Mixed media on paper (65 x 50 cm)

c. 1950

Private collection | Photography ©António coelho

Almada says that, since his first visits to the National Museum of Ancient Art, he has been marvelled by the painting Ecce Homo (c.1570, no attributed author). The work will serve as a reference for hundreds of geometrical studies, become the central element of the altarpiece Almada imagines for the Batalha Monastery, and is integrated into his theory on the existence of a universal artistic Canon.

This drawing is part of a set in which Almada explores multiple different geometric tracings derived from the composition of the sixteenth-century painting.