The cycle of dependencies is here tending to close as it happens with its successive semantic adaptations. Thus, "Ecce Homo," which follows and completes the skeptic's journey on the painfully misunderstood path, is the most imposing episode from a position of exhaustive expression, fundamentally opposed to all existing naturalistic embeddings.

As it is, of course, an experiment in escaping the priestly margins of the subject, which can only narcissistically and self-referentially yield from its reading. Indeed, whatever determined until then the artist's type of experiences, starting from the material nuances of stimuli from the surroundings, has been lost. And the nature of such a loss, such a deliberate abstention from the formulas of sympathy, and the draining of the already existing through the eye justifiably enter into that poetic of protest, the rhythm of which responds no longer to the pulsating frame of nature and its any provocative varieties, but to the inner Self and its jurisdiction to signify always and forever as "Being" according to the dictates of pure emotion.

“Ecce Homo,” therefore, or otherwise “he who was humbled for our sake as the man of sorrows” serves as the motto but also the meaning of the representation of the self behind the scenes of the monotonous uniformity of the times and the equally shallow anecdotal information. “Ecce Homo” in the sense of a post-modern apology for something that now eludes us and which we possess very little of the exact meaning of the words.

For with this painting, the once reliably predictable Corinth broke all norms of visual understanding and included in the coordinates of the image as guarantees of its truth the confused passion of an utterly psychic outpouring. The only explanation for this arrogantly "complicit" pose –a pose given in the style of "Jesus in the Praetorium"– comes from the sketch that preceded the final execution, with the borrowed from Paul Gerhard (1607-1670) initial verses of the Passion Song rightfully claiming the place of the signature: O head full of blood, wounds, pain, and scorn, I greet you!