El greco biography obras principales

The extensive archival research conducted since the early s by scholars, such as Nikolaos Panayotakis, Pandelis Prevelakis and Maria Constantoudaki, indicates strongly that El Greco's family and ancestors were Greek Orthodox. One of his uncles was an Orthodox priest, and his name is not mentioned in the Catholic archival baptismal records on Crete.

Important for his early biography, El Greco, still in Crete, painted his Dormition of the Virgin near the end of his Cretan period, probably before It was natural for the young El Greco to pursue his el greco biography obras principales in Venice, Crete having been a possession of the Republic of Venice since He lived in Venice until and, according to a letter written by his much older friend, the greatest miniaturist of the age, Giulio Cloviowas a "disciple" of Titianwho was by then in his eighties but still vigorous.

This may mean he worked in Titian's large studio, or not. Clovio characterized El Greco as "a rare talent in painting". InEl Greco moved to Rome, where he executed a series of works strongly marked by his Venetian apprenticeship. There he came into contact with the intellectual elite of the city, including the Roman scholar Fulvio Orsiniwhose collection would later include seven paintings by the artist View of Mt.

Sinai and a portrait of Clovio are among them. Unlike other Cretan artists who had moved to Venice, El Greco substantially altered his style and sought to distinguish himself by inventing new and unusual interpretations of traditional religious subject matter. Clovio reports visiting El Greco on a summer's day while the artist was still in Rome.

El Greco was sitting in a darkened room, because he found the darkness more conducive to thought than the light of the day, which disturbed his "inner light". By the time El Greco arrived in Rome, Michelangelo and Raphael were dead, but their example continued to be paramount, and somewhat overwhelming for young painters. El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style.

As his own commentaries indicate, El Greco viewed Titian, Michelangelo and Raphael as models to emulate. Because of his unconventional artistic beliefs such as his dismissal of Michelangelo's technique and personality, El Greco soon acquired enemies in Rome. Architect and writer Pirro Ligorio called him a "foolish foreigner", and newly discovered archival material reveals a skirmish with Farnese, who obliged the young artist to leave his palace.

A few months later, on 18 Septemberhe paid his dues to the Guild of Saint Luke in Rome as a miniature painter. InEl Greco migrated to Madrid and then to Toledo, where he produced his mature works. He arrived in Toledo by Julyand signed contracts for a group of paintings that was to adorn the church of Santo Domingo el Antiguo in Toledo and for El Espolio.

These works would establish the painter's reputation in Toledo. El Greco did not plan to settle permanently in Toledo, since his final aim was to win the favor of Philip and make his mark in his court. However, the king did not like these works and placed the St Maurice altarpiece in the chapter-house rather than the intended chapel. He gave no further commissions to El Greco.

Some scholars have suggested that Philip did not like the inclusion of living persons in a religious scene; [ 48 ] some others that El Greco's works violated a basic rule of the Counter-Reformationnamely that in the image the content was paramount rather than the style. Philip's next experiment, with Federico Zuccari was even less successful.

Lacking the favor of the king, El Greco was obliged to remain in Toledo, where he had been received in as a great painter. The decade to was a period of intense activity for El Greco. During these years he received several major commissions, and his workshop created pictorial and sculptural ensembles for a variety of religious institutions.

Between and El Greco was involved in a protracted legal dispute with the authorities of the Hospital of Charity at Illescas concerning payment for his work, which included painting, sculpture and architecture; [ h ] this and other legal disputes contributed to the economic difficulties he experienced towards the end of his life. El Greco made Toledo his home.

Surviving contracts mention him as the tenant from onwards of a complex consisting of three apartments and twenty-four rooms which belonged to the Marquis de Villena. He lived in considerable style, sometimes employing musicians to play whilst he dined. She was the mother of his only son, Jorge Manuelborn inwho also became a painter, assisted his father, and continued to repeat his compositions for many years after he inherited the studio.

During the course of the execution of a commission for the Hospital de TaveraEl Greco fell seriously ill, and died a month later, on 7 April A few days earlier, on 31 March, he had directed that his son should have the power to make his will. Two Greeks, friends of the painter, witnessed this last will and testament El Greco never lost touch with his Greek origins.

The primacy of imagination and intuition over the subjective character of creation was a fundamental principle of El Greco's style. He believed that grace is the supreme quest of art, but the painter achieves grace only by managing to solve the most complex problems with ease. El Greco regarded color as the most important and the most ungovernable element of painting, and declared that color had primacy over form.

In his mature works El Greco demonstrated a characteristic tendency to dramatize rather than to describe. According to Pacheco, El Greco's perturbed, violent and at times seemingly careless-in-execution art was due to a studied effort to acquire a freedom of style. A significant innovation of El Greco's mature works is the interweaving between form and space; a reciprocal relationship is developed between the two which completely unifies the painting surface.

