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1 day ago · The meaning of ECCE HOMO is behold the man —from the words of Pontius Pilate when he presented Jesus, crowned with thorns, to the crowd before his crucifixion.
Ecce homo (/ ˈ ɛ k s i ˈ h oʊ m oʊ /, Ecclesiastical Latin: [ˈettʃe ˈomo], Classical Latin: [ˈɛkkɛ ˈhɔmoː]; "behold the man") are the Latin words used by Pontius Pilate in the Vulgate translation of the Gospel of John, when he presents a scourged Jesus, bound and crowned with thorns, to a hostile crowd shortly before His ...
Ecce Homo: How One Becomes What One Is (German: Ecce homo: Wie man wird, was man ist) is the last original book written by philosopher Friedrich Nietzsche before his death in 1900. It was written in 1888 and was not published until 1908.
In late 1888, only weeks before his final collapse into madness, Nietzsche (1844-1900) set out to compose his autobiography, and Ecce Homo remains one of the most intriguing yet bizarre examples of the genre ever written.
Ecce Homo, (Latin: “Behold the Man”), theme prevalent in western Christian art of the 15th to 17th century, so called after the words of Pontius Pilate to the Jews who demanded the crucifixion of Jesus (John 19:5).
The Ecce Homo (Latin: "Behold the Man") in the Sanctuary of Mercy church in Borja, Spain, is a fresco painted circa 1930 by the Spanish painter Elías García Martínez depicting Jesus crowned with thorns. Both the subject and style are typical of traditional Catholic art.
The earliest surviving Ecce Homo is the one he did for Charles V and in which one detects his attempt to distance himself from the usual iconic impression of these images which are typically frontal and bust length. Instead, Titian shows Christ in three quarter length and at an angle.
ECCE HOMO The presentation of Christ to the people to be mocked by them concludes His religious and civil trial, which is the last stage of the Passion before the Crucifixion. Crowned with thorns and with the reed scepter in His bound hands, His pitiable figure is exhibited in lonely contrast to the contemptuous horde that views Him.
His gesture, the jewel in the centre of his turban and the composition in general, all recall an Ecce Homo by Quentin Massys (Venice, Musei Civici Veneziani, Palazzo Ducale, inv. 376), which came to Venice in the sixteenth century, probably brought by Cardinal Grimani.
Ecce Homo: How One Becomes what One Is, trans. R. J. Hollingdale, Penguin, 1982. Excerpt: The happiness of my existence, its unique character perhaps, lies in its fatefulness: expressing it in the form of a riddle, as my own father I am already dead, as my own mother I still live and, grow old.
