El Greco
| El Greco | |
 | |
| Knight with his hand on the chest (At the rediscovery of El Greco in the early twentieth century , this portrait has "unleashed a torrent of literature in Spain.") | |
| Birth name | Dominikos Theotokopoulos ( ) |
|---|---|
| Birth | 1541 (?) Candia (now Iraklion) , Crete ,  Republic of Venice |
| Deaths | 7 April 1614 Toledo ,  Spain |
| Activity (s) | Painter , sculptor and architect |
change  | |
Dominikos Theotokopoulos (in Greek , born in 1541 (?) in Crete in Candia (now Iraklion) , who died on 7 April 1614 , at Toledo ( Spain ), is a painter , sculptor and architect of the Greek School Spanish sixteenth century. El Greco is regarded as the founding painter of the Spanish School.
His paintings synthesis of Mannerism and Renaissance of Byzantine art is characterized by elongated forms and bright colors. If it was celebrated in his lifetime, he was forgotten for more than a century. Rediscovered in the mid-nineteenth century by the romantic French in particular, his painting wildly attracted numerous comments often at odds with historical fact. Its uniqueness has influenced many artists in the twentieth century, including Picasso , Jackson Pollock which are directly inspired by him.
Summary |
It seems that El Greco was trained in his hometown since he is receiving a master painter in 1566. It is then an icon painter in the Byzantine Orthodox tradition, where he is assisted by his brother Manuso ten years his senior. It has it different icons. It is possible that the artist is married or has received orders then . El Greco stayed from 1568 to 1570 in Venice , where he is described as "disciple" of Titian - although El Greco does not use the same technique - and then there is Rome from 1570 to 1572 in the service of Cardinal Alessandro Farnese.
In 1572 he was expelled from the Farnese palace, not whether one knows the real reason . 18 September 1572 , he enrolled at the Saint Luke Academy in Rome . There appear to remain in Italy until 1576 with his two assistants Lattanzio da Bonastre Lucignano and Francesco Preboste , he will support it in Spain.
On 2 July 1576 he received the order for Expolio The Cathedral of Toledo. It would seem that El Greco live in Madrid with the Spanish court. He controls the altarpiece of Santo Domingo el Antiguo in Toledo. In 1578 , his son Jorge Manuel was born in Toledo. El Greco students only, nothing is known of the child's mother, Jeronima de las Cuevas , El Greco did not marry. In 1579, Philip II of Spain commissioned The Martyrdom of Saint Maurice, for the palace of the Escorial , but the table does not please the king, neither the court nor the Inquisition !
In 1585 , El Greco moved to Toledo. The same year, the theoretician of Italian Mannerism , Federigo Zuccaro , visits him and offers him the life painters of Giorgio Vasari , a book that was preserved and annotated by the hand of El Greco who shared his thoughts on painting. On 18 March 1586 , he received the command of his famous Burial of Count Orgaz for the church of Santo Tome in Toledo. In 1587 , he participated in the decoration of the monumental city of Toledo for the arrival of Philip II and the court.
He lives in Toledo, in a house lent by the Marquis de Villem where it has "a royal apartment with a main kitchen, a reception room and a basement opening onto a patio with a first well (...) it made a lot of money but wasted on the train of his lavish house, up to hire musicians, he paid to accompany his meal, "according to the testimony of Martinez Jusepe . In 1604, El Greco and his family occupy twenty-four pieces of the house! As many trials, they are often the result of business processes that El Greco, for instance, asked his assistant Francisco Prebloste to conclude an agreement with the Genoese in Seville for his paintings are reproduced in embroidery. El Greco was a workshop that reproduces 3, 4 times each of his paintings.
Religious orders and private affluent, especially many portraits. In 1603 , his son Jorge Manuel married, it appears as assistant to his father or as an independent painter in the style invented by her father. The painter is also assisted by Luis Tristan. In 1604, the brother of El Greco, Manuso, died in Toledo where he is buried. In 1611, Francisco Pacheco , a painter and art theorist, visited him in Toledo. El Greco died April 7, 1614 in Toledo. He was buried religiously in the church of Santo Domingo el Antiguo.