Another characteristic of El Greco's mature style is the use of light. As Jonathan Brown notes, "each figure seems to carry its own light within or reflects the light that emanates from an unseen source". Modern scholarly research emphasizes the importance of Toledo for the complete development of El Greco's mature style and stresses the painter's ability to adjust his style in accordance with his surroundings.

He believes that in El Greco's mature works "the devotional intensity of mood reflects the religious spirit of Roman Catholic Spain in the period of the Counter-Reformation". El Greco also excelled as a portraitist, able not only to record a sitter's features but also to convey their character. Wethey says that "by such simple means, the artist created a memorable characterization that places him in the highest rank as a portraitist, along with Titian and Rembrandt ".

El Greco painted els greco biography obras principales of his paintings on fine canvas and employed a viscous oil medium. Since the beginning of the 20th century, scholars have debated whether El Greco's style had Byzantine origins. Certain art historians had asserted that El Greco's roots were firmly in the Byzantine tradition, and that his most individual characteristics derive directly from the art of his ancestors, [ 75 ] while others had argued that Byzantine art could not be related to El Greco's later work.

The discovery of the Dormition of the Virgin on Syrosan authentic and signed work from the painter's Cretan period, and the extensive archival research in the early s, contributed to the rekindling and reassessment of these theories. Although following many conventions of the Byzantine icon, aspects of the style certainly show Venetian influence, and the composition, showing the death of Mary, combines the different doctrines of the Orthodox Dormition of the Virgin and the Catholic Assumption of the Virgin.

The works he produced in Italy belong to the history of the Italian artand those he produced in Spain to the history of Spanish art". The English art historian David Davies seeks the roots of El Greco's style in the intellectual sources of his Greek-Christian education and in the world of his recollections from the liturgical and ceremonial aspect of the Orthodox Church.

Davies believes that the religious climate of the Counter-Reformation and the aesthetics of Mannerism acted as catalysts to activate his individual technique. He asserts that the philosophies of Platonism and ancient Neo-Platonismthe works of Plotinus and Pseudo-Dionysius the Areopagitethe texts of the Church fathers and the liturgy offer the keys to the understanding of El Greco's style.

El Greco was highly esteemed as an architect and sculptor during his lifetime. There he decorated the chapel of the hospital, but the wooden altar and the sculptures he created have in all probability perished. Ildefonso still survives on the lower center of the frame. His most important architectural achievement was the church and Monastery of Santo Domingo el Antiguo, for which he also executed sculptures and paintings.

Pacheco characterized him as "a writer of painting, sculpture and architecture". In the marginalia that El Greco inscribed in his copy of Daniele Barbaro's translation of Vitruvius' De architecturahe refuted Vitruvius' attachment to archaeological remains, canonical proportions, perspective and mathematics. He also saw Vitruvius' manner of distorting proportions in order to compensate for distance from the eye as responsible for creating monstrous forms.

El Greco was averse to the very idea of rules in architecture; he believed above all in the freedom of invention and defended novelty, variety, and complexity. These ideas were, however, far too extreme for the architectural circles of his era and had no immediate resonance.

El greco biography obras principales: (antes de) -Gudiol-.

El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography.

With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. In the s, Spanish painters living in Paris adopted him as their guide and mentor. He [El Greco] has discovered a realm of new possibilities. Not even he, himself, was able to exhaust them. All the generations that follow after him live in his realm.

To the English artist and critic Roger Fry inEl Greco was the archetypal genius who did as he thought best "with complete indifference to what effect the right expression might have on the public". Fry described El Greco as "an old master who is not merely modern, but actually appears a good many steps ahead of us, turning back to show us the way".

During the same period, other researchers developed alternative, more radical theories. Epitomizing the consensus of El Greco's impact, Jimmy Carterthe 39th President of the United States, said in April that El Greco was "the most extraordinary painter that ever came along back then" and that he was "maybe three or four centuries ahead of his time".

According to Efi Foundoulaki, "painters and theoreticians from the beginning of the 20th century 'discovered' a new El Greco but in process they also discovered and revealed their own selves". The Symbolistsand Pablo Picasso during his Blue Perioddrew on the cold tonality of El Greco, utilizing the anatomy of his ascetic figures. The early Cubist explorations of Picasso were to uncover other aspects in the work of El Greco: structural analysis of his compositions, multi-faced refraction of form, interweaving of form and space, and special effects of highlights.

Several traits of Cubism, such as distortions and the materialistic rendering of time, have their analogies in El Greco's work. According to Picasso, El Greco's structure is Cubist. The expressionists focused on the expressive distortions of El Greco. According to Franz Marcone of the principal painters of the German expressionist movement, "we refer with pleasure and with steadfastness to the case of El Greco, because the glory of this painter is closely tied to the evolution of our new perceptions on art".

