What is "ecce homo"

Ecce homo \Ec"ce ho"mo\ ([e^]k"s[-e] h[=o]"m[-o]). [L., behold the man. See John xix. 5.] (Paint.) A picture which represents the Savior as given up to the people by Pilate, and wearing a crown of thorns.

Latin, literally "behold the man" (John xix:5), from Latin ecce "lo!, behold!" Christ crowned with thorns, especially as the subject of a painting.

n. (context arts English) A picture representing Jesus Christ as given up to the people by Pilate, and wearing a crown of thorns.

n. a representation (a picture or sculpture) of Jesus wearing a crown of thorns

Ecce homo ("behold the man", , ) are the Latin words used by Pontius Pilate in the Vulgate translation of John , when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The original Greek is Ίδε ό άνθρωπος (Ide ho anthropos). The Douay-Rheims Bible translates the phrase into English as "Behold the man!" The scene has been widely depicted in Christian art.

Ecce Homo is a 2001 album by The Hidden Cameras. The band's first album, it was released independently on Gibb's own label EvilEvil.

Several of the songs were re-recorded on the band's later releases. The album resulted in the British label signing the band for their next release, 2003's The Smell of Our Own.

Ecce Homo was a controversial exhibition of 12 photographs of different biblical situations, in modern surroundings, taken by the Swedish photographer Elisabeth Ohlson Wallin. The first vernissage of the exhibition was in Stockholm, July 1998 and attracted much attention. When the exhibition was shown in the cathedral of Uppsala in September it caused a national debate. The reactions was often very emotional, and both positive and negative. The photos portrayed Jesus among homosexuals, transgender people, leatherpeople and people with AIDS. The exhibition toured Scandinavia and continental Europe between 1998 and 2004. An Ecce Homo exhibition opened in October 2012 in the Belgrade Pride festival in Belgrade, Serbia, and was guarded by large number of riot police due rioting in the ensuing controversy.

" Ecce homo" (Latin for "Behold the Man"), is a phrase uttered by Pontius Pilate at the trial of Christ.

Ecce Homo may also refer to:

Ecce Homo (c. 1605/6 or 1609 according to John Gash) is a painting by the Italian master Caravaggio. It is housed in the Palazzo Bianco, Genoa. According to Giambatista Cardi, nephew of the Florentine artist Cigoli, Cardinal Massimo Massimi commissioned paintings on the theme of Ecce Homo from three artists, Cigoli, Caravaggio, and Domenico Passignano, without informing the artists of the multiple commissions. Cardi claimed the cardinal liked Cigoli's version best.

The scene is taken from the Gospel of (John 19): Pontius Pilate displays Christ to the crowd with the words, "Ecce homo!" ("Behold the man"). Caravaggio's version of the scene combined Pilate's display with the earlier moment of Christ, already crowned with thorns, mockingly robed like a king by his tormentors. Massimi already possessed a Crowning with Thorns, by Caravaggio, and Ecce Homo may have been intended as a companion piece. Stylistically, the painting displays characteristics of Caravaggio's mature Roman-period style. The forms are visible close-up and modelled by dramatic light, the absence of depth or background, and the psychological realism of, the torturer, who seems to mix sadism with pity. Pilate, in keeping with tradition, is shown as a rather neutral and perhaps almost sympathetic figure. The contract for Ecce Homo was signed on 25 June 1605, with the painting to be delivered in August. Whether Caravaggio met his deadline is uncertain, as by July he was arrested for attacking the house of Laura della Vecchia and her daughter, Isabella. Friends stood bail for him, but on 29 July he was in far more serious trouble for assaulting the notary Mariano Pasqualone over a well-known courtesan Lena and Caravaggio's model who is referred to by Pasqualone in the police complaint as "Michelangelo's (i.e. Caravaggio's) girl". Consequently, Caravaggio fled to Genoa until the end of August. He continued to be in trouble with the law throughout the year, with a complaint against him in September for throwing stones at his landlady's house, and a mysterious incident in October in which he was wounded in the throat and ear (Caravaggio claimed he had fallen on his own sword). In May 1606 he fled Rome again after killing Ranuccio Tomassoni in a duel, and he was not settled in Naples until the latter part of that year. Cigoli's Ecce Homo was not painted until 1607, and clearly attempts to mimic Caravaggio's style, suggesting that Massimi had not yet received his Caravaggio and was turning elsewhere. It is instructive to compare the two paintings: Caravaggio, unlike Cigoli, has dropped the convention of showing Christ's torturer as a grotesque, and has shown Pilate dressed as a 17th-century official.