Social Club in Toledo
The circle of the family of El Greco in Toledo , as we now know, that is to say Manuso older brother, a merchant, Jorge Manuel , son, Jeronima de las Cuevas , the mother of the child , which was a portrait hypothetical, and the various assistants to the workshop, enlisted a small group of friends and scholars Toledan with known names which El Greco painted the portraits.
El Greco frequent Luis de Castilla, Dean of the Cathedral of Toledo and the illegitimate son of Diego de Castilla, which has some of his paintings. Andrez Nunez de Madrid, pastor of the church of Santo Tome, is related to the family De La Fuente also owned paintings by El Greco El Greco and helped to obtain orders from customers, including a doctor, Martin Ramirez de Zayas Professor of Theology at the University of Toledo. Alonso de la Fuente Montalban is the treasurer of the Ceca of Toledo. The board of the city government, doctrinal orthodoxy of the paintings is the charge of Dr. Pedro Salazar de Mendoza, it seems, had the View of Toledo, but also of Chiroboga Oraa Jeronimo Rodriguez Vazquez de Arce including El Greco is a portrait (now in the Prado), Francisco Pantoja de Ayala, Domingo Perez Ribedaneira Juan Bravo de Acuna.
One of the best friends of El Greco is the tailor Diego de Avila. In her circle of friends are scholars and humanists , like Alvarez Gomez de Castro, Antonio de Covarrubias y Leiva, Hellenists and professors at the University of Toledo, the theologian Francisco de Pisa, Dr. Jeronimo de Cevallos, Mayor City, counsel Alonso Eugenio Narbona whose brother is the painter in contact with the poet Luis de Gngora and the court preacher Hortensio Felix Paravicino, collectors like Salazar de Mendoza, who owned sixty-five paintings by El Greco Dona Luisa Centeno who owned three paintings, Doctor Cristobal del Toro, a priest who had his portrait, and finally the great inquisitor Pedro Giron Toledan Tribunal of the Holy Office which had, in addition to Greco, the first still lifes of Velasquez. There is little noble among his friends, except Pedro Lasso de la Vega had seven stars. Dr. Gregorio de Angulo, a poet and close friend, is the guardian angel of the painter, lending him money on several occasions and is godfather to a son of Jorge Manuel.
Shortcomings and biographical legends
Many dubious information, or erroneous legendary run on El Greco.
There is no documentation concerning certain birth outside the acts and documents of Toledo who gave as born in Candia in Crete in 1541. The reference to the city of Fodele is due to a false document .
There is no record of baptism or conversion discovered to date: the assumptions are controversial historians, historians suggest Greek Orthodoxy, the English and Spanish offer Roman Catholicism ... the mysticism of El Greco, theme appeared in Cossio, is without merit.
The causes of departure from Venice is unknown to this day, as well as the causes of departure from Rome to Madrid and those of its plant in Toledo. They say he pleaded hard to get a higher price of his paintings and legend has it that he was a bad debtor who nevertheless led a frugal life.
Jeronima de las Cuevas, El Greco's companion, is mentioned in various documents, including the will of the painter. We know nothing of it, social origin, that it is mentioned in the will does not indicate that she was dead or alive at the time of writing the will. The award named after a woman portrait of El Greco is an English award of the nineteenth century. The existence of a daughter of El Greco is without historical foundation, pure invention of Maurice Barres.
The madness of El Greco, appeared with the romantic theme, especially among Theophile Gautier , is without historical foundation, as well as its astigmatism, which appeared in the early twentieth century by Maurice Barres. In 1955, a doctor in Toledo Gregorio Maranon claimed to explain the spirituality of the characters of El Greco by the madness of models used, which he said "had the same morphology and even excitement expressive", and to do it dressed in robes the "demented "Asylum of Toledo and photographed in poses inspired by the paintings, his book" El Greco y Toledo "a great stir in its time.
The museum "House of El Greco" in Toledo has been invented from scratch in the early twentieth century by the Spanish art dealer who sold Vega-Inclan but also the Greco Sorolla , and Velazquez , or Goya to large collections and American museums, and the Spanish art historian Manuel Cossio Bartiolom to satisfy the tourists. It was built in 1905 by Spanish architect Eludio Laredo who made a pastiche of the sixteenth century palace from the ruined walls of the palace of the Marquis de Villena, 2000 m2 that Vega-Inclan had bought for this purpose. To do this, the architect brought stones Marchena Palace of Seville or columns of Burgos. The museum was completed in 1925 by building a chapel in style Mudejar. Fully decorated with antiques, the museum recreates a probable inside, kitchen, workshop rooms, etc. ... in which El Greco might have lived, but where he never lived! As in 1909 1 thousand tourists visited the house in 1911 4,000, one thousand nine hundred and twelve 40000, 15000 per year during the Second World War, 80,000 in 1924 , 100,000 in 1925 which became the first private trading of tourism and culture. Vega-Inclan was also Minister of Tourism of Spain (Commissario Regio) from 1911 to 1928.
