Part of the Crowd at the Ecce Homo 

Peter Paul Reubens made this drawing, Part of the Crowd at the Ecce Homo, with pen and brown ink, and grey wash, with red and white chalk. The social and cultural context of the Ecce Homo story, where Pontius Pilate presents Christ to a hostile crowd, has always been politically loaded. Rubens was working in Flanders during a period of religious conflict. His paintings often served the Catholic Church's agenda, reinforcing its authority. Here, the artist makes use of visual codes to create meaning. Dramatic poses and expressive faces convey intense emotions. The crowd is not a single mass, but is formed of individuals: some hostile, some indifferent, and one woman even seems to be protecting her child from the unfolding drama. Was Rubens commenting on the fickleness of crowds, or the manipulation of public opinion? As historians, we might consult religious texts, political pamphlets, and the artist's biography to better understand. Ultimately, its meaning is contingent on the circumstances of its creation and reception.