Ecce Homo

Ecce Homo

Title

Ecce Homo

[Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]

Painting on limewood (Tilia sp.)

Medium

Painting on limewood (Tilia sp.)

[Exhib. Cat. Berlin 2009, 216, No. IV.18]

After Christ is crowned with thorns he is presented by Pilate to the high priests and the soldiers with the words: 'Look! Here is the man!' (John 19, 4-15). In the painting Christ - as is described in the bible - holds a palm branch as a sceptre and is

After Christ is crowned with thorns he is presented by Pilate to the high priests and the soldiers with the words: 'Look! Here is the man!' (John 19, 4-15). In the painting Christ - as is described in the bible - holds a palm branch as a sceptre and is wearing the crown of thorns and the red coat with which he was mocked as king of the Jews. He was exhibited by Pilate on a gallery. Beneath the gallery two prisoners are lead out of the cellar by a henchman. These are probably the thieves, who were executed with Christ.

[see Elke A. Werner, Exhib. Cat. Berlin 2009, 216, No. IV.18]

Attribution
Lucas Cranach the Elder

Attribution

Lucas Cranach the Elder

[Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]

Production date
1537

Production date

1537

[dated]

Dimensions
Dimensions of support: 152 x 116.4 cm

Dimensions

  • Dimensions of support: 152 x 116.4 cm

  • [Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]

Signature / Dating

Artist's insignia at the centre of the lower edge: winged serpent (with dropped wings) and date '1537'

Signature / Dating

  • Artist's insignia at the centre of the lower edge: winged serpent (with dropped wings) and date '1537'

Owner
Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg
Repository
Grunewald hunting lodge
Location
Grunewald
CDA ID
DE_SPSG_GKI1193
FR (1978) Nr.
FR374B
Persistent Link
https://lucascranach.org/en/DE_SPSG_GKI1193/

Connected Works

The Washing of the Feet
  • The Washing of the Feet, 153[7]
  • DE_smbGG_579
  • Painting
  • Staatliche Museen zu Berlin, Gemäldegalerie
The Agony in the Garden
  • The Agony in the Garden, about 1537
  • DE_smbGG_580
  • Painting
  • Staatliche Museen zu Berlin, Gemäldegalerie
The Entombment
  • The Entombment, 1538
  • DE_smbGG_581
  • Painting
  • Staatliche Museen zu Berlin, Gemäldegalerie
Christ carrying the Cross
  • Christ carrying the Cross, about 1537 - 1538
  • DE_SPSG_GKI1190
  • Painting
  • Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg
The Resurrection
  • The Resurrection, about 1537 - 1538
  • DE_SPSG_GKI1189
  • Painting
  • Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg
Christ crowned with Thorns
  • Christ crowned with Thorns, 1537
  • DE_SPSG_GKI1194
  • Painting
  • Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg
The Scourging of Christ
  • The Scourging of Christ, 1537
  • DE_SPSG_GKI2270
  • Painting
  • Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg
Christ in Limbo
  • Christ in Limbo, 1538
  • DE_SPSG_GKI2271
  • Painting
  • Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg

Provenance

  • probably removed from the Domkirche (Cathedral) in the 17th century and relocated to the Erasmuskapelle (Erasmus Chapel) in the Berliner Schloss (Berlin Palace); the Berliner Schloss inventory from 1700 lists eight paintings depicting scenes from the Passion of Christ.
    [Exhib. Cat. Berlin 2009, 213, Nos. IV.14-22]

