Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". [7] French Romantic writers praised his work for the same "extravagance" and "madness" which had disturbed 18th century commentators. Calvary, El Greco has freed himself from Titian, and now seems as a savage entering the world of art with impetuous primeval power. El Greco’s unconventional biography explains how this amalgamated style could come to be.
[104] Greek writer Nikos Kazantzakis, who felt a great spiritual affinity for El Greco, called his autobiography Report to Greco and wrote a tribute to the Cretan-born artist. [117] Nonetheless, according to Achileus A. Kyrou, a prominent Greek journalist of the 20th century, El Greco was born in Fodele and the ruins of his family's house are still extant in the place where old Fodele was (the village later changed location because of pirate raids).
Harold Wethey asserts that "although Greek by descent and Italian by artistic preparation, the artist became so immersed in the religious environment of Spain that he became the most vital visual representative of Spanish mysticism". CS1 maint: multiple names: authors list (, Collector Is Vindicated as Icon is Hailed as El Greco, "The baptism of Christ: New light on early El Greco", Seeing The Art Of El Greco As Never Before, Greece buys unique El Greco for 1.2 million dollars, Getting in Touch With That Inner El Greco. [126] Finally, El Greco assigned his legal representation to Preboste and a friend of him, Francisco Ximénez Montero, and accepted a payment of 2,093 ducats. These paintings imply that El Greco, himself, can see the holy path from common human existence toward a very real Heaven. Many fail even at this, and simply perform wan imitations of the meaningless innovations of others. [25] And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but found it impossible to withstand his influence. El Greco is best known for his religious paintings, of which the most famous today are 'The Disrobing of Christ'(El Espolio) (1577-79) and 'The Burial of the Count of Orgaz' (El entierro del Conde de Orgaz) (1587).
Doménikos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος [ðoˈminikos θeotoˈkopulos]; 1 October 1541 – 7 April 1614),[2] most widely known as El Greco ("The Greek"), was a Greek painter, sculptor and architect of the Spanish Renaissance. The full text of the article is here →, Portrait of An Old Man (presumed self-portrait) - El Greco, Portrait of an old man (presumed self-portrait of El Greco), Portrait of the-Artist's son Jorge Manuel Theotokopoulos. Fernando Marias and Agustín Bustamante García, the scholars who transcribed El Greco's handwritten notes, connect the power that the painter gives to light with the ideas underlying Christian Neo-Platonism. 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". [33] The preference of El Greco for very tall and slender figures and elongated compositions, which served both the expressive purposes and the aesthetic principles of the master, led him to disregard the laws of nature and elongate his compositions more and more, particularly when they were destined for altarpieces.
[30] At the time, Toledo was the religious capital of Spain and a populous city[h] with "an illustrious past, a prosperous present and an uncertain future". [16], 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. [e] Like many Orthodox emigrants to Catholic areas of Europe, some assert that he may have transferred to Catholicism after his arrival, and possibly practiced as a Catholic in Spain, where he described himself as a "devout Catholic" in his will. [128] On the other hand, the public and the critics would not possess the ideological criteria of Gautier and would retain the image of El Greco as a "mad painter" and, therefore, his "maddest" paintings were not admired but considered to be historical documents proving his "madness". The primacy of imagination and intuition over the subjective character of creation was a fundamental principle of El Greco's style. [34] Modern scholars characterize El Greco's theory as "typically Mannerist" and pinpoint its sources in the Neoplatonism of the Renaissance. [63], — El Greco, from marginalia the painter inscribed in his copy of Daniele Barbaro's translation of Vitruvius' De architectura. All the generations that follow after him live in his realm. El Greco also excelled as a portraitist, able not only to record a sitter's features but also to convey their character. [1] The painter was deemed incomprehensible and had no important followers[4] Only his son and a few unknown painters produced weak copies of El Greco's works. [8] On the other hand, the public and the critics would not possess the ideological criteria of Gautier and would retain the image of El Greco as a "mad painter" and, therefore, his "maddest" paintings were not admired but considered to be historical documents proving his "madness". The grey-blue clouds are split by lightning bolts, which vividly highlight the noble buildings of the city.
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