Scuola leonardesca (XVI-XVII) - Ecce Homo

LEONARDO-STYLE PAINTER (XVI/XVII)
Follower of ANDREA SOLARI
(Milan, circa 1470 – 1524)
Ecce Homo
Oil and tempera on panel, 44 x 33 cm
Frame size approx. 62 x 51 x 5 cm

NOTE: Publication catalog of works from the Intermidiart collection. Unlabeled work. Certificate of Guarantee and Legitimate Provenance. Work with a black lacquered wooden frame (defects):

Executed on panel, this Ecce Homo on a dark background is placed – with necessary caution – between the XVI and XVII century and appears attributable to the sphere of Northern Italian painting culture. In terms of attribution, one can hypothesize – with due prudence – a Lombard taste in the compositional construction and in the features of evident Leonardesque matrix.
The style and formal characteristics of the work are indeed attributable to the so-called Leonardeschi, i.e., those Lombard painters active from the early 16th century who, to varying degrees, drew inspiration from Leonardo da Vinci, especially assimilating the sfumato rendering of volumes, the psychological intensity of expressions, and the calibrated use of light.
The painting depicts the Christian theme of Ecce Homo, i.e., Christ bound and crowned with thorns, a central subject in devotional painting between the 15th and 17th centuries, aimed at fostering meditation and the faithful emotional identification with the suffering of the Redeemer. Christ is depicted in half-length, with the crown of thorns on his head, his hands tied with a rope, and the reed held as a scepter, iconographic elements that allude to the mockery endured before the crucifixion. The dark background, devoid of narratively accessory elements, concentrates attention on the sorrowful, absorbed expression of the face, heightening its introspective dimension.
This setup directly recalls the compositional type developed by Andrea Solario, characterized by the close cropping, the isolation of the figure, and the intensified emotion achieved through chiaroscuro contrast. Similar exemplars are preserved in important museum collections, including the Philadelphia Museum of Art, testifying to the wide diffusion of the Solarian model.
Andrea Solario (Milan, circa 1470 – 1524), among the finest interpreters of Lombard Renaissance, though listed among the Leonardeschi for the deep influence of Leonardo, developed an autonomous language capable of fusing Nordic naturalism, luminous sensitivity, and Venetian suggestion. Belonging to the Solari family of Carona, he was the brother of the sculptor and architect Cristoforo Solari, called the Hunchback. During his Venetian sojourn he studied the works of Giovanni Bellini and Antonello da Messina, assimilating chromatic intensity and analytical attention to detail; subsequently, contact with Leonardo solidified his plastic sensitivity and psychological depth. In 1507 he was summoned to France by Cardinal Georges d'Amboise, contributing to the diffusion of Italian Renaissance taste beyond the Alps.
The work under examination shows clear stylistic and iconographic dependence on Northern Italy's early Renaissance painting. The quality of modeling, attention to epidermal rendering, and the use of a soft, enveloping light suggest the assimilation of Solarian models, reworked in a later phase.
For these reasons, it seems plausible to place the painting between the late 16th century and the early 17th century, in a cultural context that still receives and renews Leonardeschian modules through an updated sensibility.
Despite the presence of widespread craquelure, signs of wear, and restoration interventions that affect legibility, the composition and color range remain coherent with devotional production of the Lombard-Venetian area between the 16th and 17th centuries.
At the current stage of technical-stylistic analyses, it is not possible to formulate a definite attribution or precisely define the chronology of the work. It will therefore be necessary to proceed with targeted diagnostic investigations – possibly integrated with stratigraphic and reflectographic analyses – and with appropriate conservation work. With due caution, the painting can be attributed to the hand of a painter of good execution and solid training, active probably between the late 16th and the early 17th century, capable of reinterpreting with personal sensitivity the models devised by Andrea Solario.
Regarding its state of conservation, the panel is in a decent condition. The surface shows a patina. Under Wood’s light, there are scattered old restorations, underdrawings, and surface abrasion. Under sunlight, oxidation of the dark background and small losses of color are visible. At the back, the panel is mounted on two boards – as clearly visible in the photo – to prevent the wood from warping and cracking over time. The condition report we provide is accurate and thorough but, in any case, partial and not entirely exhaustive since it was not performed in specialized laboratories with specific technical supports. Under sunlight a fine craquelure related to the period is visible. The painting – of good painterly hand – is very interesting for a deep attribution study after careful restoration. The panel measures 44 x 33 cm. The painting is enhanced by a beautiful frame ( XIX? ) in black lacquered wood (frame measurements approx. 62 x 51 x 5 cm, with defects).
"The frame shown in the photos above has been added to the artwork by the seller or by a third party. The frame is provided to you free of charge so that it is ready for display as soon as it arrives. The frame is included as a courtesy and is not considered an integral part of the artwork. Therefore, any potential damage to the frame that does not affect the artwork will not be accepted as a valid reason to open a claim or request order cancellation."

Provenance: Private collection

Publication:
- Unpublished;
- The Myths and the Territory in Sicily across a thousand cultures. UNPUBLISHED QUADERIA, general catalog of paintings from the cycle “The Myths and the Territory,” Editor Lab_04, Marsala, 2026.

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