Erik Larsen, The paintings of Anthony Van Dyck, (Freren, Germany: Luca Verlag, 1988).
","citation":"Erik Larsen, The paintings of Anthony Van Dyck, (Freren, Germany: Luca Verlag, 1988).
, Vol. 1: p. 429 (illus.), p. 466 (illus.); p. 429-430;\r\nVol. 2: p. 281-282, no. 699","date":1988,"id":4837,"uri":"https://search.worldcat.org/title/18251669"},{"boilertext":"Penelope Hunter ed., The Grand Gallery at the Metropolitan Museum of Art: sixth international exhibition, October 19, 1974-January 5, 1975, (New York: Metropolitan Museum of Art, 1974).","citation":"Penelope Hunter ed., The Grand Gallery at the Metropolitan Museum of Art: sixth international exhibition, October 19, 1974-January 5, 1975, (New York: Metropolitan Museum of Art, 1974)., p. 133, no. 127 (illus.); p. 215 (illus.)","date":1974,"id":4838,"uri":"https://search.worldcat.org/title/214576611"},{"boilertext":"Emil Schaeffer, Van Dyck: des Meisters Gemälde in 537 Abbildungen, (Stuttgart; Leipzig: Deutsche Verlags-Anstalt, 1909).","citation":"Emil Schaeffer, Van Dyck: des Meisters Gemälde in 537 Abbildungen, (Stuttgart; Leipzig: Deutsche Verlags-Anstalt, 1909)., p. 47 (illus.)","date":1919,"id":4839,"uri":"https://search.worldcat.org/title/1433325"},{"boilertext":"Gustav Glück, Van Dyck: des meisters gemälde in 571 abbildungen, (Stuttgart; Berlin: Deutsche Verlag-Anstalt, 1931).","citation":"Gustav Glück, Van Dyck: des meisters gemälde in 571 abbildungen, (Stuttgart; Berlin: Deutsche Verlag-Anstalt, 1931)., p. 215, p. 542 (illus.)","date":1931,"id":4840,"uri":"https://search.worldcat.org/title/512441"},{"boilertext":"Richard Verdi, Anthony Van Dyck: 1599-1641, Ecce Homo and the Mocking of Christ, (Birmingham, UK: Trustees of The Barber Institute of Fine Arts, University of Birmingham, 2002).","citation":"Richard Verdi, Anthony Van Dyck: 1599-1641, Ecce Homo and the Mocking of Christ, (Birmingham, UK: Trustees of The Barber Institute of Fine Arts, University of Birmingham, 2002)., p. 29-30, 35-37, 44-45, 51, 54; cat. no. 3; fig. 2 (color illus.)","date":2002,"id":4841,"uri":"https://search.worldcat.org/title/50915110"},{"boilertext":"Otto H. Förster, Kölner kunstsammler vom Mittelalter bis zum Ende des bürgerlichen Zeitalters, ein Beitrag zu den grundfragen der neueren Kunstgeschichte, (Berlin: W. de Gruyter & Co., 1931).","citation":"Otto H. Förster, Kölner kunstsammler vom Mittelalter bis zum Ende des bürgerlichen Zeitalters, ein Beitrag zu den grundfragen der neueren Kunstgeschichte, (Berlin: W. de Gruyter & Co., 1931)., p. 90-91","date":1931,"id":4842,"uri":"https://search.worldcat.org/title/16916035"},{"boilertext":"Christopher Brown, \"Letter from New Jersey: Van Dyck at Princeton\", Apollo 110, no. 210, (Aug. 1, 1979): p. 145.","citation":"Christopher Brown, \"Letter from New Jersey: Van Dyck at Princeton\", Apollo 110, no. 210, (Aug. 1, 1979): p. 145., p. 145","date":1979,"id":4843,"uri":"https://search.worldcat.org/title/888606216"},{"boilertext":"Susan Barnes, et. al., Van Dyck: a complete catalogue of the paintings, (New Haven: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2004).","citation":"Susan Barnes, et. al., Van Dyck: a complete catalogue of the paintings, (New Haven: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2004)., p. 259; pl. III 19","date":2004,"id":4844,"uri":"https://search.worldcat.org/title/52153918"},{"boilertext":"Carl Depauw and Ger Luijten, Anthony van Dyck as a printmaker, (Antwerp: Antwerpen Open; Amsterdam: Rijksmuseum Amsterdam; New York: Distributed by Rizzoli, 1999).","citation":"Carl Depauw and Ger Luijten, Anthony van Dyck as a printmaker, (Antwerp: Antwerpen Open; Amsterdam: Rijksmuseum Amsterdam; New York: Distributed by Rizzoli, 1999)., cat. no. 31, p. 234; fig. 1","date":1999,"id":4845,"uri":"https://search.worldcat.org/title/42519382"},{"boilertext":"Heinrich Rosenbaum, Der junge van Dyck (1615-21), (München: J.B. Grassi, 1928).","citation":"Heinrich Rosenbaum, Der junge van Dyck (1615-21), (München: J.B. Grassi, 1928)., p. 54, 70","date":1928,"id":4846,"uri":"https://search.worldcat.org/title/7604348"},{"boilertext":"Wilhelm