Works
Most of the paintings of El Greco are now in Spain , at Toledo and Madrid , and the United States and the Prado Museum in Madrid has thirty-four of his works including many "copies" due to his workshop worked with his son (then until the mid-seventeenth century).
After his death, his works fell into relative obscurity. El Greco's best-known nineteenth century by some of his students or followers. Only at the very end of this century that artists and critics interested in his very personal expression. The release forms, light and color inspired by El Greco Pablo Picasso and Jackson Pollock in their efforts to revolutionize the paint. The first major study devoted to Spanish El Greco is that of Manuel Bartolom Cossio, in 1908 , the first important book about him in French is El Greco of Toledo or the Secret of Maurice Barres , in 1910.
At the end of the twentieth century and early twenty-first century, a number of archives - especially contracts in Spain, birth in Greece - were stripped and analyzed, showing a new "face" of El Greco more accurate, which probably changed the reading of the paintings.
 Detail of an icon of El Greco, St. Luke Painting the Virgin. |  Jesus chasing the merchants from the temple, an example of the Italian way of El Greco |  The Death of Laocoon ( in 1604 - one thousand six hundred fourteen ) one of the works and ultimate Toledo El Greco, which consists of elements from the ancient Roman and Michelangelo. |
The early work
It follows the precepts of Byzantine art , through the realization of icons as flat pack and drawing and identified in the Greek style, purified and measured according to this Art where premium search of the "True Image" background Gold Theology Orthodox (Saint Luke painting the Virgin, Benaki Museum, Athens, Greece). Note, however, the move to Renaissance style icons (Adoration of the Magi, Benaki Museum, Athens , Greece) announcing the triptych of Modena (Estense Gallery, Modena, Italy) .
The Italian period
Italian period, the least documented of a historiographical point of view, which shows a Greco starts to easel painting on canvas in chiaroscuro (Venetian technique) to include implementing techniques of the icon, so that retained thereafter. In Rome , it is close theorists mannerist, Federigo Zuccaro (interior design theorist, the idea that one has inside oneself, the inner light) and Lomazzo which recommended to the human body "the elongation of forms ", the" serpentine "and" bouncing flame ". With religious paintings, Greco painted portraits (like the portrait of Giulio Clovio , Museum of Capodimonte, Naples ), but then lies in the distinction between the act of mannerist "portraying", which reproduces the reality that sees, and the act "to imitate", which reproduces so we should see (as in the child being a blow torch, Museum of Capodimonte, Naples), which is the responsibility of the painter.
The period Toledo
El Greco became friends in Rome with Luis de Castilla, son of Diego de Castilla, Dean of the Cathedral of Santa Maria de Toledo , which he places an order in July 1577 paint for the master altar in the sacristy of the cathedral, in the wake for the high altar of the church of Santo Domingo.
The compositions, mixing iconography and Byzantine Mannerist, are more or less direct quotations from ancient sculptures (eg the Laocoon), drawings of Michelangelo or engravings of Albrecht Drer and others. The paintings are painted on a background of dark soil using the technique of the bolus Byzantine and painted with a touch thin and regular faces have faded with a dry brush, the parties in the shadows are not painted, decorative parts are sketched with a simple wash. On the edge hidden by the frame, we find the range, sketched, tested. Greco probably realized a box which allowed the preparatory workshop repeated at different scales of the same subject. Portraits follow the rules of portraiture "glory" of the Mannerist aesthetic. His art has been compared Spain's philosophies conceptism , theological and mystic St. John of the Cross , St. Teresa of Avila and the poetry of Luis de Gngora
El Greco sought to connect the main or essential meaning of the subject through a process of simplification and characterization. At Toledo, he accomplished by abandoning the solemnity of the Renaissance and the observation of nature. Instead, it conforms to the mannerism of the sixteenth century and the style Byzantine in which images are conceived in the mind. Space is perceived in the imagination, the light is incandescent, stubborn and unreal, the colors are pure, bright and supernatural figures are elongated, vigorous and dematerialized. All seem illuminated and energized by spiritual intervention of divine grace to suggest the power of the soul.
