This HTML5 document contains 15 embedded RDF statements represented using HTML+Microdata notation.

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Namespace Prefixes

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dc	http://purl.org/dc/elements/1.1/
rdfs	http://www.w3.org/2000/01/rdf-schema#
n7	https://www.metmuseum.org/art/collection/search/
n5	http://data.silknow.org/vocabulary/
silk	http://data.silknow.org/ontology/
ecrm	http://erlangen-crm.org/current/
rdf	http://www.w3.org/1999/02/22-rdf-syntax-ns#
n12	http://data.silknow.org/image/
owl	http://www.w3.org/2002/07/owl#
n2	http://data.silknow.org/object/
prov	http://www.w3.org/ns/prov#
xsdh	http://www.w3.org/2001/XMLSchema#
n4	http://data.silknow.org/statement/
n11	http://data.silknow.org/activity/

Statements

Subject Item

n4:74b83e24-75c5-5345-b14e-38d3b405ac1e

rdf:type

rdf:Statement

rdf:predicate

ecrm:P65_shows_visual_item

rdf:object

n5:743

rdf:subject

n2:c9b36e31-3ea6-3d70-95e2-6dda125b1ee7

prov:wasGeneratedBy

n11:74b83e24-75c5-5345-b14e-38d3b405ac1e

silk:L18

0.67580002546310424805

Subject Item

n2:c9b36e31-3ea6-3d70-95e2-6dda125b1ee7

rdf:type

ecrm:E22_Man-Made_Object

rdfs:label

1520~ / 1525~, Brussels

rdfs:comment

The bound Christ, humiliated and all but naked, mockingly draped in an imperial purple cloak and thorny crown, is presented to the jeering crowd, as described in the Bible (John, 19:5), the inscription woven in gilded silver, “ECCE HOMO” declaring ‘here is the man’. In a device popularized by Albrecht Dürer, the crowd is not actually represented; instead, it is as if his tormenters present Christ directly to us, the tapestry’s viewers, making us complicit in his degradation and rendering this hanging ideal as a tool for devotional contemplation and meditation.This small hanging combines tapestry conventions, like the decorative border filled with beautifully observed fruit, flora and foliage, with compositional devices more typical of contemporary panel paintings, like the half-length devotional format, and the foreground ledge and slightly awkward, encroaching architectural setting. This tapestry’s design reuses a prototype almost certainly created in the workshop of the successful Antwerp-based artist, Quentin Metsys, and disseminated in numerous paintings; a painted version attributed to Metsys, particularly closely related to this tapestry’s design, is in the Doge’s Palace, Venice. Like The Met’s tapestry 32.100.389, this is one of a sizeable group of smaller-scale devotional tapestries produced by talented weavers almost certainly working in Brussels- the center of excellence of figurative tapestry weaving throughout the late fifteenth and the sixteenth centuries- and probably made on speculation for sale on the open market.

owl:sameAs

n7:212695

dc:identifier

06.301

ecrm:P3_has_note

The bound Christ, humiliated and all but naked, mockingly draped in an imperial purple cloak and thorny crown, is presented to the jeering crowd, as described in the Bible (John, 19:5), the inscription woven in gilded silver, “ECCE HOMO” declaring ‘here is the man’. In a device popularized by Albrecht Dürer, the crowd is not actually represented; instead, it is as if his tormenters present Christ directly to us, the tapestry’s viewers, making us complicit in his degradation and rendering this hanging ideal as a tool for devotional contemplation and meditation.This small hanging combines tapestry conventions, like the decorative border filled with beautifully observed fruit, flora and foliage, with compositional devices more typical of contemporary panel paintings, like the half-length devotional format, and the foreground ledge and slightly awkward, encroaching architectural setting. This tapestry’s design reuses a prototype almost certainly created in the workshop of the successful Antwerp-based artist, Quentin Metsys, and disseminated in numerous paintings; a painted version attributed to Metsys, particularly closely related to this tapestry’s design, is in the Doge’s Palace, Venice. Like The Met’s tapestry 32.100.389, this is one of a sizeable group of smaller-scale devotional tapestries produced by talented weavers almost certainly working in Brussels- the center of excellence of figurative tapestry weaving throughout the late fifteenth and the sixteenth centuries- and probably made on speculation for sale on the open market.

ecrm:P65_shows_visual_item

n5:743

ecrm:P138i_has_representation

n12:f9c354e2-33c5-34d8-aebd-afb7fa389e9d

ecrm:P102_has_title

1520~ / 1525~, Brussels