LUIS MORALES "The divine" (Badajoz, 1509 - Alcántara, 1586) "Christ carrying the cross". Oil on canvas. Relined. Work expertized by the historian Don José Gómez Frechina. Presents restorations and plasticized back. Measurements. 88 x 75 cm; 104 x 94 cm (frame). In this canvas the author captures one of the most dramatic moments of the Way of the Cross, the moment in which Christ supports the weight of the cross. In this episode it is common to see Simon the Cyrenian helping Jesus to carry the cross, or Veronica offering him a cloth to wipe his face of blood and sweat. However, the author of this canvas dispenses with the monumental presence of these characters, and only sketches the profile of a male face, located in the lower left corner. This characteristic invites us to think that the author is not looking for more theological meaning than that of Christ's own suffering and voluntary sacrifice in favor of humanity. In fact, this supreme generosity is reinforced by Jesus' own gaze, which avoids ours, turning to one side. The figure is worked with an enormous naturalism, highlighting the expressiveness of the face and hands, and the tenebrist lighting used manages to provide a greater physical presence, a greater three-dimensionality and also intensity and effectiveness to the figure. These features, as well as the chromatic range used, are typical of the naturalistic baroque. The dramatic figure is outlined against a dark background, of dense darkness, as if emerging from the shadows, directly illuminated by a spotlight, theatrical and directed, which enters the image from the upper left corner and falls directly on the face and hands of the saint, leaving the rest of the figure enveloped in a nuanced penumbra. Due to these characteristics, the work can be related to the painting of Luis Morales, known as El Divino, who developed an active artistic career that forced him to travel frequently to arrange commissions, carry them out or control their realization. In fact, this painting in particular has great similarities with other works by the artist, such as the one preserved in the Corpus Christi College (Valencia), for example. His technique was highly appreciated for the creation of very studied compositions, providing a very personal and novel style. He was praised by the treatise writer Palomino who nicknamed him the Divine, explaining that he called him the Divine, since all he painted were sacred things, and because he made heads of Christ with such great delicacy and subtlety in the hair, that the most curious in art makes one want to blow them to make them move, because it seems that they have the same subtlety as the natural ones. Many of his works were painted for family chapels or private oratories of people linked to the Sevillian elite and the bourgeoisie of Extremadura. Work expertized by the historian Don José Gómez Frechina. Presents restorations and plasticized back.
Oil on panel Attached is a study by Doña Isabel Mateo confirming authorship of the work Origin: -FundaArte Ocular Collection -Private collection, Madrid Exhibitions: -"The Guest Work Project", Museum of Fine Arts of Badajoz, December 20, 2011 to January 22, 2012 Measurements: 48.5 x 34.4 cm (50 x 35 cm)
CIRCLE OF LUIS DE MORALES ('Called: El Divino also Divino Morales') Around 1509 Badajoz - 9 May 1586 ibid. ECCE HOMO Oil on oak panel. 38 x 32.5 cm (F. 53 x 45.5 cm). Part. slightly old rest., min. old retouching. Frame. Provenance: South German private collection. LUIS DE MORALES (UMKREIS) ('Genannt: El Divino auch Divino Morales') Um 1509 Badajoz - 9. Mai 1586 ebenda ECCE HOMO Öl auf Eichenholztafel. 38 x 32,5 cm (R. 53 x 45,5 cm). Part. leicht altrest., min. Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.
(Badajoz, 1520 circa - 1586) Ecce Homo Olio su tavola, cm 37,5X27,6 Provenienza: Londra, Christie's, 8 dicembre 2004, lotto 93 (come Luis de Morales/https://www.christies.com/en/lot/lot-4417337) Collezione privata Prima di stabilirsi a Badajoz l'artista visse a Plasencia, cittadina prossima a Salamanca, e nel 1535 è documentato in un pagamento per aver dorato e dipinto sculture per la chiesa parrocchiale di San Pedro Apóstol ad Aldeanueva de la Vera. Due anni dopo Morales realizzò una pala d'altare per la chiesa parrocchiale di Santiago nel comune di Belvís de Monroy e al 1539-1549 si data la pala della chiesa parrocchiale di Villanueva de Barcarrota, un villaggio a meno di cinquanta chilometri a sud di Badajoz, città in cui svolse con successo la sua attività negli anni a venire. Innumerevoli furono le opere destinate agli edifici ecclesiastici della regione, ma la sua fama si deve in modo particolare alle opere di piccolo formato, note come 'tablillas' o, come vengono citate più frequentemente, 'pieças', sovente influenzate dalla coeva pittura fiamminga di Pieter Coecke van Aelst, Massys, e Alonso Berruguete. Scorrendo il catalogo del pittore si prende atto che la rappresentazione dell'Ecce Homo fu uno dei temi da lui più frequenti, in cui riuscì a catturare l'essenza del misticismo spagnolo della sua epoca. La tavola qui presentata è partecipe a pieno titolo a questa toccante iconografia e bene dimostra l'internazionalità dell'autore, dimostrandosi attento ai modelli italiani appresi in gioventù interpretandoli con sensibilità fiamminga e un pathos tipico della tradizione tardogotica. L'eleganza formale e la pennellata delicata e precisa, arricchita da velature tenui e sottili, suggeriscono altresì che si possa considerare tra le prime di catalogo. Bibliografia di riferimento: A. G. de Ceballos, Nuevas Pinturas de Luis de Morales, in Revista Archivo Español de Arte, n. 181, 1973, pp 69-71 Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, III, Museo del Prado, Espasa Calpe, Madrid 1996 J. de Celis, M. Alba, L. Gayo, M. García-Máiquez, J, En el taller de Luis de Morales, En:, Luis de Morales, Diputación de Badajoz, 2018, pp. 97-113 [100]
Tableaux Huile sur toile marouflée sur toile "Saint Pierre". Suiveur de Luis de Morales. Ecole espagnole. Epoque: XVIIème. Dim.:+/-82x57,5cm. DE MORALES Luis (vers 1509-1586). Suiveur de.