Some art historians and doctors positivist in the early twentieth century suggests that El Greco was suffering from an eye problem, perhaps a malformation of the retina that affected his painting.
The German historian Carl Justi, in 1888 Diego Velazquez and his century, says that El Greco's painting represents:
"Mirror and pictorial summary of degeneration. Prisoner of his wild dreams, his brush seems to give us the secret of his extravagant incubi begotten overheated brain. In his feverish fingers he modeled characters who appear in rubber, twelve heads high, and after having brushed anyhow, without models or contours, or prospects, he painted in strange symmetrical rows; blue and sulfur were his favorite colors, the canvas having been previously coated with white and blackish purple. This is explained most likely by a disruption of the organ of sight; psychological causes are the desire to appear original, megalomania, the bravado, the miseries and insults passing inevitable for a foreigner. Such situations are not uncommon in the lives of artists, but they found fertile ground in his neurotic nature. "
Quotes that mark the misunderstanding of some historians of modern art with a system aesthetic, theological and poetic individual who does not work paradoxically to the identity of the artist (his signature), but on a singular image and sought to can be repeated by others (the workshop, copyists, etc. ...) while maintaining its iconic power . It was not until the 1990s, the aesthetic conditions and peculiarities of Toledo are discovered and analyzed .
The Trinity
Trinidad, representation of a central dogma of Christianity is to be the upper part of the altarpiece of the high altar of Santo Domingo church el Antiguo in Toledo, with seven paintings and five sculptures set in an architectural structure decorated with columns and pediments. El Greco was commissioned to paint the whole iconography of the altarpiece 11 September 1577. The composition of the altarpiece appears to have been approved by the Dean of the Cathedral of Santa Maria de Toledo , Diego de Castilla Luis Castilla father with whom El Greco had befriended in Rome.
God is portrayed as a venerable old man with long hair and a venerable beard and stands before him in his hands the dead Christ. He is dressed in white like the Pope, wearing a coat and a blue and gold tiara. Christ is painted in the downhill position of the cross with the scars of his ordeal. A dove, placed on a gold background as in the iconic tradition, represents the Holy Spirit and flies above. Angels and seraphim form a circle around the stage. The light seems to come from the body of Christ, God and the dove.
In 1611, Francisco Pacheco , art theorist, painter and theologian visited El Greco in Toledo his studio. In his treatise The Art of Painting, he says the Trinity reproducing the engraving of Drer and the encounter with El Greco, who shows him his models, maquettes and sculptures made of wax used his hand to the composition of the paintings, then original oil paintings of small dimensions of all his compositions. When asked what the most difficult to paint or draw, Greco would have said "use color," and added about Michelangelo, "certainly was a good man but who could not paint . "
Epitaph El Greco
The great Spanish poet Luis de Gngora , a contemporary of El Greco, publishes Tomb Domenico Greco, an excellent painter.
Elegantly shaped, O Passant
This bright porphyry stone hard
Deprives the world of the brush softer
Who gave the spirit and life at the wood table.
His name is worthy of a more powerful blast
Than the trumpets of Fame
This amplifies the field of marble.
Revere it and pass your way.
Here lies the Greek. He inherited Nature
Art. He studied Art. Iris color.
Phoebus lights and shadows of Morpheus.
Urn that, despite its hardness,
Drink the tears, and exude the perfumes.
Funeral bark of the tree of Sheba.
