Ecce Homo

About this artwork

Deze derde staat werd gepubliceerd in 'Cabinet de l'Amateur et de l'Antiquaire, Revue des tableaux et des etampes anciennes, des objets d'art, d'antiquité, et de curosité', nr. 13, 1844, pp. 168-169.

Art Historical Context

Behold the poignant intensity of Eugène Delacroix's *ce Homo* (1844), an capturing the biblical moment when Pontius Pilate presents the crowned Christ to the jeering crowd. As a master of French Romanticism, Delacroix infused his works with raw emotion, dramatic light, and swirling movement, qualities that shine even in this intimate print format. Standing at just 167mm high by 102mm wide, it draws viewers into the charged drama of suffering and humanity, a hallmark of his fascination with religious and historical themes. Crafted as an etching—a meticulous intaglio technique where acid etches lines into a metal plate—*Ecce Homo* exemplifies Delacroix's skill in printmaking. This third state was published in the prestigious *Cabinet de l'Amateur et de l'Antiquaire* (Issue 13, 1844, pp. 168-169), a Parisian journal celebrating paintings, antique prints, and curiosities. Such publications democratized access to elite art, allowing collectors and enthusiasts to own reproductions of masterpieces amid the 19th-century etching revival. Delacroix's print not only showcases his fluid line work and tonal depth but also reflects Romanticism's emphasis on individual passion over classical restraint. A gem for print lovers, it invites reflection on faith, power, and artistic innovation in mid-19th-century Europe.

About the Artist

Eugène Delacroix · 1798–1863

Eugène Delacroix (1798–1863) stands as the defining figure of French Romanticism and a pivotal bridge to modernism. Born in Charenton-Saint-Maurice near Paris, he came from distinguished lineage—his mother descended from the prestigious Oeben-Riesener furniture dynasty, while persistent speculation suggested the statesman Talleyrand may have been his biological father, a theory supported by physic...