Ecce Homo (Christ as the Man of Sorrows) Artist, attributed to: Manuel Pereira (Portuguese, 1588–1683)

ca. 1650

European Art

On view, 2nd floor, European Art

During the 17th century, painted wood was popular in Spain while other European countries preferred stone or bronze. Spanish realism and taste for grim detail are manifested in the streams of blood flowing from Christ's head and down his shoulders, and especially evident in the detail of the rope-chafed wrists. The color was probably applied by an artist specializing in painting wood sculpture. The carving is crisp and strong. Avoiding the sensational, the sculptor has made a powerful statement in form and meaning.


Polychromed wood


27 1/2 × 21 1/4 × 14 3/16 in. (69.9 × 54 × 36 cm)

Credit Line

Stephen Carlton Clark, B.A. 1903, Fund

Accession Number



17th century


Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of records is ongoing.



Holagray collection, Bordeaux; private collection (France?); Cesar de Hauke, Paris
  • James Clifton, The Body of Christ: In the Art of Europe and New Spain, 1150–1800, exh. cat. (Houston: Museum of Fine Arts, Houston, 1997), 80–1, no. 34, ill
  • Suzanne L. Stratton, Spanish Polychrome Sculpture 1500–1800 in United States Collections, exh. cat. (New York: The Spanish Institute, 1993), 120–21, no. 21, ill
  • Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 124, ill
Object copyright
Additional information

Object/Work type

religious art

Technical metadata and APIs


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