LUIS DE MORALES, EL DIVINO (? BADAJOZ C.1520-?1586) Mater Dolorosa; and Christ Bearing the Cross oil on panel, with an arched top 9 x 6 ½ in. (22.8 x 16.5 cm.), each (2)
LUIS DE MORALES "THE DIVINE" Badajoz h. 1510 - 1586 Christ tied to the column with repentant Saint Peter Oil on canvas Measurements 102 x 78 cm Luis de Morales promoted throughout his artistic career the establishment of iconographic prototypes intended for private devotion that responded to the religious fervor and spiritualism of the second half of the 16th century in Spain. The painting in question offers a very high level of quality, constituting one of the pieces without a doubt to be incorporated into the reasoned corpus of easel painting by the painter from Badajoz. The work reflects one of the key passages of the Passion of Christ, the moment of vexation and affliction of Jesus tied to the column to be scourged by the executioners. Although the canonical Gospels do not echo the presence of Saint Peter in the flagellation of Christ, this scene had special relevance in Extremadura with Luis de Morales and in Andalusia with Pedro de Campaña and - especially in Córdoba - with Alejo Fernández (Museum of Fine Arts of Córdoba) or the panel preserved in the Gemäldegalerie in Dresden once attributed to Pedro Romana. Solís Rodríguez in 1999 pointed out the probable source of this pictorial theme in the book of Prayer and Meditation by Fray Luis de Granada, which coincided with Morales in Badajoz as prior of the convent of Santo Domingo, pointing to a text from the book printed in 1554: "Then the Savior, and looked at Peter; and his eyes went after that sheep that had been lost. Oh sight of marvelous virtue; oh silent sight, more greatly significant! Peter well understood the language and the voices of that sight; for that of the rooster were not enough to wake him up, and these were. But they declare it from Peter, which did not flow so much from the eyes of Peter as from the eyes of Christ. The painting that is the subject of this study was unveiled by Romero Asenjo and Illán Gutiérrez in 2013 and the authorship of Morales was also corroborated by García-Frías Checa in the monographic exhibition dedicated to him by the Museo Nacional del Prado, the Museo de Bellas Arts of Bilbao and the Museu Nacional d'Art de Catalunya in 2015. Known is the example of this theme in the metropolitan cathedral of Santa María de la Almudena in Madrid (oil on walnut panel, 70 x 55 cm) remembered by Palomino as a "most excellent thing", which once belonged to the Imperial College of Madrid. In this version Christ appears to the right of the column and carries a thick noose around his neck. Another copy of Christ at the Column with Saint Peter repentant by Luis de Morales (oil on walnut panel, 83.5 x 60 cm) was unveiled by Benoît-Cattin in 2007 in the parish church of Saint-Willibrord in Gravelines (France) that has many similarities with the specimen we study here. In both, Christ wears the crown of thorns on his head and his body does not bear the imprint of the executioners from the flagellation of the Almudena table, already referred to. However, the rope that surrounds the smooth shaft of the column and the smaller shadow of the Savior's head projected on the veined marble differ. Backsbacka in his monograph on Morales from 1962 points out the copy of Christ in the column of the Comas collection in bust format (oil on panel, 55 x 40 cm) and a copy in the Asensio collection (oil on panel, 88 x 66 cm) that was in the Prado Museum's exhibition on Morales in 1917, which repeats the figure of the bent Christ on the canvas studied here without the figure of Saint Peter in this case and which is surely the one preserved today in the Santa Cruz Museum in Toledo. . In this same study from 1962, Backsbacka refers to another example of Christ to the column with a repentant Saint Peter without referring to measurements and support in a private collection in Madrid that is very similar to the canvas we are dealing with here, but which is offered without the crown of thorns on the head of Christ. We have located an old photo from the IPCE photo library that is surely the same piece. In this case the shadow of Christ's head extends over the entire shaft of the column as in the Gravelines panel. The world of affections is revealed in this painting with the glances between Christ and Saint Peter, the tears on the faces of both and the twitching gesture of the apostle's intertwined fingers in an act of contrition. This autograph canvas by Luis de Morales testifies to the fortune of this iconographic model known through various moralist examples, in which it is also worth mentioning, in addition to those already mentioned, the painting of Christ tied to the column with a tunic (oil on panel, 72 x 71 cm) belonging to the side of the Arroyo de la Luz altarpiece. (See complete study carried out by researcher José Gómez Frechina, March 31, 2022) This work has an export permit.
ECCE HOMO Öl auf Holz. Parkettiert. 46 x 32,5 cm. In dekorativem Rahmen. Vor dunklem, fast schwarzen Hintergrund das Halbbildnis Jesu nach der Gefangennahme, hier wiedergegeben mit Dornenkrone auf seinem Haupt und davon teils über das Gesicht herablaufenden langen Blutstropfen. Jesu mit nacktem Oberkörper, schmalen dünnen Armen, einem um den Hals gebundenen Strick, der auch die Handgelenke fesselt, sowie einem in seiner linken Hand befindlichen Rohrstock als Spottzeichen der Königswürde. Er hat hellblaue, leicht geschlossene Augen, aus denen große weiße Tränen kullern, bei leicht geöffnetem Mund ein schmerzverzerrtes Gesicht. Zudem hat er ein feines helles Inkarnat und eine leicht ungelenk herabhängende rechte Hand mit schmalen feinen Fingern. Malerei in der typischen Manier des Künstlers mit gekonnter Hell-Dunkel-Akzentuierung, von dem es diverse Ecce Homo Darstellungen in abgeänderten Variationen und Größen gibt. (13621329) (18)
BEWEINUNG CHRISTI Öl auf Eichenholz. 76 x 63 cm. Maria hält Jesus in ihren Armen, seitlich dahinter Johannes Evangelist sowie Maria Magdalena. Die Figuren im Halbbildnis vor dunklem, nahezu schwarzem Hintergrund, auf dem die goldgelben Nimbusse zur Geltung kommen. Die realistische Härte, insbesondere im Gesicht des Toten, entspricht der Malweise von Luis de Morales. So lassen sich in mehreren seiner Werke vergleichbare Gesichtszüge, insbesondere bei der Jesusdarstellung finden. Der Maler, der oft als erster der spanischen Renaissance bezeichnet wird, widmete sich ausschließlich religiösen Themen, weshalb er auch „El Divino“ oder „Divino Morales“ genannt wurde. (13816724) (11)
LUIS DE MORALES "THE DIVINE" Badajoz h. 1510 - 1586 Ecce Homo Oil on panel Measurements 30 x 37.5 cm The appearance of this work represents an interesting contribution to the pictorial corpus of Luis de Morales, better known as “the Divine” for his consummate dedication to painting religious-themed paintings of great iconographic fortune that were highly celebrated among the erudite clientele of the time. His fame was such that apparently he was requested by Philip II himself to perform some devotional works that he later gave to his most intimate circle of friends. There are many questions that exist around their training. The writer Antonio Palomino makes him a disciple of the painter of Flemish descent Pedro de Campaña, who lived in Seville between 1537 and 1563. The most accurate hypothesis maintains that he must have made a trip to Valencia where he came into contact with the Italianate novelties of the Lombard world through the painters Fernando Yáñez and Fernando de Llanos. The work in question derives from a single Ecce Homo model of which at least three autograph copies are preserved (Private Collection, Madrid; Private Collection, Switzerland; González Aller Collection, Madrid). Unlike these last works, the artist shows us a more intimate image, a half-bust, where the representation of both the full torso and the arms has been omitted. As if it were a zoom, the face of Christ fixes his gaze on the viewer, an anguish that is accentuated by the gesture of his mouth half open. Although the crown of thorns does not appear on his head, five wounds on his forehead testify to it. The torso is covered by a bluish-colored tunic that is tied on the left shoulder, while on the right rests the reed-scepter that defines him as “king of the Jews.” In front of these specimens we find a second version (collection of heirs of the Marquis of Miraflores, Badajoz cathedral and former Montaner collection) in which the model is somewhat older as well as bearded and presents a huge cross without a crucifix. The careful precision of the drawing together with the marvelous thoroughness with which the painter has described details as summary as the threads of blood or the hair reveal to us that it is a work completely handwritten by Luis de Morales without intervention from the workshop. Attached is an extensive study carried out by Mrs. Isabel Mateo Gómez (July 2023).