ByPollock had completed sixty drawing compositions after El Greco and owned three books on the Cretan master. Pollock influenced the artist Joseph Glasco 's interest in El Greco's art. Glasco created several contemporary paintings based on one of his favorite subjects, El Greco's View of Toledo. Kysa Johnson used El Greco's paintings of the Immaculate Conception as the compositional framework for some of her works, and the master's anatomical distortions are somewhat reflected in Fritz Chesnut's portraits.

El Greco's personality and work were a source of inspiration for poet Rainer Maria Rilke. One set of Rilke's poems Himmelfahrt Mariae I. Inthe Greek electronic composer and artist Vangelis published El Grecoa symphonic album inspired by the artist. Directed by Ioannis Smaragdisthe film began shooting in October on the island of Crete and debuted on the screen one year later; [ ] British actor Nick Ashdon was cast to play El Greco.

The exact number of El Greco's works has been a hotly contested issue. Ina highly influential study by art historian Rodolfo Pallucchini had the effect of greatly increasing the number of works accepted to be by El Greco. El Greco is now seen as an artist with a formative training on Crete; a series of works illuminate his early style, some painted while he was still on Crete, some from his period in Venice, and some from his subsequent stay in Rome.

A few sculptures, including Epimetheus and Pandorahave been attributed to El Greco. This el greco biography obras principales attribution is based on the testimony of Pacheco he saw in El Greco's studio a series of figurines, but these may have been merely models. There are also four drawings among the surviving works of El Greco; three of them are preparatory works for the altarpiece of Santo Domingo el Antiguo and the fourth is a study for one of his paintings, The Crucifixion.

Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version. In other projects. Wikimedia Commons Wikiquote Wikidata item. Greek painter of the Spanish Renaissance — This article is about the artist of the Spanish Renaissance. For other uses, see El Greco disambiguation. Portrait of a Mana presumed self-portrait c.

ToledoSpain. Cretan School Mannerism Spanish Renaissance.

El greco biography obras principales: - ca. -Wethey-.

Life [ edit ]. Early years and family [ edit ]. Italy [ edit ]. Spain [ edit ]. Move to Toledo [ edit ]. Mature works and later years [ edit ]. Art [ edit ]. Main article: Art of El Greco. Technique and style [ edit ]. Painting materials [ edit ]. Suggested Byzantine affinities [ edit ]. Architecture and sculpture [ edit ]. Legacy [ edit ]. Main article: Posthumous fame of El Greco.

Posthumous critical reputation [ edit ]. Influence on other artists [ edit ]. See also: Boy Leading a Horse. Picasso's Les Demoiselles d'Avignonoil on canvas, Yeraldine Machiste.

El greco biography obras principales: Cristo en casa de Marta

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Entradas recientes. En agosto deel Greco y su hijo acordaron con las monjas de santo Domingo el Antiguo contar con una capilla para el enterramiento familiar. Los colores nocturnos son brillantes y con fuertes contrastes entre el rojo anaranjado, el amarillo, el verde, azul y rosa. Sus cuadros presentan una multitud de pinceladas no fundidas en superficie, lo que los observadores de entonces, como Pacheco, llamaron crueles borrones.

El historiador del siglo XVII d. El tratamiento que da a la luz es muy diferente del habitual. En sus cuadros nunca brilla el sol, cada personaje parece tener dentro su propia luz o refleja la luz de una fuente no visible. Entre y salieron del taller numerosos cuadros de altar y retratos, destinados a iglesias, conventos y particulares.

A veces se les representaba por parejas. El arte del Greco ha sido apreciado de muy diferente manera a lo largo de la historia. Hacia finales del siglo XVII d. Entre y se estudiaron los periodos veneciano y romano. En Harold E. Los escritores del decadentismo transforman al Greco en uno de sus fetiches. El protagonista de A contrapelo de Huysmans decora su dormitorio exclusivamente con cuadros del Greco.

Mayer El Greco Juan de la Encina imprime su El Greco en En el exilio, Arturo Serrano Plajatras haber protegido algunos de sus cuadros durante la guerra, escribe su El Greco Se incluye luego dos de sus reconocidos retratos. En total eran nueve lienzos, siete en el retablo mayor y otros dos en dos altares laterales. De ellos en la actualidad solo quedan tres pinturas originales en el retablo.

Se destacan gestos y actitudes. Los tasadores nombrados por el Greco solicitaron ducados, cantidad desmesurada.

El greco biography obras principales: La expulsión de los

El Greco y su taller pintaron varias versiones sobre este mismo tema, con variantes. August L. Una luz espectral destaca la irrealidad de las figuras, algunas en escorzos muy marcados. Desde sus comienzos en Italia, el Greco fue un gran retratista. Sus mejores retratos, ya en su madurez en Toledosiguen estos criterios.