Exhibitions

Berlin 2009/10, No. IV.18

Literature

Reference on page Catalogue Number Figure / Plate
Sandner, Heydenreich, Smith-Contini 2015 136, Fn. 61
AuthorGunnar Heydenreich, Ingo Sandner, Helen Smith-Contini
TitleVeränderungen beim Unterzeichnen in Cranachs Werkstatt und die Arbeitsweise von Sohn Lucas
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Link https://lucascranach.org/application/files/5215/6337/7366/Heydenreich_Sandner_Smith-Contini_2015_-_Unterzeichnung.pdf
Pages128-141
Show Literature
Exhib. Cat. Berlin 2009 A 216 No. IV.18 Fig. IV.18
EditorStiftung Preussische Schlösser und Gärten Berlin-Brandenburg
TitleCranach und die Kunst der Renaissance unter den Hohenzollern. Kirche, Hof und Stadtkultur
Place of PublicationBerlin
Year of Publication2009
Show Literature
Most, Wolf et al. 2009 88, 93
AuthorMechthild Most, Anja Wolf, Peter Klein, Undine Köhler, Jens Bartoll, Eva Wenders de Calisse
TitleZur Maltechnik der beiden Cranach und ihrer Werkstatt. Ergebnisse der technologischen Untersuchung der Bildtafeln der Stiftung Preußische Schlösser und Gärten
Publicationin Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Evangelische Kirchengemeinde St. Petri-St. Marien, eds., Cranach und die Kunst der Renaissance unter den Hohenzollern, Exhib. Cat. Berlin
Place of PublicationBerlin
Year of Publication2009
Pages86-97
Show Literature
Tacke 2007 C 81, 82, 84
AuthorAndreas Tacke
TitleMit Cranachs Hilfe: Antireformatorische Kunstwerke vor dem Tridentiner Konzil
Publicationin Bodo Brinkmann, ed., Cranach der Ältere, [Exhib. Cat. Frankfurt am Main]
Place of PublicationOstfildern
Year of Publication2007
Link http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2012/2000
Pages81-89
Show Literature
Exhib. Cat. Chemnitz 2005 342 under No. 23
EditorHarald Marx, Karin Kolb, Ingrid Mössinger
TitleCranach Anlässlich der Ausstellung Cranach vom 13. November 2005 bis 12. März 2006 in den Kunstsammlungen Chemnitz. Eine Ausstellung in Kooperation mit der Gemäldegalerie Alte Meister der Staatlichen Kunstsammlungen Dresden
Place of PublicationCologne
Year of Publication2005
Show Literature
Erichsen 1994 A 157, 158
AuthorJohannes Erichsen
TitleAltäre Lucas Cranachs und seiner Werkstatt vor der Reformation
Publicationin Claus Grimm, Johannes Erichsen, Evamaria Brockhof, eds., Lucas Cranach. Ein Maler-Unternehmen aus Franken, Exhib. Cat. Kronach 1994
SeriesVeröffentlichungen zur bayerischen Geschichte und Kultur
Volume26/94
Place of PublicationAugsburg, Regensburg
Year of Publication1994
Pages150-165
Show Literature
Friedländer, Rosenberg 1979 145 No. 374B
AuthorMax J. Friedländer, Jakob Rosenberg
EditorG. Schwartz
TitleDie Gemälde von Lucas Cranach
Place of PublicationBasel, Boston, Stuttgart
Year of Publication1979
Show Literature
Friedländer, Rosenberg 1932 294b
AuthorMax J. Friedländer, Jakob Rosenberg
TitleDie Gemälde von Lucas Cranach
Place of PublicationBerlin
Year of Publication1932
Link http://digi.ub.uni-heidelberg.de/diglit/friedlaender1932
Show Literature

Research History / Discussion

‚The painting is one of nine Passion panels, that were originally parts of an unknown number of winged altarpieces. Commissioned by Joachim II Lucas Cranach the Elder and his workshop created them for the collegial church in Berlin (Berliner Stiftskirche) between 1537 and 1538. This is one of the central panels, which was probably flanked by full-length depictions of saints on the wings and complemented by scenes from the old testament on the predella. […] The Berlin Passion cycle was based on the 16 Passion altarpieces, which were commissioned by Cardinal Albrecht from Lucas Cranach the Elder and his workshop for the collegial church in Halle (Hallenser Stiftskirche) (about 1520-1525) and it was the second large painted Passion series created in the Cranach workshop. Not only are numerous central panels now missing from the Berlin Passion altarpieces, like for example ‚The Arrest of Christ‘ or ‚The Crucifixion‘, but in addition the whereabouts of all the wing panels and a large number of the predella panels is unknown. They were probably lost in 1613 when Elector Johann Sigismund converted to Calvinism. […]‘

[Elke A. Werner, Exhib. Cat. Berlin 2009, 213, No. IV.14-22]

‚Although a division of the composition into two zones has a long tradition for this subject, compared with earlier depictions by Cranach, and indeed Dürer or Schongauer, here Christ appears to be further away from the soldiers and the high priests, because of his elevated position.’

[Elke A. Werner, Exhib. Cat. Berlin 2009, 216, No. IV.18]

  • Ecce Homo, 1537

Images

Compare images
  • overall
  • irr

Technical studies

01. 2010Technical examination / Scientific analysis

  • Infrared reflectography
  • irr

Underdrawing

DESCRIPTION

Tools/Materials:

- fluid, black medium and brush

Type/Ductus:

- detailed and freehand underdrawing

- short, thin lines (predominantly in the faces and hands) in combination with longer lines

Function:

- binding for the final painted version; lines delineate contours and describe the essential details and the facial features; scant representation of volume

Deviations:

- minor alterations made during the painting process to clearly define form

[Smith, Sandner, Heydenreich, cda 2012]

  • photographed by Gunnar Heydenreich
  • photographed by Ingo Sandner

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Ecce Homo', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_SPSG_GKI1193/ (Accessed {{dateAccessed}})
Entry with no author
'Ecce Homo', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_SPSG_GKI1193/ (Accessed {{dateAccessed}})

Help us to improve the Cranach Digital Archive.

Please contact us, if you have noticed a mistake.