Ecce Homo, Honore Daumier, ca 1853-59

When one looks upon Honore Daumier's works of art, they see blunt satires that critique social inequality. Gargantuan, A Literary Discussion in the Second Balcony, and Celui-là, on peut le mettre en liberté! il nest plus dangereux each portray the upperclass as monstrous villains punishing those inferior on the social pyramid. This anti-elitist theme carries through Daumier's lithographs, then Daumier paints Ecce Homo.

Dirty, savage figures glob together in the disgustingly packed foreground. The color pallet chosen by Daumier could be described in one word: brown. The Crucifixion symbolizes a new hope and redemption for mankind, but there is no redemption for Daumier. No aspect of this painting remotely hints towards salvation.

A feeling of guilt overwhelms the viewer. Even the light of Christ fades into the depths of smog and hopelessness. The lowly citizens  that overwhelm Christ's surroundings act as faceless demons clawing towards the main trial. The lack of individuality within the crowd dehumanizes them. Only one man looks back towards the viewer as if to ask "what have we done?"  Everyone else, without an identity, simply add to the writhing chaos that represents the physical manifestation of mortal sins. Daumier's lack of a bright color palette, clouded lighting, and the inhuman appearance of the figures compel the viewer to despise the lower class. This representation completely opposes what Daumier had done with his lithographs. Daumier could be reminding us that those in the upper class and government must remember who has true power. Though Pontius Pilot may have crucified Jesus Christ, it was the common people that forced Pilate's hand.