16 - LUIS DE MORALES (Badajoz, 1509 – Alcántara, 1586).

LUIS DE MORALES (Badajoz, 1509 – Alcántara, 1586). “Ecce homo.” Oil on copper. Accompanied by a study by Isabel Mateo Gómez. With a silver frame. Bears hallmarks. Measurements: 9 x 6.5 cm; 10 x 7.5 cm. Delicately executed and deeply devotional in nature, this small painting depicts Christ as the Man of Sorrows, shown from the waist up against a dark, neutral background that focuses all attention on the figure. His gaze, directed straight at the viewer, conveys an intense sense of suffering and spiritual contemplation. The crown of thorns, the three crowns, and the drops of blood running down his face and chest accentuate the drama of the scene. He wears a deep pink tunic, open at the chest and fastened with a thin red ribbon, against which the dark cloak stands as a hallmark. His hands appear bound with a rope, while he holds a palm frond—a unique iconographic detail that departs from the customary depiction of the reed scepter. The work was studied by Isabel Mateo Gómez and Amelia López-Yarto Elizalde, who noted its close formal and iconographic relationship to Luis de Morales’s Ecce Homo models. The restrained expressiveness of the face, the emotional intensity, and the combination of Italian and Flemish influences are all part of the characteristic sensibility of the Extremaduran master, whose paintings achieved extraordinary popularity during the second half of the 16th century. The authors also highlighted the loose brushwork and certain technical techniques that evoke other compositions by the artist, although they noted the presence of retouching and impasto in some areas. Given its small size and copper support, the piece reflects the taste for images intended for private devotion and close contemplation, a genre in which Morales developed a particular ability to inspire meditation on the Passion of Christ. According to the cited study, the copper plate may have crowned a silver reliquary—now disassembled—consisting of six rectangular plates gilded over silver, embossed and chiseled with scenes from the Passion: the Agony in the Garden, the Arrest, the Flagellation, the Road to Calvary, the Burial, and the Resurrection. The combination of the painted image and the silver reliefs would have formed a work of remarkable artistic richness and religious significance. Luis de Morales, known as “El Divino,” was one of the leading Spanish painters of the second half of the 16th century. Specializing in religious subjects, he developed a style of painting characterized by profound mysticism and devotion, marked by melancholy and spiritual contemplation. His work was widely disseminated, especially between 1550 and 1570, thanks to the demand for images intended for private devotion. The volume of commissions led him to establish his own workshop, where his sons, Cristóbal and Jerónimo, worked alongside him—a circumstance that explains the existence of numerous works and variations on his style. Attached is a study conducted by Ms. Isabel Mateo Gómez.