 Portrait of Don Fernando Nio de Guevara cardinal of the Inquisition, a portrait of the most surprising and most disturbing of El Greco |  The altarpiece is dispersed in various museums, the paintings are modern copies. The architecture of the altar is by El Greco and is reminiscent of the iconostasis of the Greek Orthodox churches. |  Plunder of Christ. Version 1577 of El Greco in Toledo Cathedral. There is a version of 1606 signed by Jorge Manuel Theotocopouli the Prado Museum and two copies of workshop |  | Second Italian version of Christ driving the merchants from the Temple by El Greco. It identifies the lower right of the portraits by Titian and Giulio Clovio |
 Third version this time toldanne, Greco focuses on the topic of Christ. |  The ultimate version by El Greco, composition Christ Driving the Merchants from the Temple. 106 x 104 cm. Church of San Gins in Madrid. |  The savior of the Museum of Edinburgh is considered the hand of El Greco, the dozens of other versions of his son or the Workshop. The resemblance of the figure of Christ with | img alt = "" src = "http://upload.wikimedia.org/wikipedia/commons/thumb/0/0d/Ac-christ.jpg/91px-Ac-christ.jpg" width = "91" height = " 120 "/> Pantocreator Byzantine Christ is troubling: the same gesture, same attitude, same expression. |
Sculptors
El Greco is the author of a risen Christ polychrome wood kept in the hospital and a Tavera Epimetheus and Pandora polychrome wood preserved in the Prado.
Exhibitions
- El Greco, The Metropolitan Museum of Art , New York , NY (2003) and National Gallery, London (February-May 2004)
- Pollock Draws El Greco, The Metropolitan Museum of Art , New York , NY (September 30, 2003 to January 11, 2004)
- Spanish Painting from El Greco to Picasso: Time, Truth, and History, The Solomon R. Guggenheim Museum , New York , NY (November 17, 2006 to March 28, 2007)
Bibliography
- El Greco, El Greco's artistic ideas were published in 1981 in Madrid,
- El Greco Artisticas Las Ideas del Greco. Commentarios Inedito a text message.
- Jose Manuel Pita Andrade in El Greco, Mondadori Editore, 1981
- Maurice Barres, El Greco or the Secret of Toledo, 1910
- Fernando Marias, El Greco, a painter biography extravagant, 1997
- Claude Esteban , The Death of Count Orgaz, Farrago, 2002
- Collective El Greco ', Prado Museum, 2003
- Letitia Gomez Ruiz, El Greco Catalogue Raisonne, Prado Museum, 2007
- Paella (?) Chimicos, Autopsy Greco , 2008
- Al, El Greco, Toledo 1900, Ministerio de Cultura Espana, 2009
- Dictionary Bnzit , critical and documentary dictionary of painters, sculptors, designers and writers of all ages and all countries, Vol. 6 editions Grnd, January 1999, 13 440 p. ( ISBN 2700030168 ), p. 402-404
Quotes
The following quotes are taken from handwritten notes from El Greco:
"It would not please me to see (painted) a beautiful woman, well proportioned, and whatever point of view, as extravagant as it is, not only because her beauty would be lost because of the increased size in accordance with the laws of vision, but it would not be beautiful, but in fact monstrous . "
"I respect what is said of Titian, to be the first light, but without having seen Jacopo (Bassano) in the large in terms of size, I admire his colors, there no better. Jacopo went away and so everybody wants to imitate . "
"Besides the array of Tintoretto, he has done for the Hospital of San Rocco is the best paint there in the world if we except the Titian, I say unto essential for many and diverse things as nudes with color not found anywhere else, if not the best works of Titian . "
Reviews of the work of El Greco
"Greco was a great painter, a disciple of Titian he imitated so well that his paintings were confused with those of his teacher (...) also noting that confusion between his paintings and those of Titian, he sought to change its way, with such an extravagance he rendered his painting deprecated and ridicule by a drawing of disjointed and disunited color . "
"Two men only after the Master (Velazquez), seduced me there: Greco, whose work is strange, very beautiful portraits, however (I was not happy at all about the Christ of Burgos) and Goya . "
"How many times have I talked about this poor Greco. Is it not true that his work seems to imprint some horrible sadness. Have you noticed the strangeness of his portraits? Nothing more funereal. He directs with two lines: black, white. The character is striking. Toledo has two paintings that I had reported: The death of a knight-Jesus among the soldiers. But can you believe now, to spread this nonsense, even by Gautier - Greco went mad, despairing of his resemblance to Titian. Surely, the French critics-always the anecdote. Is there an artist more personal than this, your staff, shape, design ?. "