Workshop of LUIS DE MORALES "El divino" (Badajoz, 1509 - Alcántara, 1586). "Ecce Homo". Oil on canvas adhered to panel. It has additions in the margins and restorations on the pictorial surface. Measurements: 69 x 51 cm; 83 x 66 cm (frame). The devotional intensity of this piece is defined by the sobriety of the artist who reduces the subject to the essential elements to be able to transmit the Christian faith. The half-length Christ in the foreground, against a dark background, is illuminated with a lighting that is based on the precepts of a tenebrist, artificial and directed light. The aforementioned sober, clear composition lends great expressivity to the image, which is intended to move the soul of the faithful, thus indicating that this painting is probably a work intended for private devotion. Painting was thus obliged to express the ideals prevailing in these circles, and religious themes were therefore the preferred subject matter in Spanish painting of this period. The theme of Ecce Homo belongs to the Passion cycle and immediately precedes the episode of the Crucifixion. The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not so great as that of the rulers who were judging him. Due to its technical characteristics, the work is close to the aesthetic postulates of Luis de Morales. A painter of great quality and marked personality, perhaps the best of the Spanish painters of the second half of the 16th century, with the exception of El Greco. His training poses serious problems, although Palomino makes him a disciple of the Flemish painter Pedro de Campaña, who lived in Seville between 1537 and 1563. Certainly the meticulousness and detail of his brushstrokes and the conception of the landscape are Flemish in origin, and most of his iconic themes are of late medieval tradition. But he painted human types and used a colouring and sfumato related to the Lombard tradition of a Bernardino Luini and a Cristoforo Solario, whom he probably met not on a trip to Italy but possibly to Valencia, in order to catch up with the novelties brought by the Leonardesque Fernando Yáñez and Fernando de Llanos and the Raphaelesque Vicente and Juan Masip. However, the most personal aspect of his painting lies in the tormented, almost hysterical atmosphere in which his figures breathe, more focused on an intense inner life than on action, full of melancholy and ascetic renunciation and characteristic of the climate of tense religiosity imposed in 16th-century Spain by the reform movements, from the less orthodox Erasmianism and Alumbradism to the more genuine mysticism and Trentism. Morales, called the Divine by his first biographer, Antonio Palomino, because he painted only religious subjects with great delicacy and subtlety, reached his peak from 1550 to 1570, when he painted numerous altarpieces, He painted numerous altarpieces, triptychs and isolated canvases that were widely distributed because they satisfied the popular religiosity of the time, although some of his canvases contain quotations and information of literary erudition, the result of his contact with enlightened clients, primarily the bishops of the diocese of Badajoz, in whose service he worked. On the other hand, his presence in the monastery of El Escorial, called by Philip II, is not documented, although it seems that the latter acquired some of his works to give them as gifts. The enormous production and the continuous demand for his most frequent and popular iconographic themes obliged him to maintain a large workshop in which his two sons, Cristóbal and Jerónimo, collaborated; a workshop responsible for many copies that circulate and are still considered to be Morales's autograph works.
LUIS DE MORALES (Badajoz, 1509 - Alcántara, 1586). "Ecce Homo". Oil on canvas. Relined. It has an old label on the back. It has a report issued by J.G Frechina. Measurements: 35,5 x 28 cm; 51,5 x 44,5 cm (frame). In this work the theme of the Ecce Homo is represented, with Christ half-length in the foreground, on a dark background. The lighting is a tenebrist light, artificial and directed, which falls directly on the face of Jesus, leaving the rest in semi-darkness and creating expressive effects of chiaroscuro, which give the volumes a naturalistic quality. It should also be noted that the sober, clear composition lends great expressiveness to the image, which is intended to move the viewer's mood and is probably a work intended for private devotion. It is probably a work of art intended for private devotion, and painting was thus obliged to reflect the ideals prevailing in these circles, religious themes being the main subject matter of Spanish painting of this period. Due to its subject matter and aesthetics, this work is close to the painting of Luis Morales "El Divino", whose tormented and almost hysterical atmosphere is highlighted by the tormented and almost hysterical atmosphere that his characters breathe, full of melancholy and ascetic renunciation. The theme of Ecce Homo belongs to the Passion cycle and immediately precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple robe and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such as that of the rulers who were judging him there. In works intended for private devotion it was usual to summarise the scene in a single figure, that of Christ, who was normally depicted as we see here, half-length, against a dark background that emphasises his corporeality and without any narrative elements other than those required by the iconography. In this way the expressiveness and drama of the image is concentrated, touching the soul of the faithful who pray before it and preventing their attention from being distracted by the details.
