Rembrandt’s Ecco homo (1634) was almost certainly intended to serve for an engraving, for private meditation at home.
In good Dutch Protestant fashion, it closely follows the text of John’s Gospel – the clock at the sixth hour, the rabble shouting that they have no king but Caesar.
As onlookers, it forces us to confront the question, Who is this man? Is he a king? and if so, what kind of king? Neil MacGregor reflects on one of the National Gallery’s most important paintings.
From the BBC, Good Friday reflections on a Rembrandt https://t.co/6nIXAGl5cU
— Lucy Ferguson (@LucyFergusonDHM) April 2, 2021