Jesus Mocked by the Soldiers

CC0 Public Domain Designation

1865

Édouard Manet (French, 1832–1883)

Throughout his career Édouard Manet managed to shock and confound the public with his bold technique and unorthodox approach to subject matter. The most startling feature of this painting is that he painted it at all. Following the advent of the Realist movement, which grounded art in the here and now, avant-garde artists in France did not pursue religious themes. While Manet was primarily a painter of secular subjects, he was also interested in art history, which led him on at least two occasions to depict the biblical narratives that had compelled artists for many centuries. This work might also have been inspired by the popular 1863 biography Vie de Jésus (Life of Jesus) by the French philosopher and historian Joseph-Ernest Renan, a controversial work that emphasized Christ’s humanity.

Here, Manet depicted Jesus at the end of his life, beaten and awaiting cruciﬁxion. The Roman soldiers force him to don a crown of thorns and proffer a reed “scepter” and purple cloak, all intended to ridicule him as “King of the Jews,” a title bestowed ironically by his tormenters. Manet transformed this sacred narrative into a gritty drama that marries realism with theatricality. He presented Jesus frontally, emphasizing his vulnerability and human physicality. Jesus seems exhausted and limp. The canvas’s visible brushstrokes and color palette create a sense of materiality that further evokes a palpable, unidealized Christ, who notably lacks a halo. Is he a holy being emanating divine light or a real man posing under a studio spotlight? The painting caused a scandal in its own time for precisely this ambiguity.

Status: On View, Gallery 222
Department: Painting and Sculpture of Europe

Artist: Édouard Manet
Title: Jesus Mocked by the Soldiers
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1865
Medium: Oil on canvas
Inscriptions: Inscribed lower right: Manet
Dimensions: 190.8 × 148.3 cm (74 7/8 × 58 3/8 in.); Framed: 240.1 × 196.9 cm (94 1/2 × 77 1/2 in.)
Credit Line: Gift of James Deering
Reference Number: 1925.703
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/16499/manifest.json

