European Art
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Artist, attributed to: Manuel Pereira, Portuguese, 1588–1683

Ecce Homo (Christ as the Man of Sorrows)

ca. 1650

Polychromed wood

69.9 × 54 × 36 cm (27 1/2 × 21 1/4 × 14 3/16 in.)
Stephen Carlton Clark, B.A. 1903, Fund
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.
On view
Spanish, Madrid
17th century

Holagray collection, Bordeaux; private collection (France?); Cesar de Hauke, Paris


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.

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.

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.

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 such records is ongoing.