (1986 [1984]) Hieronymus Bosch, Alphen aan den Rijn: Atrium, ISBN 90-6113-164-2, cat.no. 5, p. 340-341, as Ecce Homo, year unknown Unknown date , Height: 75 cm (29.5 in); Width: 61 cm (24 in) dimensions QS:P2048,75U174728;P2049,61U174728 , with color image. |
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Source/Photographer | Unknown | |||||||||||||||||||||||||||
Other versions | Category:Ecce Homo by Hieronymus Bosch |
Licensing[edit]
This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details. |
Annotations | This image is annotated: View the annotations at Commons |
Ecce homo (Behold the man)
Crucifige eu[m] (Crucify him)
Salva nos Christe redemptor (Save us, Christ, our Saviour)
File history
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current | 14:28, 14 May 2008 | 901 × 1,073 (162 KB) | BetacommandBot (talk | contribs) | move approved by: User:G.dallorto This image was moved from Image:05ecce1Bosch.jpg {{Information |Description={{it|Hieronymus Bosch, ''Ecce Homo'', 1475c.jpeg, 166027c.jpg, 901x1073px.jpg, http://www.wga.hu/art/b/bosch/1early/05ecce1.jp |
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File usage on Commons
The following 12 pages use this file:
- Ecce Homo by Hieronymus Bosch
- Exposition des primitifs flamands à Bruges
- File:1485 Bosch Ecce Homo anagoria.JPG
- File:After Jheronimus Bosch Ecce Homo 16th century 1.jpg
- File:Bosch Ecce homo.jpg
- File:Ecce homo by Hieronymus Bosch.jpg
- File:Eccehomo workshop bosch.jpg
- File:Hieronymus Bosch - Ecce Homo - Google Art Project.jpg
- File:J. Bosch Frankfurt Ecce Homo before restoration.gif
- File:Jheronimus Bosch 116.jpg
- Template:Ecce Homo by Hieronymus Bosch
- Category:Ecce Homo by Hieronymus Bosch
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- List of paintings by Hieronymus Bosch
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- Exposition des primitifs flamands à Bruges
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JPEG file comment | BOSCH, Hieronymus
(b. ca. 1450, 's-Hertogenbosch, d. 1516, 's-Hertogenbosch) Ecce Homo 1475-80 Tempera and oil on oak panel, 71 x 61 cm Städelsches Kunstinstitut, Frankfurt Among the works generally ascribed to Bosch's first period of activity (c. 1470-85) may be included several small biblical scenes: the Epiphany (Adoration of the Magi) in Philadelphia, the Ecce Homo in Frankfurt (with a related version in Boston, Museum of Fine Arts) and an altar wing in Vienna, the Christ Carrying the Cross. Their early date is suggested by their relatively simple compositions and their adherence to traditional compositional types. In the Ecce Homo, crowned with thorns and his flesh beaten raw by the scourge, Christ stands with Pilate and his companions before the angry mob. The dialogue between Pilate and the crowd is indicated by the Gothic inscriptions. From the mouth of Pilate issue the words Ecce Homo (Behold the Man). There is no need to decipher the inscription Crufige Eum (Crucify Him), the cry which rises from the people below; their animosity is unmistakably conveyed by their facial expressions and threatening gestures. The third inscription Salve nos Christe redemptor (Save us, Christ Redeemer) once emerged from two donors at lower left, but their figures have been painted over. The heathen character of the men surrounding Christ is suggested by their strange dress and headgear, including pseudo-oriental turbans. The scene's essential wickedness is further indicated by such traditional emblems of evil as the owl in the niche above Pilate and the giant toad sprawled on the back of a shield carried by one of the soldiers. In the background appears a city square, the Turkish crescent fluttering from one of its towers. The enemies of Christ have been identified with the power of Islam which in Bosch's day, and long afterwards, controlled the most holy places of Christendom. The buildings, however, are late Gothic; only the oddly bulging tower in the distance evokes a feeling of far-off places. The Dutch character of this early work is unmistakable. The homely faces and animated gestures of Christ's tormentors recall Passion scenes in Dutch manuscripts of the second and third quarters of the fifteenth century, where we encounter similar physical types, slight in proportion, flatly modelled and often unsubstantial beneath their heavy robes.
Author: BOSCH, Hieronymus Title: Ecce Homo Time-line: 1451-1500 School: Netherlandish Form: painting Type: religious |
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- WGA form: painting
- WGA type: religious
- WGA School: Netherlandish
- WGA time period: 1451-1500