LUIS DE MORALES "The Divine" (Badajoz, 1509 - Alcántara, 1586). "Ecce Homo". Oil on panel, engraved. Enclosed report issued by Dña. Isabel Mateo. Measurements: 39 x 29 cm; 74 x 62 cm (frame). Frame with losses and damage. Provenance - Christie's, New York, 3 June 1983, lot 125. - Old Master Paintings; Sotheby's, New York, 24 April 1995, lot 49 (Illustrations P. 27 of the catalogue). As Luis de Morales. - Antique and 19th and 20th century paintings; Sotheby's, London (location Sotheby's Madrid), 11 November 1997, lot 3 (Illustrations p. 11 of the catalogue). As Luis de Morales. - Spanish private collection. This panel depicts the theme of Ecce Homo, with the half-length Christ in the foreground against a dark background. The lighting is a tenebrist, artificial and directed light that falls directly on the face of Christ, leaving the rest in semi-darkness and creating expressive chiaroscuro effects that give the volumes a naturalistic quality. It should also be noted that the sober, clear composition lends great expressiveness to the image, which is intended to move the viewer's mood and is probably a work intended for private devotion. It is probably a work intended for private devotion, and painting thus had to reflect the ideals prevailing in these circles, religious themes being the main subject matter of Spanish painting of this period. The theme of Ecce Homo belongs to the Passion cycle and immediately precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such as that of the rulers who were judging him there. In works intended for private devotion it was usual to summarise the scene in a single figure, that of Christ, who was normally depicted as we see here, half-length, against a dark background that emphasises his corporeality and without any narrative elements other than those required by the iconography. In this way the expressiveness and drama of the image is concentrated, touching the soul of the faithful who pray before it and preventing their attention from being distracted by the details. Due to its subject matter and aesthetics, this work is strongly influenced by the painting of Luis Morales "El divino", whose tormented and almost hysterical atmosphere is highlighted by the tormented and almost hysterical atmosphere that his characters breathe, filled with melancholy and ascetic renunciation.
LUIS DE MORALES "THE DIVINE" Badajoz h. 1510 - 1586 Ecce Homo Oil on panel Size 40 x 28.5 cm Origin: - Acquired by the ancestors of the current owners in Andalusia around 1950. - Private collection, Madrid. The appearance of this work represents an important addition to the pictorial corpus of Luis de Morales, better known as "el Divino" for his dedication to religious-themed paintings that enjoyed great popularity among his clientele at the time. His fame was such that he must have been required by Philip II himself to paint some devotional works that he later gave to his closest circle of friends. The work in question bears an enormous resemblance to the Ecce Homo from the old collection of the Count of Adanero. In this replica, only the dark brown tunic that covers part of the right torso varies. As Isabel Mateo, a great connoisseur of the work of Luis de Morales, has recently stated, we find ourselves before an autograph work, of excellent quality, without the intervention of the workshop. The careful precision of the drawing, together with the prodigious meticulousness with which the painter has described such summary details as the hair or the facial wounds corroborate this. An extensive study carried out by Mrs. Isabel Mateo (June 2023) is attached.
ECCE HOMO Öl auf Holz. Parkettiert. 46 x 32,5 cm. In dekorativem Rahmen. Vor dunklem, fast schwarzem Hintergrund das Halbbildnis Jesu nach der Gefangennahme, hier wiedergegeben mit Dornenkrone auf seinem Haupt und davon teils über das Gesicht herablaufenden langen Blutstropfen. Jesu mit nacktem Oberkörper, schmalen dünnen Armen, einem um den Hals gebundenen Strick, der auch die Handgelenke fesselt, sowie einem in seiner linken Hand befindlichen Rohrstock als Spottzeichen der Königswürde. Er hat hellblaue, leicht geschlossene Augen, aus denen große weiße Tränen kullern, bei leicht geöffnetem Mund ein schmerzverzerrtes Gesicht. Zudem hat er ein feines helles Inkarnat und eine leicht ungelenk herabhängende, rechte Hand mit schmalen feinen Fingern. Malerei in der typischen Manier des Künstlers mit gekonnter Hell-Dunkel-Akzentuierung, von dem es diverse Ecce Homo Darstellungen in abgeänderten Variationen und Größen gibt. (13621329) (18)
LUIS DE MORALES "THE DIVINE" Badajoz h. 1510 - 1586 Christ tied to the column with repentant Saint Peter Oil on canvas Size 102 x 78 cm The Extremaduran painter Luis de Morales, also known in historiography artistic as the "divine Morales", promoted throughout his long artistic career the consolidation and fixation of iconographic prototypes associated with the rise in demand for private devotional paintings that responded to the religious fervor and spiritualism of the second half of the 16th century. in Spain, close to the postulates of the Council of Trent (1545 - 1563) and the practice of "devotio moderna". The painting that concerns us represents one of the Christological themes related to the Passion of the Redeemer recurring in the production of Luis de Morales and offers a very high level of quality, constituting one of the pieces without a doubt to be incorporated into the reasoned corpus of easel painting by the painter from Badajoz. The work reflects one of the key passages of the Passion of Christ, the moment of vexation and affliction of Jesus tied to the column to be flogged by the executioners. Morales resorts as a solution in search of a key to intimacy with the faithful praying to a studied focus that reminds us of the close-ups of current cinematography, managing to clear the image of secondary elements that can distract attention. Although the canonical Gospels do not echo the presence of Saint Peter in the scourging of Christ, this scene had special relevance in Extremadura with Luis de Morales and in Andalusia with Pedro de Campaña and -especially in Córdoba- with the early examples by Alejo Fernández (Museo de Bellas Artes de Córdoba) or the table preserved in the Gemäldegalerie in Dresden attributed for a time to Pedro Romana. Solís Rodríguez in 1999 pointed out the probable source of this pictorial theme in the book of Prayer and Meditation by Fray Luis de Granada that coincided with Morales in Badajoz when he was prior of the Santo Domingo convent, pointing out a text from the book printed in 1554: "Then the Savior, and looked at Peter, and his eyes went after that sheep that had been lost to him. Oh sight of marvelous virtue; oh silent sight, more greatly significant! Peter well understood the language and voices of that sight; for that of the rooster were not enough to wake him up, and these yes. But they declare it from Peter, which did not flow as much from the eyes of Peter as from the eyes of Christ". The painting object of this study was made known in a reasoned way as an autograph work of Luis de Morales by Romero Asenjo and Illán Gutiérrez in 2013 and the authorship of Morales was also corroborated by García-Frías Checa in the monographic exhibition dedicated to him the Museo Nacional del Prado, the Museo de Bellas Artes de Bilbao and the Museu Nacional d'Art de Catalunya in 2015. Known is the example of this theme in the metropolitan cathedral of Santa María de la Almudena in Madrid (oil on walnut panel, 70 x 55 cm) remembered