Manuel González Simancas, Catálogo Monumental de España. Provincia de Murcia 1905-1907 (Manuscript), CSIC Tomás Navarro Tomás Library, volume II, pp. 334-335 (published in facsimile by the Official Architects’ Association of Murcia, Ministry of Education and Culture, Bureau of Fine Arts and Cultural Property, Spanish Cultural Heritage Institute, Madrid 1997.
José de Ribera’s fidelity to naturalism, present from his early paintings in Rome, did not diminish over time throughout his long artistic career, as shown also in this Ecce Homo dated 1644, where Ribera emphasizes with expressive means Christ’s human nature. With a pleasant outcome, Ribera aims with this Ecce Homo at a more coloristic aesthetic, achieving greater luminosity by an exquisite portraying technique, paying the utmost attention to what is tangible and tactile.
The format, size and frame type of this Ecce Homo as a bust or half-length portrait usually showing one hand with some iconographic attribute that ensures certain, accurate identification was very common in the production of the painter from Xàtiva, as evidenced in some pieces from his series of Apostles or philosophers.