PROVENANCE: E. and A. Silberman Galleries, New York, 1952; BJU, 1952; M&G, 2004.

Ribera, born in Javita , Spain , presumably apprenticed in his homeland until he sailed for Naples in 1607. There he came into contact with the works of Caravaggio and his followers and developed an early affinity for the master's style. Although Caravaggio's art continued to influence Ribera throughout his career, a trip to Rome also exposed him to the classical style of the Carracci and Guido Reni. Ribera's impressive list of collectors includes Cosimo II, the viceroys of Naples , and King Philip IV. He always considered himself a Spaniard (hence, the identification in the present signature) even though he lived in Italy most of his life. He greatly influenced both the artists of his homeland and Italian baroque artists.

Experts agree on the high quality and beauty of this work. The devotional presentation of Christ shows Him after He has been tortured and mocked by Pontius Pilate's soldiers. Ecce Homo translates Pilate's words to the crowd: "Behold the Man. " Painted in 1638 at the height of Ribera's popularity, the piece illustrates the artist's ability to combine a strong spiritual image with poignant realism. In the midst of the mockery, Christ gazes confidently at the viewer, fully aware that the crown of thorns and reed-scepter symbolize a heavenly power unrealized by mankind. The empty background, isolation from the jeering crowd, and the engaging, penetrating gaze all contribute to create an arresting, masterful portrait.