Luis de Morales - ECCE HOMO
Luis de Morales
BADAJOZ (?) CIRCA 1520 - 1586 (?) BADAJOZ
ECCE HOMO
remains of signature and dated lower right: ...ales fecit 1556
oil on panel
83.7 by 59.7 cm.; 33 1/8 by 23 1/2 in.
oil on panel
83.7 by 59.7 cm.; 33 1/8 by 23 1/2 in.
One of only a handful of signed and dated works by the artist, this recently discovered panel is an important addition to the oeuvre of Luis de Morales. The presence of the date of 1556 is of great importance in establishing a chronology for the artist's works which until now has proved impossible and has been based purely on conjecture and subjective opinion. It is thus a relatively early work, manifesting a rawness and confidence both in its execution and the use of strong chiaroscuro that results in an image of significant emotional impact.
Due to its signature and date and higher level of finish, Prof. Isabel Mateo believes this to be the prototype from which the three other versions of this composition cited by Bäcksbacka derive, one in the ownership of the Spanish state and on display at the Museo de Bellas Artes in Malaga, and two others in Barcelona private collections.1
Mateo, a copy of whose expertise accompanies this lot, proposes that the painting may be the pendant to the Mater Dolorosa in the Hermitage, St. Petersburg; with this latter it shares very similar measurements (83 by 58 cm), a black background and comparable execution. Carmelo Solís plausibly proposed a similar pairing for the Ecce Homo cited above in Malaga, with a Mater Dolorosa in the same museum.
1. I. Bäcksbacka, Luis de Morales, Helsinki 1962, pp. 172, 189, cat. nos. 54, A19 and A20 respectively, all reproduced, pp. 325, 360-1, figs. 99, 154, 155.
Due to its signature and date and higher level of finish, Prof. Isabel Mateo believes this to be the prototype from which the three other versions of this composition cited by Bäcksbacka derive, one in the ownership of the Spanish state and on display at the Museo de Bellas Artes in Malaga, and two others in Barcelona private collections.1
Mateo, a copy of whose expertise accompanies this lot, proposes that the painting may be the pendant to the Mater Dolorosa in the Hermitage, St. Petersburg; with this latter it shares very similar measurements (83 by 58 cm), a black background and comparable execution. Carmelo Solís plausibly proposed a similar pairing for the Ecce Homo cited above in Malaga, with a Mater Dolorosa in the same museum.
1. I. Bäcksbacka, Luis de Morales, Helsinki 1962, pp. 172, 189, cat. nos. 54, A19 and A20 respectively, all reproduced, pp. 325, 360-1, figs. 99, 154, 155.
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