"But in the" Baptism of Christ ", the" Last cross ", the" Resurrection "and" Pentecost "with four large tables populated apocalyptically large figures, El Greco is already pre-eminently the" accursed painter "has loved the same time culture that sought, discovered and extolled the damned poets. It is the fool who discovers Even if in sensible beings, the possessed that broke definitively with the rhythm and reason, the musician in a way that tormented and exalted the unconscious is reflected in attitudes tortured, in the twisted limbs, in the mysterious fringes of bright clouds in the color splendidly corrupt, and finally in the tongues of fire themselves of Pentecost (the work of the late period) where all the bodies of men, women and angels that hitherto were the forerunner . "
"The time has passed. Reflection has done its work. And now, El Greco and Cezanne seem just great painters, painters who knew many who did not know everything. The first, great, but not good advice, the second less brilliant, perhaps, but more healthy doctrine, both in regions so remote aesthetically good disciples of Venice, that is to say, perfect sensual. (Sensualist cuerpo entero) . "
"The inspiration that animated the Candioti whose works if stripped unite the beauties of Hellenism all the splendours of the Christian faith . "
"The light of day would affect my inner light . "
"The Cretans who could still shine in the depths of his memory close and red light which illuminate the icons in the Orthodox chapels, and Titian and Tintoretto had begun to paint in their Venice, where the bed of purple flowers and royal agony was already prepared, brought into this world the tragic fervor of ardent natures where all new forms of sensuality and violence come into leaf fire. Basically, this young man of 25 was an old ancient civilization full of neuroses, the wild aspects of the country where it happened and the accented character of the people among whom he would live subdued in the first shock. Toledo is made of granite. The landscape around her is terrible, a deadly dryness, peeling nipples full of shadows in the hollows, cashed a torrent roaring, great clouds towed. In the days of sun, wet with flame, she is livid as a corpse in the winter. Just here and there, the unit is green stone she touched the pale silver of olive trees, the spot light pink or blue with a painted wall. But no loam, no leaves rustling is a gaunt skeleton of living where nothing is moving, an absolute disaster when the soul has no other refuge than the desperate loneliness and the cruelty and misery in waiting death. With this granite crushed, this horror, this dark flame, El Greco painted his paintings. It is a frightening and beautiful paint, gray and black, lit with green tints. In black clothes there are only two gray spots, strawberries, where the headlines coming out of skulls and hands pale. Soldiers or priests, the last effort of the Catholic tragedy. They are already grieving. They bury a warrior in the iron and no longer look at the sky. Their faces were gray aridity of the stone. The bones that pierce the skin dried, sunken eyeballs in orbit cellar seem seized with forceps and twisted metal. everything that defines the skull and face is continued on hard surfaces, as if the blood swelled over the already withered flesh. Looks like the center of being nervous start ties that take him to the skin. Only the eye that burns set in the ardent desire to join the forces of death to sterilize life. The mind wants to break away, it's useless. What is beautiful in the divine form is always borrowed knowledge he possessed of landforms, and it always returns. At the end of his life he painted as a hallucination, a sort of ecstatic nightmare where concern for spiritual expression pursued alone. It increasingly distorted, lengthened the body, tapering hands, digging masks. Its blue, its vinous red, greens seemed a lit pale reflection that the tomb next glimpse of hell and eternal bliss sent him. He died before realizing the form of a dream that haunted, perhaps by what he himself was too old and could not find his bones hardened his irritated nerves and weak that he had the power to search the love aspects of the world, control and support of his visions. "
References
- El Greco sign all his life his works with his full name in Greek characters. The Byzantine works of El Greco Domenico Cheira are signed, that is to say the hand of Dominko. The later works Domeniko Theotocopoulos epoiei Domeniko Theotocoupoulos be painted in Italy which he adds Kres "the Cretan". A number of Venetian documents show the presence of Manussos and a certain "Menegin Theotocopoulo" in Venice in 1567. On June 6, 1566 it reported a master-painter Menegos (Venetian dialect form of Dominic!) In Crete. Is it still the same person, the opinions of historians differ. In any case in 1576, a Domeniko Theotocopoulos gets government approval of the Venetian island of Crete to auction a painting depicting the Passion of Christ for 70/80 ducats!
- In the French tradition, it is called El Greco
- The Crete was then a protectorate of the Republic of Venice and was called the Kingdom of Candia.