by Palomino as a "most excellent thing", which once belonged to the Imperial College of Madrid. In this version, Christ appears to the right of the column and wears a thick noose around his neck. Another copy of Christ at the Column with Repentant Saint Peter by Luis de Morales (oil on walnut panel, 83.5 x 60 cm) was unveiled by Benoît-Cattin in 2007 in the parish church of Saint-Willibrord in Gravelines (France) that bears many similarities with the specimen we are studying here. In both, Christ wears the crown of thorns on his head and his body does not present the imprint of the executions of the whipping of the table of the Almudena, already mentioned. On the other hand, the rope that surrounds the smooth shaft of the column and the minor shadow of the head of the Savior projected on the veined marble differ. In his 1962 monograph on Morales, Backsbacka points out the copy of Christ to the Column in the Comas collection in bust format (oil on panel, 55 x 40 cm) and a copy in the Asensio collection (oil on panel, 88 x 66 cm) that was in the Museo del Prado exhibition on Morales in 1917 that repeats the figure of Christ bent over from the canvas studied here without the figure of Saint Peter in this case and that is surely the one today preserved in the Museo Santa Cruz de Toledo . In this same study from 1962, Backsbacka refers to another copy of Christ to the column with repentant Saint Peter without referencing measurements and support in a private collection in Madrid that is very similar to the canvas we are dealing with here, but that is offered without the crown of thorns on the head of Christ. We have located an old photo from the IPCE photo library that is surely the same piece. In this case the shadow of the head of Christ extends over the entire shaft of the column as in the Gravelines panel. The world of affections is revealed in this painting with the glances between Christ and Saint Peter, the tears on the faces of both and the twitching gesture of the intertwined fingers of the apostle in an act of contrition. This autograph canvas by Luis de Morales bears witness to the fortune of this iconographic model known through various moral examples, in which it is also worth mentioning, in addition to those already mentioned, the painting of Christ tied to the column with a sayón (oil on panel, 72 x 71 cm) belonging to the side of the altarpiece of Arroyo de la Luz. (See the complete study carried out by the researcher José Gómez Frechina, March 31, 2022) Work referenced in: - Rafael Romero Asenjo and Adelina Illán Gutiérrez, "Christ carrying the Cross: a surviving sarga by Luis de Morales: technical Examination and Workshop Practices" in D. Saunders, M. Spring, and A. Meeks (eds.), The Renaissance Workshop: The Materials and Techniques of Renaissance Art , London, Archetype Publications 2013, p. 98-104. - Carmen García-Frías, "San Pedro repentant before Christ tied to the column (Luis de Morales)" in Cat. Exp. El Divino Morales (edition by Leticia Ruiz Gómez), Madrid, 2015, nº 25, pp. 123-125. - Rafael Romero Asenjo and Adelina Illán Gutiérrez, "Luis de Morale's Altarpiece for the Church of the Conception in Badajoz: Technical and Documentary Sources", Yale University Art Gallery Bulletin, 2016, pp. 63-74. This work has an export permit.
LUIS DE MORALES "THE DIVINE" Badajoz H. 1510 - 1586 penitent magdalene oil on board Measures 93.8 x 70.2 cm With an important Spanish frame "a cassetta" from the 16th century in red pine wood, carved and sgraffito with the groove decorated with plant motifs in the corners flanking the following inscription: "ORA PRO NOBIS / QUONIAM MULIER / SANCTA ES IUDITH. IV / DOCTRIX DISCIPLINE DEI". Origin: - Collection of D. Rafael García Palencia, Extremadura (label on the back) - Private collection, Madrid. Reference bibliography: - Dotor Municio, Ángel, "Four Spanish painters of the Golden Age: Morales, Sánchez Coello, Roelas, Ribalta", Gerona - Madrid, Dalmau Carles Pla Editores, 1947, pp. 19 and 33. fig. two. Work exhibited in: - Exhibition of works by Divino Morales, Prado Museum, Madrid, 1917, p. 13, no. 33. This important penitent Magdalena was unveiled in an exhibition dedicated to Luis de Morales at the Prado Museum in 1912. Since then it has remained anonymous, changing owners twice. The composition bears an enormous resemblance to the penitent Magdalena of the Clerecía de Salamanca (oil on panel, 104 x 87.5 cm). Unlike the Salamancan panel, the repentant sinner shows her curly hair and a landscape background full of vegetation. Also, in the lower left corner is the bottle of ointment with which he embalmed the body of Jesus. The last of the autograph versions by the artist is found in a private collection in Pontevedra (oil on canvas, 109 x 91 cm) which must have been the same one that appeared in the church of San Marcos in Salamanca. As Isabel Mateo has recently stated, it is likely that these versions of the Magdalene formed a pair with the artist's well-known Saint Jerome, such as the example in the National Gallery of Ireland or the one in a private collection in Madrid. The monumental presence of the Magdalena with an elongated barrel recalls the models of the Antwerp painter Quinten Massys. The careful precision of the drawing together with the prodigious thoroughness with which the painter has described details as brief as the skull or the sorrowful face of the saint reveal that it is a completely autograph work by Luis de Morales without the intervention of the workshop. Attached is an extensive study by researcher Isabel Mateo Gómez (Madrid, June 5, 2022)
Attribuito a Luis de Morales (Badajoz 1509 - 1586) Ecce Homo Olio su tavola 61,5 x 47 cm Probabilmente Luis de Morales mosse i primi passi a Siviglia, nella bottega del fiammingo Peeter de Kempeneer, noto in Spagna come Pedro de Campaña. In seguito, elaborò uno stile peculiare articolato e riconoscibile, con un intreccio di espressioni stilistiche spagnole, italiane, fiamminghe e portoghesi. Infatti, oltre alla forte influenza dei maestri toscani e veneti (Tiziano, Raffaello, Leonardo e Sebastiano del Piombo), l’artista mostrò interesse per l'arte olandese. Apprezzato in tutta la penisola iberica, fu chiamato dai suoi contemporanei "Il divino Morales" o "El Divino", per il forte realismo delle sue opere, per la spiritualità sentita e sofferta che esse trasmettevano. Attributed to Luis de Morales (Badajoz 1509 - 1586) Ecce Homo Oil on panel 61,5 x 47 cm
Follower of Luis de Morales, called El Divino (Spain, 1509-1586), Madonna and Child, oil on cradled panel, no signature observed, artist tag to frame, 24"h x 18"w (panel), 32"h x 25"w (frame)
Morales, Luis de Badajoz um 1510 - 1586 102 x 76 cm Christ at the Column with the Repentant St. Peter. Oil/canvas, strip lining. German private collection, acquired from a Madrid private collection. With an expert report (in Spanish) by Dr. José Gómez Frechina, Madrid 2022. Lit.: The present painting is published in: Leticia Ruiz Gómez (Ed.), The Divine Morales, exhibition-cat. Madrid, Bilbao, Barcelona 2015/2016, p. 123 and 124 fn. 6.; R. Romero Asenjo/A. Illán Gutiérrez, Christ carrying the Cross: a surviving sarga by Luis de Morales: technical examinination and workshop practices. in: D. Saunders/M. Spring/A. Meek (Ed.), The Renaissance Workshop, London 2013, p. 98-104 with fig. on p. 101; R. Romero Asenjo/A. Illán Gutiérrez, Luis de Morales Altarpiece for the Church of the Conception in Badajoz: Technical and Documentary Sources, in: Yale University Art Gallery Bulletin 2016, p. 63-74, p. 74 fn. 27.
