Ecce Homo 1597

Hendrick Goltzius made this print, Ecce Homo, likely in the late 16th century, by engraving lines into a metal plate. This was then inked and printed onto paper. The stark black and white of the print throws the drama of the scene into sharp relief. Consider the labor involved in producing this image: the artist meticulously carves each line, building tone and texture through the density and direction of marks. The process is a kind of translation; the biblical scene is rendered through Goltzius's skilled hand, mediated by tools and techniques. Printmaking, unlike painting or sculpture, allows for reproduction and distribution, democratizing access to imagery. In this way, Goltzius’s print participates in a burgeoning culture of mass media, catering to a market hungry for religious imagery. This print reminds us that even seemingly traditional art forms are deeply intertwined with the social, economic, and technological conditions of their time. It challenges us to see beyond the surface, recognizing the labor, skill, and broader context embedded within the artwork.