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beneath the skin, while small, red glass beads have been set into the sculpture’s open wounds to suggest flowing blood." Additionally, Christ's face has been carved so that he is looking down, with an expression that depict complete misery. It is believed that the artist's aim was to trigger a sympathetic response with the viewer. The pathos attributed to this piece may have been intended to serve as a form of worship in which
Christians create an emotional connection with Christ.
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era art, the focus of this piece comes in the form of an emotional connection with Christ. In the Summer 2010 issue of the Loyola
University Magazine, Jonathan Canning explains the artistic technique used by the creator to convey this emotion, "His skin has been painted to reveal bruising and welts
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Since its opening in 2005, The Loyola
University Museum of Art's (LUMA) mission has been to "explore and promote the spiritual in art of all faiths and cultures." LUMA has two permanent collections: The Martin D’Arcy, S.J. Collection of Baroque Art and The Luma Collection for art beyond D'Arcy
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Ecce Homo is an allusion to Christ's trial under
Pontius Pilate. The phrase "Ecce Homo" translate to "behold the Man," which is used to ridicule Jesus' claim of divinity. In a similar sense, the red cape and crown of thorns satirizes Jesus' royal claim to Israel.
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pieces. LUMA provides education resources to both students and the public that aim to promote the discovery and awareness of art in different faiths. The Museum does not accept unsolicited donations and does not typically make appointments to review pieces.
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through claims of heresy, the council also implemented new mandates in regards to artistic depictions of Christ; when shown in his final days, Christ was only allowed to be depicted as suffering. By assuming that
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was created within the artistic jurisdiction of the
Council of Trent, one can infer that the creator was a devout Christian, and that this piece was created with religious, and not secular, intent.
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by a private collector named Janet Relos (1916-1981). Currently, the statue is part of the museum's Martin D'Arcy, S.J. Collection of
Baroque Art. Although Loyola University is a
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Noreen, Kirsten (Autumn 1998). "Ecclesiae militantis triumphi: Jesuit
Iconography and the Counter- Reformation".
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institution, the D'Arcy collection contains secular pieces in addition to its
Christian collections.
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Pipes, Daniel; Badretdinov, Sabirzyan (Spring 1998). "The Not-Quite-Protestant
Reformation".
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This article is about the statue housed at Loyola
University Chicago. For other uses, see
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If one accepts Loyola University's estimate for this piece's time of creation, then
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Carrier, David (Summer 2008). "Toward a Structuralist Analysis of Baroque Art".
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is believed to have been carved in Spain sometime around the year 1600 AD.
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during his trial after being imprisoned by the Romans. The statue's title,
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made many amendments to Church policy. In addition to trying to stamp out
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Monson, Craig A (Spring 2002). "The Council of Trent Revisited".
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can be found at Loyola University in Chicago, Illinois
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101:Ecce Homo,
64:March 2016
55:; try the
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