LUIS DE MORALES "EL DIVINO" Badajoz h. 1510 - 1586 Ecce Homo Oil on panel Measures 58.5 x 45 cm The appearance of this work represents an important contribution to the pictorial corpus of Luis de Morales, better known as "el Divino" for his consummate dedication to religious-themed paintings that enjoyed great popularity among the clientele of the time. His fame was such that he must have been required by Felipe II himself to paint some devotional works that he later gave to his closest circle of friends. The work that concerns us bears an enormous resemblance to the Ecce Homo that is preserved in the cathedral of Seville. In this last replica, almost exact, a larger area of the torso and the right arm can be seen. Very similar, but with some difference in the placement of the hands and in the movement of the body, is the Ecce Homo from the Conde de Albox collection in Madrid and, to a lesser extent, the one from the Vicente Castañeda collection. As the researcher Isabel Mateo, a great connoisseur of the work of Luis de Morales, has recently stated, we are faced with an autograph work of excellent quality, without the intervention of the workshop. The careful precision of the drawing, together with the prodigious thoroughness with which the painter has described such summary details as the bleeding wounds on the forehead or the hair, corroborate this. An extensive study carried out by Doña Isabel Mateo (January 2022) is attached.
WORKSHOP OR SCHOOL OF LUIS DE MORALES c. 1509 Badajoz - 9 May 1586 Ibid PIETA Oil on hardwood panel. 45 x 30 cm (F. 76,5 x 55,5 cm). Part. min. rest. Beautyful Neo-Renaissance frame of the probably 19th century. Provenance: South German private collection. LUIS DE MORALES (ODER WERKSTATT/SCHULE) Um 1509 Badajoz - 9. Mai 1586 Ebenda PIETA Öl auf Hartholztafel. 45 x 30 cm (R. 76,5 x 55,5 cm). Part. min. rest. Schöner Neo-Renaissance-Rahmen des wohl 19. Jh. Provenienz: Süddeutsche Privatsammlung.
Luis de Morales (Badajoz 1509 - 1586) attribuito Compianto Olio su tela 118 x 110 cm Incerte sono le notizie biografiche su Luis de Morales e sulla sua formazione. È possibile dividere la sua attività in tre tappe: la prima a Siviglia, la seconda in Italia e un'altra in Portogallo. A Siviglia, Morales mosse le i primi passi entrando nella bottega di Pedro de Campaña. La fase italiana vede l'influenza di artisti fiorentini come Michelangelo e Raffaello. Successivamente, vede l’avvicinamento con le opere dei pittori rinascimentali tedeschi e fiamminghi. Dalla fama avuta grazie ai temi religiosi, venne soprannominato “El divino Morales”. Luis de Morales (Badajoz 1509 - 1586) attributed Lamentation Oil on canvas 118 x 110 cm
ATTRIBUE A LUIS DE MORALES (VERS 1509-1586) VIERGE A L’ENFANT Panneau de noyer parqueté Restaurations anciennes Attr. to L. de Morales, craddled walnut panel, old restorations 59 x 45 cm - 231/4 x 173/4 in.
LUIS DE MORALES "EL DIVINO" Badajoz h. 1510 - 1586 Holy Family with Child wrapped in swaddling clothes "sash". H. 1550- 1553 Oil on panel size 47 x 33 cm Provenance: - Private collection, Madrid. This delicate panel presented here should be related to the Virgin holding the Child of the Hispanic Society of New York, a work of great interest as it comes from the Bonsor collection in Carmona (Seville). The researcher Isabel Mateo has recently studied this work in which she has shown its quality and iconographic interest by linking it to the city of Seville and the impact it must have had on artists of the following century, such as Murillo and his famous version of the Flight into Egypt. Both the model of the Virgin and the color, the treatment of the hair, the drawing of the hands, the orange color of the dress and the voluminous blue mantle that covers her put her in direct relation with the Virgin of the Annunciation of the old altarpiece of the tabernacle of the cathedral of Badajoz. These small "tablets" were highly appreciated during Morales' lifetime, especially among the wealthy nobles and ecclesiastics of the time who required them for their private oratories. In fact, these works fulfilled the mission of covering a type of private and intimate devotion favored by the mystical literature of the time.
