Ecce Homo
DAZAYN
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“Ecce Homo” oil on canvas 90*120(2024)
This artwork draws inspiration from Caravaggio’s renowned piece “Ecce Homo,” where Jesus is depicted just before his crucifixion. In Caravaggio’s rendition, Jesus is presented to the crowd by the governor with the words “Ecce Homo” (“Behold the man”). Nietzsche also titled his last book with the same phrase.
My intention with this artwork is to glorify the portrayal of a man while exploring its definition with insights from Nietzsche, Schopenhauer, and Hegel. In this depiction, Nietzsche replaces Jesus, his arm bleeding and bound with ropes, while Schopenhauer stands behind him, resembling a paternal figure, attempting to conceal the man’s emaciated and weary body. Hegel assumes the role of presenting this man to the crowd, visibly taken aback, perhaps unprepared for the consequences of his dialectical theories. His vision of a dialectical and evolutionary world collapses in the confrontation between Apollonian and Dionysian forces, culminating in Nietzsche’s portrayal.
Schopenhauer’s concern lies in the recognition of the incomprehensibility of existence, anticipating the formidable challenge it poses, yet not envisioning the possibility of embracing it with laughter and joy. He expected nothing more than a tranquil and melancholic resolution.
The crowd symbolizes us, demonstrating what a man might resemble if one were to shed all preconceptions, histories, debates, and logic, similar to Nietzsche’s approach. If a person were to focus solely on their poetic essence, the result might appear absurd: bloodied hands accompanied by a faint smile. This is the essence of “Ecce Homo” – a seemingly futile portrayal of a madman, joyfully embracing his crucifixion.
With last words of Nietzsche’s last work;
“Have I been understood?—*Dionysus versus the crucified”
This artwork draws inspiration from Caravaggio’s renowned piece “Ecce Homo,” where Jesus is depicted just before his crucifixion. In Caravaggio’s rendition, Jesus is presented to the crowd by the governor with the words “Ecce Homo” (“Behold the man”). Nietzsche also titled his last book with the same phrase.
My intention with this artwork is to glorify the portrayal of a man while exploring its definition with insights from Nietzsche, Schopenhauer, and Hegel. In this depiction, Nietzsche replaces Jesus, his arm bleeding and bound with ropes, while Schopenhauer stands behind him, resembling a paternal figure, attempting to conceal the man’s emaciated and weary body. Hegel assumes the role of presenting this man to the crowd, visibly taken aback, perhaps unprepared for the consequences of his dialectical theories. His vision of a dialectical and evolutionary world collapses in the confrontation between Apollonian and Dionysian forces, culminating in Nietzsche’s portrayal.
Schopenhauer’s concern lies in the recognition of the incomprehensibility of existence, anticipating the formidable challenge it poses, yet not envisioning the possibility of embracing it with laughter and joy. He expected nothing more than a tranquil and melancholic resolution.
The crowd symbolizes us, demonstrating what a man might resemble if one were to shed all preconceptions, histories, debates, and logic, similar to Nietzsche’s approach. If a person were to focus solely on their poetic essence, the result might appear absurd: bloodied hands accompanied by a faint smile. This is the essence of “Ecce Homo” – a seemingly futile portrayal of a madman, joyfully embracing his crucifixion.
With last words of Nietzsche’s last work;
“Have I been understood?—*Dionysus versus the crucified”