Ecce Homo is a painting by the Netherlandish painter Hieronymus Bosch or a follower, made in the 1490s. It depicts the presentation of Jesus Christ by Pontius Pilate to the throngs of Jerusalem. This painting is at the Indianapolis Museum of Art in Indianapolis, Indiana; it is closely similar to one at the Philadelphia Museum of Art.

They are not to be confused with the 1470s Bosch painting of the same name.

The Ecce Homo is an 1896 painting by award-winning Filipino painter and hero Juan Luna. It is a "sensitive portrayal" of Jesus Christ. The portrait is one of several canvasses that Luna created while he and his brother Antonio Luna were imprisoned for eighth months by the Spanish authorities in the Philippines in 1896 because of sedition charges.

Ecce Homo: How One Becomes What One Is is the last original book written by philosopher Friedrich Nietzsche before his final years of insanity that lasted until his death in 1900. It was written in 1888 and was not published until 1908.

According to one of Nietzsche's most prominent English translators, Walter Kaufmann, the book offers "Nietzsche's own interpretation of his development, his works, and his significance." The book contains several chapters with ironic self-laudatory titles, such as "Why I Am So Wise", "Why I Am So Clever", "Why I Write Such Good Books" and "Why I Am a Destiny". Walter Kaufmann, in his biography Nietzsche: Philosopher, Psychologist, Antichrist noticed the internal parallels, in form and language, to Plato's Apology which documented the Trial of Socrates. In effect, Nietzsche was putting himself on trial with this work, and his sardonic judgments and chapter headings are mordant, mocking, self-deprecating, sly, and they turn this trial against his future accusers, distorters, and superficial judges. Within this work, Nietzsche is self-consciously striving to present a new image of the philosopher and of himself, for example, a philosopher "who is not an Alexandrian academic nor an Apollonian sage, but Dionysian." On these grounds, Kaufmann considers Ecce Homo a literary work comparable in its artistry to Vincent van Gogh's paintings. Just as Socrates was presented in Plato's Apology as the wisest of men precisely because he freely admitted to his own ignorance, Nietzsche argues that he himself is a great philosopher because of his withering assessment of the pious fraud of the entirety of Philosophy which he considered as a retreat from honesty when most necessary, and a cowardly failure to pursue its stated aim to its reasonable end. Nietzsche insists that his suffering is not noble but the expected result of hard inquiry into the deepest recesses of human self-deception, and that by overcoming one's agonies a person achieves more than any relaxation or accommodation to intellectual difficulties or literal threats. He proclaims the ultimate value of everything that has happened to him (including his father's early death and his near-blindness – an example of love of Fate or amor fati). In this regard, the wording of his title was not meant to draw parallels with Jesus, but suggest a contrast, that Nietzsche truly is "a man." Nietzsche's point is that to be "a man" alone is to be more than "a Christ".

One of the main purposes of Ecce Homo was to offer Nietzsche's own perspective on his work as a philosopher and human being. He wrote: "Under these circumstances I have a duty against which my habits, even more the pride of my instincts, revolt at bottom – namely, to say: Hear me! For I am such and such a person. Above all, do not mistake me for someone else!" Throughout the course of the book, he expounds — in the characteristically hyperbolic style found in his later period (1886–1888) — upon his life as a child, his tastes as an individual, and his vision for humanity. He gives reviews and insights about his various works, including: The Birth of Tragedy, The Untimely Meditations, Human, All Too Human, The Dawn, The Gay Science, Thus Spoke Zarathustra, Beyond Good and Evil, On the Genealogy of Morality, Twilight of the Idols and The Case of Wagner. The last chapter of Ecce Homo, entitled "Why I Am a Destiny", is primarily concerned with reiterating Nietzsche's thoughts on Christianity, corroborating Christianity's decadence and his ideas as to uncovering Christian morality.

He signs the book "Dionysus versus the Crucified."