von Bode, Die Meister der holländischen und flämischen Malerschulen, (Leipzig: VEB E. A. Seemann, 1958).","citation":"Wilhelm von Bode, Die Meister der holländischen und flämischen Malerschulen, (Leipzig: VEB E. A. Seemann, 1958)., no. 439","date":1958,"id":4847,"uri":"https://search.worldcat.org/title/15369130"},{"boilertext":"Christopher Brown, Van Dyck, (Ithaca, NY: Cornell University Press, 1983, c1982).","citation":"Christopher Brown, Van Dyck, (Ithaca, NY: Cornell University Press, 1983, c1982)., p. 121","date":1982,"id":4848,"uri":"https://search.worldcat.org/title/9418696"},{"boilertext":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013)","citation":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013), p. 196-197","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"},{"boilertext":"\"Acquisitions of the Art Museum 1975,\" Record of the Art Museum, Princeton University, 35, no. 1 (1976): p. 22-31.","citation":"\"Acquisitions of the Art Museum 1975,\" Record of the Art Museum, Princeton University, 35, no. 1 (1976): p. 22-31., p. 22 (illus.); p. 23","date":1976,"id":3366,"uri":"https://www.jstor.org/stable/3774452"},{"boilertext":"Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007)","citation":"Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007), p. 190 (illus.)","date":2007,"id":474,"uri":"https://search.worldcat.org/title/191864564"},{"boilertext":"Lawrence W. Nichols, \"'Man of Sorrows with a Chalice' by Hendrick Goltzius,\" Record of the Art Museum, Princeton University 49, no. 2 (1990): p. 30–38.","citation":"Lawrence W. Nichols, \"'Man of Sorrows with a Chalice' by Hendrick Goltzius,\" Record of the Art Museum, Princeton University 49, no. 2 (1990): p. 30–38., p. 33, fig. 4","date":1990,"id":3097,"uri":"https://www.jstor.org/stable/3774678"},{"boilertext":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986)","citation":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986), p. 85 (illus.)","date":1986,"id":1899,"uri":"https://search.worldcat.org/title/14244748"},{"boilertext":"Walter Liedtke, et. al., Flemish paintings in America: a survey of early Netherlandish and Flemish paintings in the public collections of North America, (Antwerp: Fonds Mercator, 1992).","citation":"Walter Liedtke, et. al., Flemish paintings in America: a survey of early Netherlandish and Flemish paintings in the public collections of North America, (Antwerp: Fonds Mercator, 1992)., p. 332, fig. 216","date":1992,"id":4376,"uri":"https://search.worldcat.org/title/26242894"}],"nowebuse":"False","periods":[],"department":"European Painting and Sculpture ","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"}],"daterange":"A.D. 1600-1700","dateend":1630,"depicted":[],"titles":[{"title":"The Mocking of Christ","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"y1975-12","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"\n\tVan Dyck distilled the complex narrative of Christ’s Passion into an interaction between two tormentors and Christ after he has been betrayed, arrested, brought before Roman judge Pontius Pilate, and crowned with thorns. His eyes are reddened, suggesting his pain and compassion for the sins of humankind.\n
\n\n\tThe depiction of one of Christ’s tormentors as a person of color adds an undertone of racial tension to the scene. As a port for international commerce, Antwerp was home to many people from beyond Europe’s borders. Both Van Dyck and his teacher Peter Paul Rubens made studies from life of African and Asian sitters that they later incorporated into narrative paintings like this one. This figure may have its origins in such a study.\n
","remarks":"EUR1_02-05_WLA-Day 1 Cataloguing "},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Jakob Johann Nepomuk Lyversberg, Cologne (until 1834; by descent to the Virnich family) [1]; Virnich family, Bonn (until 1971; sale, Lempertz, Cologne, May 26, 1971, lot 24); Xavier Scheidwimmer, Munich; Newhouse Galleries, New York (in 1975; sold to Princeton University Art Museum).