Follower of Luis de Morales, called El Divino (Spain, 1509-1586), Madonna and Child, oil on cradled panel, no signature observed, artist tag to frame, 24"h x 18"w (panel), 32"h x 25"w (frame)
Luis de Morales, Nachfolger um 1600, Ecce Homo, Ölgemälde Luis de Morales, 1509 - 1586, Nachfolger, Der gefesselte und dornengekrönte Christus, Öl/Kupferplatte, kl. Farbabplatzung li. oben, nur minimal retuschiert, 23,5 x 18,7 cm, o. Rahmen
LUIS DE MORALES (Badajoz, ca. 1510-1586). "Mercy." Oil on panel. Measurements: 39 x 28 cm. This work shows us the theme of the Pietà. In it we can see the Virgin resting her head on her son, while holding him from behind. The use of cold and muted tones added to the type of composition, placing the Cross in the background, then the Virgin and finally, in the foreground, the figure of the Dead Christ. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first example being found in the city of Coburg, a piece from around 1320. With the passage of time the iconography will spread throughout Europe, and already in the seventeenth century, after the Counter-Reformation, became one of the most important themes of devotional painting. A painter of great quality and marked personality, perhaps the best among the Spaniards of the second half of the 16th century, with the exception of El Greco. His training poses serious problems, although Palomino makes him a disciple of the Flemish painter Pedro de Campaña, who lived in Seville between 1537 and 1563. Certainly the meticulousness and detail of his brushwork and the conception of the landscape are of Flemish origin, and most of his iconic themes of late medieval tradition. But he creates human types and uses a coloring and sfumato related to the Lombard tradition of a Bernardino Luini and a Cristoforo Solario, whom he surely met not through a trip to Italy but possibly to Valencia, to get acquainted with the novelties contributed by the Leonardesque Fernando Yáñez and Fernando de Llanos and the Raphaelesque Vicente and Juan Masip. However, the most personal bias of his painting lies in the tormented and almost hysterical atmosphere in which his characters breathe, turned more than to action towards an intense inner life, full of melancholy and ascetic renunciation and characteristic of the climate of tense religiosity that the reform movements had imposed in 16th century Spain, from the less orthodox Erasmianism and Alumbradism, to the most genuine mysticism and Trentism. Morales, called the Divine by his first biographer, Antonio Palomino, because he painted only religious subjects with great delicacy and subtlety, reached his best period from 1550 to 1570, painting then numerous altarpieces, triptychs and isolated canvases that obtained enormous diffusion because they satisfied the popular religiosity of the time, although some of his canvases contain quotes and data of learned erudition, product of the contact with the enlightened clients, to count first of all the bishops of the diocese of Badajoz, in whose service he was. On the other hand, his presence in the monastery of El Escorial, called by Philip II, is not documented, although it seems that the latter acquired some of his works to give them as gifts. The enormous production and the continuous request for his most frequent and popular iconographic themes forced him to maintain a large workshop in which his two sons, Cristóbal and Jerónimo, collaborated; a workshop responsible for many copies that circulate and are still considered to be Morales' autographs.
LUIS DE MORALES "EL DIVINO" AND WORKSHOP Badajoz h. 1510 - 1586 The Virgin teaching the Child to write Oil on panel Sizes 58.5 x 41.5 cm Provenance: - Private collection, France . - Private collection, Madrid. This magnificent work that we present here must be related to the Virgin teaching the Child to write (oil on panel, 54 x 46 cm) preserved in the Museum of Fine Arts of Mexico, a work of special interest since It is the first version of how many have reached today. The technical comparison but especially the amazing compositional resemblance between said work and the one at hand, allows us to affirm that we are dealing with an unpublished work. In 1997 the researcher Isabel Mateo published an interesting article in which she revealed some of the versions and replicas of this model that are kept in different private and museum collections. We appreciate in this delicate work the characteristic style that derives from the Leonardesque mannerism that justifies the controversial stay of the Badajoz painter in Italy. It is an autograph work but unfinished, although within the softer tone typical of some tables with workshop intervention. Bibliography: Mateo Gómez, Isabel; Another replica of the Virgin teaching the Child to write by Luis de Morales, Bulletin of the Seminary of Art and Archeology Studies: BSAA (volume 63, 1997), pp. 401-409.
Oil/wood, 42 x 61 cm, some rest. - Spanish mannerist master. Nothing is known about his education, very little about his life. He mainly worked for the churches of his home town, but was obviously influenced by Italian and Dutch painting. Mus.: Madrid (Prado), Dublin (Nat. Gall.), Dresden, Basel a. others. Lit.: Thieme-Becker, Bénézit.
LUIS DE MORALES (Badajoz c.1509-1586) San Juan Oleo sobre tabla de 55 x 35 cm. Los modelos de San Juan Evangelista de Morales se ajustan al modelo post-trentino de la época, cuya espiritualidad, exigida por la sociedad contemporánea, ha sido ampliamente estudiada por el P. Rodriguez Gutierrez de Ceballos. Esta obra parece formar parte de un tríptico del que se desconoce su localización pero que probablemente fuese similar al conservado en el Museo del Prado. Se conoce una composición similar a la obra presentada que se encuentra en el Museo de Cádiz, en el que junto a San Juan aparece el Beato Juan de Ribera. La imagen aquí representada ha perdido sfumato y su técnica es mas suelta; la meticulosidad se refleja en la manera de pintar los cabellos. Se trata de una forma mas manierista de representación en laque el escorzo es manifiesto e impetuoso. El color y el claroscuro nos hacen pensa English Translation LUIS DE MORALES (Badajoz, circa 1509-1586) San Juan. Oil on board.
Luis de Morales "el divino" (Badajoz 1509–1586) Ecce Homo Devotional table attributed to bottega of Luis de Morales. Depicts a model numerous times repeateded by morales, the probable origin of which os the very known subject of Sebastiano Del Piombo. Oil on panel century XVII, table in excellent condition. Dimensions: 26x52.3 cm. Provenance: Italian private collection. Condition Report: Good general conditions, normal signs of aging; blackening and light cracks on the shoulder; Fire forged hooks on the left side, the table could be been the right side of an altarpiece. __ My sales tags: Leonardo Da Vinci, Leonardeschi, Old Master, Giovan Pietro Rizzoli called Giampietrino, Bernardino Luini, Daniele Crespi, Andrea Solari, Giovanni Antonio Boltraffio, Francesco Melzi, Sofonisba Anguissola, Artemisia Gentileschi, Gian Giacomo Caprotti, Salaì, Cesare da Sesto, Perugino, Guercino, Carracci, Cagnacci, Quentin Massys, Carlo Dolci. Ecce Homo, Mona Lisa, St. John the Baptist, Italy, Florence, Florentine painting, Flemish painting, Renaissance, Italienischer Maler, Flämische Schule, Caravaggist, Niederländischer, Lombardischer, scuola veneta, Venetian school, Jusepe De Ribera, Jacopo Negretti detto Palma il Giovane, Simone Cantarini, Salvator Rosa, Rubens
Huile sur panneau de mélèze parqueté "Vierge à l'Enfant au fuseau". Attribué à Luis de Morales et à Pieter de Kempeneer. Ecole espagnole. Cette oeuvre comporte de fortes similitudes avec le tableau de Luis Morales conservée au Musée du Prado. L'influence flamande et la nature du support nous laisse suggérer une collaboration entre Luis de Morales et son maître Pieter de Kampeneer qui s'est établi en Espagne vers 1537. (Dans un encadrement d'époque en bois sculpté et doré). Dim.:68,5x50cm.
