Attributed to Michelangelo Merisi Caravaggio (1573- 1610), Ecce Homo, 1605-1609 ?, Oil on canvas, 128 x 103 cm, Palazzo Bianco, Genoa
This ‘Ecce Homo’ in Genoa, attributed to Caravaggio, has been the subject of many scholarly debates. Initially regarded as a damaged copy, the painting was identified as a potential Caravaggio work in the mid-20th century. The painting had suffered significant degradation, with parts nearly rotten, leading to invasive relining and conversation-restoration, which may explain its uneven quality.
Believed to have been painted between 1605 and 1609, the painting displays numerous characteristic elements of Caravaggio’s technique, including ‘pentimenti’ (visible corrections), spontaneous brushwork, and incisions used for outlining and revising the composition during the painting process. These features strongly suggest that the work is not a copy.
Despite many supportive arguments, some scholars highlight issues such as poor preparation, the simplified depiction of Pilate, and the unusually large hands, suggesting that a follower may have executed the artwork. Artists such as Santi di Tito (1536–1603), Lionello Spada (1576–1622), and Bartolomeo Manfredi (1582–1622) have been proposed as possible authors, all of whom were known to imitate Caravaggio’s style at various points in their careers.
The recent discovery of another composition of ‘Ecce Homo’ in Madrid, confirmed as a late work by Caravaggio, has further complicated the debate. Although both paintings share the same subject, the Madrid version differs stylistically from the Genoa painting. This raises questions about whether both works could be by the same artist. However, given Caravaggio’s known tendency to break with his stylistic conventions, both versions may be his, though Caravaggio’s oeuvre is notoriously inconsistent.
Even if the Genoa painting is ultimately attributed to a follower, its historical and artistic significance probably remains. Regardless of authorship, the painting reflects Caravaggio’s profound influence on Baroque art and stands as a testament to his enduring legacy in shaping the visual language of the period.