Mateo Cerezo
(Burgos, 1637 – Madrid, 1666)
Ecce Homo
Oil on canvas
56,6 x 42,2 cm
Enrique Valdivieso Gonzalez, Emeritus Professor of Art History at the University of Seville, reports on a painting on canvas (56’6 × 42’2 cm.) representing an Ecce Homo whose stylistic characteristics allow it to be catalogued as the work of the painter of the Madrid School Mateo Cerezo (1637-1666). This affirmation is based fundamentally on the total coincidence of his technique, especially in his drawing, with other works with this same subject made by him in which he knew how to fuse with absolute skill technical references coming from Titian and Van Dyck.
Fig. 1. Ecce Homo, Mateo Cerezo.
Oil on canvas.
56,6 x 42,2 cm
Oil on canvas.
56,6 x 42,2 cm
Fig. 2. Titian, Penitent Magdalene, 1550.
Oil on canvas.
Oil on canvas.
Fig. 3. Van Dyck, Saint Rosalia, circa 1625.
Oil on canvas.
Oil on canvas.
Enrique Valdivieso Gonzalez, Emeritus Professor of Art History at the University of Seville, reports on a painting on canvas (56’6 × 42’2 cm.) representing an Ecce Homo whose stylistic characteristics allow it to be catalogued as the work of the painter of the Madrid School Mateo Cerezo (1637-1666). This affirmation is based fundamentally on the total coincidence of his technique, especially in his drawing, with other works with this same subject made by him in which he knew how to fuse with absolute skill technical references coming from Titian and Van Dyck.
Fig. 4. Ecce Homo, Mateo Cerezo.
Museo Nacional del Prado.
Museo Nacional del Prado.
Fig. 5. Ecce Homo, Mateo Cerezo.
Simonsen Collection.
Simonsen Collection.
Fig. 6. Ecce Homo, Mateo Cerezo.
Barcelona, Sala Parés.
Barcelona, Sala Parés.
Fig. 7. Ecce Homo, Mateo Cerezo.
Madrid, Convent of ‘Comendadoras de Santiago’.
Madrid, Convent of ‘Comendadoras de Santiago’.
In addition, it should be noted that the chromatic treatment of this work is typical of Cerezo, both in the
description of the flesh tones of the face, neck and torso of Christ, as well as in the red of the cloak that
covers him. All these technical characteristics suggest that this work may have been made around 1660.
One of the most important effects of this work is the
description of Christ’s eyes that are raised upwards
with an expression of asking for help to support the
dramatic and painful episode that he is suffering and
also to express the total acceptance of the torture
that has been inflicted on him. All this in favor of the
redemptive salvation of the human race.
Fig. 8. Ecce Homo, Mateo Cerezo.
Oil on canvas.
56,6 x 42,2 cm
Before cleaning
Oil on canvas.
56,6 x 42,2 cm
Before cleaning
Fig. 9. Ecce Homo, Mateo Cerezo.
Oil on canvas.
56,6 x 42,2 cm
After cleaning
Oil on canvas.
56,6 x 42,2 cm
After cleaning
EXHIBITIONS:
Burgos Cathedral, February 15th to May 19th 2024, “HERE IS THE MAN”.
Burgos Cathedral, February 15th to May 19th 2024, “HERE IS THE MAN”.
