Titian’s Ecce Homo on Slate: Stone, Oil, and the Transubstantiation of Painting

Christopher J. Nygren

11 citations0/0 files storedThe Art Bulletin

No readable copy stored yet — this record is metadata only.

No open-access location is known for this record yet.

Literature note Cite in a project Citation map

Historical Art and Architecture Studies Renaissance and Early Modern Studies Cultural Heritage Materials Analysis

Abstract

Titian's Ecce Homo (Museo del Prado, Madrid) stands out for many reasons. First, the painting was a gift, so it reflects Titian's volition rather than the will of a patron. Second, the material that Titian elected to use demands attention: Ecce Homo is painted on slate. It is the only painting that Titian ever painted on slate, yet modern scholarship has largely ignored Titian's unique artistic material. The painter heightened the affective immediacy of Christian devotion by underlining the associations between the spiritual content of his image and the physical characteristics of its material substrate.

Paper brief

Loading…

Cite this work

Citation unavailable for this work.

BibTeX RIS CSL-JSON

No public copy is stored for this record, so only the metadata is cited.

Citations in this library

Citation map →

Stored only when both papers are in the corpus — 11 citations exist upstream.

Cited by

2024The Unseen Truth of God in Early Modern Masterpieces

Imported from OpenAlex (CC0) — nothing here is generated.