- There are some biographies of the city Fodele in Crete. This identification is due to a forgery of the seventeenth century published in 1932 by the Greek journalist Kyrous Achilleus. see Fernando Marias, y veras of false: Reconstructionist las de el griego de Toledo, El Greco cat, TOLEDO, 1900, Miniserio de Cultura, 2009, Spain. p100
- Jackson Pollock did many drawings and studies by El Greco, Picasso was directly inspired by some compositions
- In Greek Orthodox tradition, the icon painters take orders and can be married.
- According to G. Mancini in his Considerazioni sulla pittura 1675, El Greco's proposal to destroy or repaint the frescoes of the Sistine Chapel which provoked the wrath of Cardinal Farnese Alexandro and his court
- Greco is registered as a painter of miniatures, which puzzled the art historians
- See Fray Jos de Sigenza
- see Jusepe Martinez, Discursos practicable del arte de la pintura nobilisimo
- Expression of Brother Hortensio Felix Paravicino in his eulogy at El Greco
- See note 2
- The attribution of the triptych of Modena at El Greco is discussed by art historians, but the processes and business practices of El Greco makes this controversy difficult to conclude
- This is the first written record we have of living Spanish El Greco.
- Daniel Ternois, El Greco and France in the thirties. The 1937 exhibition in De metaphysics in the physical history of contemporary art, Publications de la Sorbonne, Paris 1995. p.127
- See the poetry of Gngora and the Dedication of Fray Hortensio Felix poem of Paravicino to El Greco. Refer to the study group, Francisco Calvo Serraller, Barcelona 2003.
- Today at the Metropolitan Museum in New York.
- As Maurice Barres in The secret of Toledo, "a Spanish ophthalmologist Dr. German Britens argued that it was (...) (...) astimagmatisme Proof: Take an optician eyeglass lenses prescribed by ophthalmologists (...) The painting by El Greco once you appear normal, natural, totally devoid of these faults deforming proportions "in Greco and the secret of Toledo also the longer forms is already a feature of Spanish painters of the sixteenth century Prior to El Greco, especially with Luis Morales.
- See Richard L. Kagan in El Greco of Toledo, Madrid 1982, whose study of Jonathan Brown in Greco and the Counter-Reformation painter Francisco Pacheco, who tells his misunderstanding vis--vis El Greco when he explains that painting is not art!
- In fact from the 1980s will be undertaken by the Prado Museum in Madrid, the Toledo Museum of USA, a systematic study of the work of El Greco, leading publications and conferences. It was during these studies that will be discovered and analyzed many unpublished documents, handwritten notes, contracts, ... In 2000 for example, that will be issued a letter of apology dated from 1572 El Greco to Cardinal Alessandro Farnese .....
- Quote from El Greco by Pacheco: The Art of Painting was published in 1649. The opposition of El Greco Michelangelo is fairly well documented and goes back to its Roman period, see X-Salas and F. Marias, El Greco y el Arte de tiempo's, las notas Vasri of Greco, Madrid 1992. One can for example read in his notes: "Michelangelo, never able to paint or hair or skin tones imitate, lack of color." That is to say, following the colors of Titian. They confirm the story told by Giuio Manzini in his Considerations on painting - reissued in 1956 by A. Marruchi, that's the proposal from El Greco to destroy the fresco of the Last Judgement of Michelangelo, which was the reason for his banishment Roman.
- El Greco's handwritten note in the margin of his copy of the Treaty of Architecture of Vitruvius.
- a , b and c El Greco's handwritten note in the margin of his copy of Life of Painters of Vasari.
- in Acislo Antonio Palomino de Castro y Velasco, El Museo y escala ptica Pictorico, Volume 3 El espaol Parnaso Pintoresco laureado (1715-1724) Madrid
- in letter from Manet to Zacharie Astruc 17 September 1865.
- in Letter of Zacharie Astruc to Manet September 20, 1865.
- a and b in Eugenio d'Ors in Three Hours in the Prado Museum in 1928.
- in Guillaume Apollinaire , Chroniques d'art, 16 April 1912
- in El Greco's response to his friend Giulio Clovio surprised to find in the darkness of his studio, quoted by Andre Malraux in his writing: Voices of Silence. This quote is from a literary forgery, a fake letter to Cardinal Farnese attributed to Giulio Clovio published in 1921 by Hugo Kehrer.
- Elie Faure , "Spain", in Art History - Modern Art)
Loading ...