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F. Jahyer, Salon de 1865 (Paris, 1865), p. 23.
G. Privat, Place aux Jeunes, causeries critiques sur le Salon de 1865 (Paris, 1865), p. 42.
Théophile Gautier, “Salon de 1865,” La Monde Illustré (May 6, 1865), p. 283.
L. Leroy, Le Charivari (May 11, 1865).
A. J. du Pays, “Salon de 1865,” L’Illustration (May 11, 1865), p. 298.
Junior, “Courrier de Paris,” Le Monde Illustré (May 13, 1865), p. 275.
E. Chesnau, “Le Salon de 1865m” Le Constitutionnel (May 16, 1865).
Charles Clément, “Exposition de 1865,” Le Journal des Débats (May 18, 1865).
Dubose de Pesquidoux, “Le Salon de 1865,” L’Union (May 24, 1865).
L. de Montifaut, “Salon de 1865,” L’Ariste (May 28, 1865), p. 24.
P. de Saint Victor, “le Salon de 1865,” La Presse (May 28, 1865).
F. Deriege, “Salon de 1865,” La Siècle (June 2, 1865).
Théophile Gautier, “Le Salon de 1865,” La Moniteur universal (June 24, 1865).
Junius, “M. Édouard Manet,” Le Gaulois (April 25, 1876).
James Jackson Jarves, Experiences and Observations of an American Amateur in Europe (Boston, 1879), p. 269.
E. Bazire, Manet (Paris, 1884), p. 44.
Théodore Duret, Histoire d’Édouard Manet et de son oeuvre (Paris, 1902), pp. 27, 41, 206, no. 57.
Hugo von Tschudi, Édouard Manet (Berlin, 1902), p. 19.
Camille Mauclair, L’Impressionnisme, son histoire, son esthétique, ses mâitres (Paris, 1904), pp. 52, 62.
P. Gsell, “Le Classicisme de Manet,” Art et les Artistes (November 2, 1905), pl. opp. p. 43.
“French Impressionism at the Albright Gallery,” Academy Notes 3, 7 (December 1907), p. 114-5 (ill.).
Théodore Duret, Manet and the French Impressionists (London, 1910), p. 218, no. 57.
G. J. Wolff, “Édouard Manet,” Die Kunst, January 1, 1911, p. 150 (ill.).
Julius Meier-Graefe, Edouard Manet (Munich, 1912), pp. 71, 73, 318, no. 17, fig. 40.
Antonin Proust, “Erinnerungen an Édouard Manet,” Kunst und Künstler (December 1912), p. 137 (ill.).
Antonin Proust, Edouard Manet: Souvenirs (Paris, 1913), pp. 47, 52, no. 6.
E. Waldman, Edouard Manet (Berlin, 1923), p. 37.
Jacques Emile Blanche, Manet (Paris, 1924), p. 32.
The Art Institute of Chicago, Annual Report (Chicago, 1925), p. 32 (ill.).
Adolphe Tarbarant, “Manet: pPintre religieux,” Bulletin de la Vie Artistique (1923), pp. 249–250.
Etienne Moreau-Nélaton, Manet raconté par lui-même vol. 1 (Paris, 1926), pp. 67–68, fig. 75.
Théodore Duret, Histoire de Édouard Manet et de son oeuvre vol. 1 (Paris, 1926), pp. 67, 68, fig. 75.
The Art Institute of Chicago, Bulletin of The Art Institute of Chicago 20, 1926, pp. 1, 8–9 (ill.).
Art News, 24 (January 1, 1926), p. 6 (ill.).
Paul Jamot, “Manet and the Olympia,” Burlington Magazine 50 (1927), p. 28.
Lionello Venturi, “Manet,” L’Art 32 (July–August 1929), p. 154.
A. Tabarant, Manet: Histoire catalographique (Paris, 1931), p. 141, no. 101.
R[eginald] H[oward] Wilenski, French Painting (Boston, 1931), pp. 245, pl. 96, 249, 252.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, (Chicago, 1932), p. 57 (ill.).
Paul Jamot and George Wildenstein, Manet (Paris, 1932), vol. 1, pp. 22, 80, 90, 107, no. 107, 130, no. 113; vol. 2, p. 6, fig. 21.
Daniel Catton Rich, “The Spanish Background for Manet’s Early Work,” Parnassuis 4 (February 1932), p. 4.
George Bazin, “Manet et la Tradition,” L’Amour de l’Art, [May] (1932), p. 155.
A. M. Franfurter, “Art in the Century of Progress,” The Arts 20 (May 1933), p. 33 (ill.).
Daniel Catton Rich, “L’Exposition d’Art français à l’Art Institute de Chicago,” Formes 33 (1933), p. 382.
E. Lambert, “Manet et l’Espagne,” Gazette des Beaux-Arts [June] (1933), p. 370.
Hans Tietze, Meisterwerke europäischer Malerei in Amerika (Vienna, 1935), no. 283 (ill.).
Robert Rey, Manet (New York, 1938), p. 14.
Théodore Duret, Manet, trans. J. E. Crawford Flitch (New York, 1941), pp. 86, 87, 379, ill. opp. p. 90.
Gotthard Jedlicka, Edouard Manet (Erlenbach-Zurich, 1941), pp. 86, 87, 379, ill. opp. p. 90.
A. Tabarant, La Vie artistique au temps de Baudelaire (Paris, 1942), pp. 421, 488.
The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1945), p. 36.
John Rewald, History of Impressionism (New York, 1946), pp. 121, 123, 237, no. 39 (reprinted in 1961).
Hans Huth, “Impressionism Comes to America,” Gazette des Beaux-Arts, 29 (1946), p. 242, 236 (ill.).
A. Tabarant, Manet et ses oeuvres (Paris, 1947), pp. 104–106, 113, 136, 536, ill. 105.
Michel Florisoone, Manet (Monaco, 1947), p. xvi and pl. 29.
N. G. Sandblad, Manet, Three Studies in Artistic Conception (Lund, 1954), pp. 150, 157.
E. Wind, “Traditional Religion and Modern Art,” Art News 52 (1953), pp. 19–20.
George Heard Hamilton, Manet and His Critics (New Haven, 1954), pp. 34, 65–66, 70, 78, 80–90, 96, 265, pl. 13.
The Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), p. 34.
John Richardson, Édouard Manet: Paintings and Drawings (London, 1958), pp. 24, 121.
A. de Leiris, “Manet’s Christ Scourged by Soldiers,” The Art Bulletin 41, 2 (June 1959), pp. 198–201 (ill.).
F. J. W. Hemming and R. J. Niess, E. Zola, Salons (Geneva and Paris, 1959), p. 97.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 270.
John Rewald, A History of Impressionism (New York, 1961), pp. 121, 123, 137, n. 39.
Theodore Reff, “The Meaning of Manet’s Olympia,” Gazette des Beaux-Arts ser. 6, 63 (February 1964), pp. 115–116.
John FitzMaurice Mills, “Art Forum,” The Irish Times (December 22, 1965), p. 6 (ill.).
George Head Hamiliton, “Is Manet Still Modern,” Art News Annual 31 (1966), p. 119 (ill.), 159.
The Art Institute of Chicago, Calendar 61 (January 1967), p. 2.
Phoebe Pool and Sandra Orienti, The Complete Paitnings of Manet (New York, 1967), pp. 83, 94-95, fig. 89A.
Meret Bodelsen, “Early Impressionist Sales,” Burlington Magazine (June 1968), p. 341, no. 17.
Michael Fried, “’Manet’s Sources’: A critical Evaluation,” Artforum 8, 1 (September 1969), p. 44–45 (ill.), 48 n. 23.
John Maxon, The Art Institute of Chicago (London, 1970), pp. 75, 76 (ill.), 283.
Denis Rouart and S. Orienti, Tout l’oeuvre peint de Manet (Paris, 1970), p. 88a.
George Bazin, Édouard Manet (Milan, 1972), pp. 8, 29, 88 (ill.).
George Mauner, Manet: Peintre-Philosophe: A Study of the Painter’s Themes (University Park, 1975), p. 140.
Denis Rouart and Daniel Wildenstein, Édouard Manet: Catalogue raisonné (Paris, 1975), v. 1, pp. 102–103, no. 102, ill., p. 104.
Theodore Reff, Manet: Olympia (New York, 1977), pp. 20, 45–47, ill.
Anne Coffin Hanson, Manet and the Modern Tradition (New Haven and London, 1977), pp. 46, 47, 108, 109, 110, pl. 76.
The Art Institute of Chicago, 100 Masterpieces (Chicago, 1978), p. 86 (ill), 97.
Gisela Hopp, “Édouard Manet: Christus von den Soldaten Verhöhnt (1865),” in Zusammenhang: Festschrift für Marielene Putscher, ed. by Otto Baur and Otto Glandien (Köln, 1984), pp. 713–733, pl. 1.
Kathleen Adler, Manet (Oxford, 1986), pp. 62-68, fig. 49.
Richard R. Brettell, French Salon Artists, 1800–1900 (Chicago, 1987), pp. 58 (detail ill.), 59–60, 61 (ill.), 119.
The Art Institute of Chicago, Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 52 (ill.).
Mikael Wivel, Juliet Wilson-Bareau and Hanne Finsen, Manet, exh. cat. (Copenhagen, Ordrupgaard, 1989), p. 84, fig. a.
Richard Mühleberger, The Bible in Art: The New Testament (New York, 1990), pp. 123, 125 (ill.), 173 (ill.), 176.
Henri Loyrette and Gary Tinterow, Impressionnisme: Les origins 1895-1869, exh. cat. (Paris, Galeries nationales du Grand Palais and New York, Metropolitan Museum of Art, 1995), pp. 51, fig. 74, 112, 312, 401.
Alex Worth, “The Lost Photographs of Edouard Manet,” Art in America (January 2007), p. 59 (ill.).
Mary Mathews Gedo, “The Perils of Young Love: Monet’s Magnificent Failure,” Monet and His Muse: Camille Monet in the Artists Life, Chicago: The University of Chicago Press, 2010. p. 27.
Gabriella Belli, Guy Cogeval and Stéphane Guégan, Manet: Ritorno a Venezia (Venice: SKIRA, 2013), 118, 120–21 cat. 30.
“Manet, Cat. 5, Jesus Mocked by the Soldiers,” in Manet Paintings and Works on Paper at the Art Institute of Chicago (Art Institute of Chicago, 2017), https://publications.artic.edu/manet/reader/manetart/section/140020.
James Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 61 (ill.).