Attributed to Luis de Morales (Badajoz circa 1509-1586) Christ as the Man of Sorrows oil on panel35.9 x 30.1cm (14 1/8 x 11 7/8in). The present composition repeats that of a work by Morales, which is now in a private collection, Madrid (see I. Mateo Gomez, 'Nueva aportación a la obra de Morales cronología, soportes y réplicas' in Archivio Español de Arte, vol. LXXXVIII, no. 350, April-June 2015, pp. 131-140, fig. 7). This latter, slightly larger work, measuring 41.7 x 31.7cm., is, unusually for Morales, on copper.
MORALES, LUIS DE (1509 - 1586). "Nazareno". Óleo sobre tabla. Marco antiguo.Se desconoce el año de su nacimiento. Palomino lo sitúa hacia 1509 pero la mayoría de los historiadores retrasan esta fecha hasta 1520. Tampoco se sabe mucho acerca de su formación. Gaya Nuño fija tres etapas: una primera en Sevilla donde plantea que pudo aprender con Pedro de Campaña. La segunda etapa lo sitúa en Portugal. El rasgo más característico de este momento es el manierismo. Finalmente Luis de Morales pudo viajar a Milán donde conocería y estudiaría la obra de Sebastiano del Piombo. Debido a la fama que disfrutó en vida y a la predilección por temas religiosos en sus obras, fue llamado «El divino Morales». Desarrolló su actividad en un relativo aislamiento en Extremadura, si bien sus obras se distribuyeron por toda la Península.En su pintura se observa un alargamiento de las figuras y el uso de la técnica del esfumado leonardesco, lo cual hace pensar en influencias de escuelas pictóricas extranjeras. Debido a su particular estilo de representación su obra es fácilmente identificable. 100 x 76,5 cm
MORALES, LUIS DE (1509 - 1586). "Nazareno". Óleo sobre tabla. Marco antiguo.Se desconoce el año de su nacimiento. Palomino lo sitúa hacia 1509 pero la mayoría de los historiadores retrasan esta fecha hasta 1520. Tampoco se sabe mucho acerca de su formación. Gaya Nuño fija tres etapas: una primera en Sevilla donde plantea que pudo aprender con Pedro de Campaña. La segunda etapa lo sitúa en Portugal. El rasgo más característico de este momento es el manierismo. Finalmente Luis de Morales pudo viajar a Milán donde conocería y estudiaría la obra de Sebastiano del Piombo. Debido a la fama que disfrutó en vida y a la predilección por temas religiosos en sus obras, fue llamado «El divino Morales». Desarrolló su actividad en un relativo aislamiento en Extremadura, si bien sus obras se distribuyeron por toda la Península.En su pintura se observa un alargamiento de las figuras y el uso de la técnica del esfumado leonardesco, lo cual hace pensar en influencias de escuelas pictóricas extranjeras. Debido a su particular estilo de representación su obra es fácilmente identificable.. 100 x 76,5 cm
MORALES, LUIS DE (1509 - 1586). "Nazareno". Óleo sobre tabla. 100 x 76,5 cm. Marco antiguo.Se desconoce el año de su nacimiento. Palomino lo sitúa hacia 1509 pero la mayoría de los historiadores retrasan esta fecha hasta 1520. Tampoco se sabe mucho acerca de su formación. Gaya Nuño fija tres etapas: una primera en Sevilla donde plantea que pudo aprender con Pedro de Campaña. La segunda etapa lo sitúa en Portugal. El rasgo más característico de este momento es el manierismo. Finalmente Luis de Morales pudo viajar a Milán donde conocería y estudiaría la obra de Sebastiano del Piombo. Debido a la fama que disfrutó en vida y a la predilección por temas religiosos en sus obras, fue llamado «El divino Morales». Desarrolló su actividad en un relativo aislamiento en Extremadura, si bien sus obras se distribuyeron por toda la Península.En su pintura se observa un alargamiento de las figuras y el uso de la técnica del esfumado leonardesco, lo cual hace pensar en influencias de escuelas pictóricas extranjeras. Debido a su particular estilo de representación su obra es fácilmente identificable.
LUIS DE MORALES (Badajoz, 1520 – 1586) St. Francis Oil on panel 46 x 34.5 cm The work in question is attributed to Luis de Morales, a Spanish artist. The physiognomic features of the face such as the shape of the eyes, a long nose and thin, the lineaments softened by Leonardo's sfumato technique, also used in the construction of the mountain behind the saint, are stylistic features related to the corpus of this artist such Christ carrying the cross or St. Stephan.
LUIS DE MORALES (Badajoz, 1509-Alcántara, 1586) Ecce homo, Óleo sobre tabla de roble de 32 x 22 cm.Inscripciones:" De sª mª","zeldas"A comparar con el Ecce Homo que se encuentra en el StaatlicheKunstsammlungen de Dresde.Tabla de devoción privada en la que Jesús, sin túnica, con los hombrosdescubiertos, la caña como cetro y la soga rodeando su cuello, gira sucabeza hacia la derecha, con la mirada baja y doliente, mientras sufrente se va tiñendo de la sangre de las heridas sufridas por lacorona de espinas. Representación maestra de ese momento de La Pasión que representa laculminación del proceso contra Jesús, sentenciándolo a morir en lacruz.Como bien refleja Ana Dávila en la magnífica catalogación que de estaobra hace en el catálogo razonado de la exposición El Divino Morales(ver bibliografía):La temática en torno a la Pasión de Cristo constituye una de lasvertientes más significativas de la iconografía de Luis de Morales. Surepresentación del