[1] Offered for sale in Lyversberg Sale, Aug., 16, 1837, in Cologne, no. 49, but sale cancelled
","remarks":"not vetted"},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nVan Dyck worked with Rubens in Antwerp and then visited Italy and France. He painted this moving devotional picture after his return to Antwerp. It is his response to the works of Titian, the sixteenth-century Venetian master who had painted several deeply felt evocations of Christ being presented by Pontius Pilate to the people in the scene called Ecce Homo (Behold the Man). Van Dyck created a very close parallel in his Ecce Homo (Barber Art Institute, University of Birmingham, England). The Princeton painting offers a more complex narrative, showing the torturers who mock the suffering Christ, crowning him with thorns and giving him a reed as a scepter; his noble countenance shines through the sordid surroundings. He lowers his gaze to evade the eyes of his tormentors, but the viewer who stands close to the painting sees his eyes filled with pain and compassion for errant and sinful humankind.\r\nThe Mocking of Christ was perhaps the Museum’s major old master painting created for a connoisseur’s gallery, yet it draws on traditions of Christian devotional art. Fifteenth-century artists, especially Rogier van der Weyden, had devised a formula for showing a close-up view of a holy figure or narrative scene, as here, in which the viewer could feel a sense of participation. The episode is distilled to include only the major actors. Christ is shown at a moment of inner torment, when he has been betrayed, arrested, brought before Pilate, and repudiated by the people. He wears the crown of thorns, and as his blood is about to be shed in the flagellation, he is mocked as \"King of the Jews.\" Van Dyck contrasts the man presenting the reed (an African, to make him more fierce) with the soldier behind him. This is surely the centurion, mentioned in the biblical account, who pierced Jesus’ side when he was on the cross and recognized him as the Son of God. He seems curious, as he leans forward for a better view; the lance in his hand was to become one of the major relics of Catholicism, preserved at St. Peter’s in Rome. \r\nChrist’s countenance is based on another holy relic at St. Peter’s: Saint Veronica’s veil, which was imprinted with Christ’s features when Veronica wiped his brow as he struggled under the weight of the cross on the road to Calvary. Like the lance, it is housed in one of the four piers of the dome at the crossing of St. Peter’s, an area of the basilica that underwent a campaign of renovation and enhancement by Gian Lorenzo Bernini beginning in 1629. The veil was widely known and revered thanks to reproductions, such as a print by Albrecht Dürer, so its appearance would have been instantly recognizable. \r\nThe references to two of the sacred relics situate Van Dyck’s image within the iconographic realm of the Counter-Reformation Church Triumphant. They point to Rome as the center of Catholicism and to the relics as tangible proof the church was founded by Christ and the apostles (the other relics are the fragment of the cross found in Jerusalem by Constantine’s mother, Saint Helena, and the head of the apostle Andrew). It was the genius of Van Dyck to weave these references into a narrative scene while retaining the focus on the suffering figure of Christ, his body as yet unmarked by the signs of the Passion, but about to undergo the physical agony that would redeem humankind. Paradoxically, this luxury possession, which belonged to a powerful grandee of the time, incorporates themes from devotional readings like The Imitation of Christ, enjoining the Christian to follow humbly in the footsteps of the Savior. ","remarks":null}],"datebegin":1628,"sortnumber":"1975 12y","published_date":"2026-02-11 10:26:43.044332","objectid":31872,"dimensions":"112 × 93 cm (44 1/8 × 36 5/8 in.)\r\nframe: 135.1 × 116.5 × 8.9 cm (53 3/16 × 45 7/8 × 3 1/2 in.)","on_view":true}