Paris, Salon, 1865, cat. 1427
Paris, Pavillon de l’Alma, Manet Exposition Particuliére, 1867, cat. 6.
New York, Durand-Ruel Galleries, Exposition of Paintings by Edouard Manet, March 1895, cat. 9.
New York, Albright Art Gallery, French Impressionists Exhibition, 1907.
The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, 1933, cat. 327, pl. 56.
The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, 1934, cat. 247.
Philadelphia Museum of Art, Manet and Renoir, November 1933–January 1934.
Baltimore Museum of Art, A Survey of French Painting, November 23, 1934–January 1, 1935, cat. 23 (ill.).
Philadelphia Museum of Art, Manet, November 3-December 11, 1966, cat. 71 (ill.), traveled to The Art Institute of Chicago, January 13-Februry 19, 1967.
Paris, Galeries nationales du Grand Palais, Manet: 1832–1883, April 22–August 1, 1983, cat. 87 (ill.); traveled to New York, Metropolitan Museum of Art, September 10–November 27, 1983.
Tokyo, Isetan Museum of Art, Edouard Manet, June 26-July 29, 1986, cat. 7 (ill.); traveled to Fukuoka Art Museum, August 2-31, 1986 and Osaka Municipal Museum of Art, September 9-October 12, 1986.
Madrid, Museo National del Prado, Manet en el Prado, October 14, 2003-January 11, 2004, cat. 66 (ill.).
Venice, Palazzo Ducale, Manet (1832–1883) and Venice, April 24 – August 18, 2013, cat. 30

Estate of the artist, Paris, 1883 [the inventory lists the painting as no. 17 as Le Christ insulté par les soldats]; by descent to Léon Leenhoff, Paris, 1883; sold to Boussod et Valadon, Paris, May 31, 1893, for 3,500 francs [this and the following per dealer’s stock book 13, no. 23074, as Les Christ insulté par les Soldats, published online at http://www.getty.edu/research/tools/digital_collections/goupil_cie/books.html]; sold to Jean-Baptiste Faure (d. 1914), Paris, April 14, 1894, for 8,000 francs; partially sold to Durand-Ruel, Paris, April 17, 1894 [per Durand-Ruel, Paris, stock book (no. 3006); copy of archival reference in curatorial object file]; partially transferred from Durand-Ruel, Paris, to Durand-Ruel, New York, October 23, 1911 [this and the following per Durand-Ruel, New York, stock books (no. 3461, as Ecce homo, le Christ insulté par les soldats, 1865); copy of archival reference in curatorial object file]; sold to James Deering (d. 1925), Chicago, October 23, 1911, for $44,000; bequeathed to the Art Institute of Chicago, 1925.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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