As a Catholic painter one of my main motifs has been the Ecce Homo. I am always in the lookout for unknown ''ecce homo'' paintings. Two of them have been specially significant not only in my art but in my spiritual life. One of them is this one. It was painted in the 1800's. Pretty modern in its sketch-like characteristics yet ''incarnational'' enough to be inside a Church.
Personally I believe religious art for Sanctuaries should reflect the Incarnation and therefore cannot be overly abstract. The theology behind the use of images in religious worship comes straight from the Incarnation. The Word was made flesh. That is the reason, in fact the only reason, of why we can now depict God in painting.
I am not saying that abstract art does not have a place in the ''religious art'' gallery. My own religious art tends to be mainly abstract. It does have a place...but that place is NOT inside a Church.I would never accept for one of my abstract paintings or one of my ''least realistic'' paintings to be put on a Sanctuary. It doesn't reflect the Incarnation as well as a ''realistic'' painting.
In this Ecce Homo, the wounds in the chest of Christ are powerful and painful to look at. The ropes around his neck break the straight line monotony of the background and provide fluidity and variety to the composition. One of the most touching characteristics is the red robe around the broken body of Christ. His Sacred Heart almost seems to behind the cloak. This Christ is real. You can almost see him breathing heavily and slowly. Its a real man. A real God.
But the most important characteristic of this painting is that it was painted in prayer, meditation and redemptive suffering by a great Polish Saint. Saint Brother Albert, whose baptismal name was Albert Chmielowski. There are many religious paintings, but very few of them have been created by canonized Saints. That is what makes this one so special. The heart in which this painting was conceived was a heart full of the presence of the Trinity.
Born to a wealthy aristocratic family, Albert Chmielwoski initially studied agriculture in order to manage the family estate. Involved in politics from his youth, he lost a leg at age 17 when injured while fighting in an insurrection. In Krakow, he became a popular, well-known and well-liked artist. Through his religious art he developed a growing relationship with Christ. Also his interest in politics and art made him keenly aware of the human misery around him. A gentle and compassionate soul, he felt called to help those in need.
He entered the Jesuits but because of an intense spiritual crisis he had to leave. His peace was restored when listening to a sermon on the Mercy and Love of God.
After years of reflection, he understood God was calling him to service and to Himself. He became a Franciscan Tertiary, taking the name Albert. He abandoned painting, and began a life of working with and for the poorest of Krakow. In1887 he founded the Brothers of the Third Order of Saint Francis, Servants of the Poor, known as the Albertines (named for him) or the Gray Brothers (after their rough gray habits). In 1891 he founded the women's congregation of the Order (Gray Sisters). The Albertines organized food and shelter for the poor and homeless.
Albert preached that the great calamity of our time was that so many refused to see and voluntarily relieve the suffering of their miserable brothers and sisters. The "haves" lived away from the "have-nots" in order to ignore them and leave their care to others. In 1949 a young polish priest wrote the play ''Brother of Our God'' about the life of Brother Albert. Years later, that same polish priest, now known as Pope John Paul II canonized him.
Brother Albert discovered the beauty of the Incarnation, explored it, rejoiced in it and shared it through his art, but found the final expression of his Love for the Incarnated Word in the service of other. No longer did he find Christ in pigments and canvas, for he discovered the breathing Christ in the poor.