Ecce Homo is a painting of the episode in the Passion of Jesus by the Early Netherlandish painter Hieronymus Bosch, painted between 1475 - 85. The original version, with a provenance in collections in Ghent, is in the Städel Museum in Frankfurt; a copy is held the Museum of Fine Arts in Boston. The painting takes its title from the Latin words Ecce Homo, "Behold the Man" spoken by the Roman Prefect Pontius Pilate when Jesus is paraded before a baying, angry mob in Jerusalem before he is sentenced to be crucified.

Ecce Homo is a live album by Grant Hart, formerly of the alternative rock band Hüsker Dü. Recorded in October 1994, it was released in January 1996 on World Service. The album features Hart performing songs from Hüsker Dü, his solo career, and Nova Mob on an acoustic guitar.

The Ecce Homo (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. While press accounts agree that the original painting was artistically unremarkable, its fame derives from an attempt to restore the fresco by Cecilia Giménez, an untrained amateur, in 2012.

Ecce Homo is a painting by the Renaissance painter Andrea Mantegna. It is conserved at Musée Jacquemart-André in Paris. It depicts the presentation of Jesus Christ crowned with thorns.

Ecce Homo is the title of a series of paintings by the Italian Renaissance master Antonello da Messina. They date from 1470 to 1475.

Antonello is known to have treated this subject four times; three (b, c, d) are variations of the same design; a fourth (a) differs.

• a) Christ Crowned with Thorns, in the collection of Gaspar Méndez de Haro, 7th Marquis of Carpio in 1687; Don Giulio Alliata, Palermo, 1698, when it was said to bear the date 1470, now illegible; ...Michael Friedsam, New York; Metropolitan Museum of Art, acc. no.32.100.82.
• b) Picture Gallery of Collegio Alberoni, Piacenza, dated 1472.
• c) Kunsthistorisches Museum, Vienna, dated 1474.
• d) National Gallery of the Palazzo Spinola, Genoa.

Ecce Homo Church is a Roman Catholic church on Via Dolorosa in the Old City of Jerusalem, along the path that according to tradition Jesus walked, carrying his cross, on the way to his crucifixion. The church is now part of the Convent of the Sisters of Zion.

The Latin words Ecce Homo (i.e. Behold the Man) are attributed to Pontius Pilate in the Gospel of John , when he presented a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd. The New Testament also says that Jesus was dressed in fake royal attire, to mock the claim that he was "King of the Jews."

The church contains one arch of a Roman gateway, which has a further arch crossing the Via Dolorosa outside. There was originally a third arch to the gateway, on the other side of the street; in the sixteenth century, it was incorporated into a monastery for Uzbek dervishes in the Order of the Golden Chain, but this was later demolished, taking the arch with it.

Traditionally, the arch was said to have been part of the gate of Herod's Antonia Fortress, which itself was alleged to be the location of Jesus' trial by Pontius Pilate; the traditional conclusion was that the arch was the location of Pontius Pilate's Ecce Homo speech, reported by the Bible. However, due to archaeological investigation, it is now known that the arch is a triple-arched gateway, built by Hadrian, as an entrance to the eastern Forum of Aelia Capitolina; the site of the forum was previously a large open-air pool of water (the Strouthion Pool).

Ecce Homo is a statue of the Christian figure, Jesus of Nazareth, during his trial after being imprisoned by the Romans. The statue's title, Ecce Homo, is an allusion to the famous proclamation by Pontius Pilate, "Behold the Man." The statue, made entirely of carved wood, depicts Jesus in a horrific state of suffering and anguish. Although its creator remains anonymous, Ecce Homo is believed to have been carved in Spain sometime around the year 1600 AD. Like many forms of Baroque era art, the focus of this piece comes in the form of an emotional connection with Christ. In the Summer 2010 issue of the Loyola University Magazine, Jonathan Canning explains the artistic technique used by the creator to convey this emotion, "His [Christ’s] skin has been painted to reveal bruising and welts beneath the skin, while small, red glass beads have been set into the sculpture’s open wounds to suggest flowing blood." Additionally, Christ's face has been carved so that he is looking down, with an expression that depict complete misery. It is believed that the artist's aim was to trigger a sympathetic response with the viewer. The pathos attributed to this piece may have been intended to serve as a form of worship in which Christians create an emotional connection with Christ.