The latter are always to be traced to some more or less conscious need on the part of the community. It is in this way and for this reason that the vogue of certain artists of the Few details of his life are known. He was in Venice by he probably studied under the then aged Titianwhen he went to Spain is uncertain.
The latter are always to be traced to some more or less conscious need on the part of the community. It is in this way and for this reason that the vogue of certain artists of the past becomes renewed. Thus, the late century witnessed a revival of inter- est in Rembrandt, Velasquez, Hals, Goya and still more recently in El Greco.
He was, therefore, a contemporary of Titian and Tintoretto. He is known to have spent some years in Venice, and El greco art essay have been a pupil of Titian, while it is also evident that Tintoretto influenced him. This picture is now owned by the Chicago Art Institute.
He left no will. He received the Sacraments, was buried in Santo Domingo el Antigua; and gave candles. The latter, however, seems to have been a man of great reserve; wrapped up in his work and in the society of a few chosen friends. As in the case of most great artists, the record of his life is really the record of his art.
When we have answered this, we shall be in a position to understand why he has again become a vogue in our own day. Being a man of intense dcvoutness and exalted imagination, he became the artist of this movement; interpreting the Toledans to themselves and giving expression to their spiritual exaltation.
His earlier pictures, such as the one now in Chicago, still show much of the influence of Titian.
But, as the influence of Toledo penetrated his mind and soul he gradually found a means of expressing what he felt, until he formed a style peculiarly his own. Though it was appreciated by the finer minds of his own time, both ecclesiastical and lay, it puzzled many people, including the King, Philip II.
But while the other painters of Spain were satisfied, either, like Velasquez, to bring the naturalistic represen- tation to the highest point of truth of appearance; or, as in the case of Mu- rillo, adopted the naturalistic motive to an expression of the sentiment of religion, El Greco interpreted the natural in relation to its spiritual environment.
He was, in fact, a realist; in the sense that quite recently we are learning to use the word. He painted not only the fact, but the soul of the fact; made visi- ble to the eye its spiritual environment.
Where will you find a group more grave and dignified? But the artist did not limit himself to naturalism. El Greco has intentionally exag- gerated the length and leanness of the figure of Christ for the purpose of enforcing the spiritual significance.
For the same reason he has made the clouds like draperies. In this part of his picture he is using form, but as a symbol of spiritual expression.
He makes the spiritual fact visible to the eye through the medium of the forms. The result is a great realistic picture based upon naturalism out of which grows the spiri- tual significance.
The great end and aim of his art was expression. This brings us to the influence of El Greco in the present day. It corresponds with a growing need on the part of the community. The late century was occupied with material and scientific research and progress, at considerable ex- pense of spiritual ideas and ideals.
In fact, the old spiritual values had been so jarred that they no longer served their purpose. By degrees, however, the old perennial truth, that man cannot live by bread alone, began to reassert itself. Men have begun to turn their gaze in- ward and outward, seeking some new reconciliation of the facts of matter and the facts of spirit.
Art is slowly following suit. Pro- gressive painters have begun to realize that the greater portion of the art of the last fifty or sixty years has been in point of view essentially photographic; that in its naturalistic or impressionistic motive painting has simply been a more or less successful rival of the camera.
In seeking to discover a field more exclusively its own, they have begun to realize that there is something higher than representation, namely, expression. The painter is forced to rely on representation as the foundation of his art; but he says, in effect, I will not paint a man for the sake of proving how nearly I can give you an illusion of the original, but for the sake of the amount of expression I can make the form inter- pret.
It is not a new idea, but an old one revived; and the source of its present inspiration is the experience we have gained of Oriental art. We have discovered that the secret of the latter was a larger degree of abstraction. The Eastern artist was not so intent on making things look like things; but, while preserving sufficient suggestion of naturalness in the forms, treated them rather as symbols of expression.
It was when this more abstract use of form and this subordination of representation to expression began to occupy the artists of the present day that the vogue of El Greco began.
He was recognized as a great master at once of naturalistic representation and of spiritual expres- sion ; and in the union of the two, a great Realist. His influence in France is operating with numbers of young artists, who are thinking and working along the lines that we have been discussing.
Although they have their goal pretty clearly in view, they are groping for the road to reach it. But an account of his work and genius must be reserved for another occasion.El Greco The Greek was a painter sculptor and architect of the Spanish Renaissance He usually signed his paintings in Greek letters with his full El Greco.
Pinterest The world s catalog of ideas St Peter and St Paul.
Essay on Pietro Perugino and El Greco Paintings Sol Lewitt, that many individuals misinterpret art, especially the art of the past. In connection with this, I also believe each person has a right to their own opinions and thoughts.
El Greco The Agony In the Garden, a mannerist style of art by EL Greco, proclaims a sense of spiritual power of religious faith which accomplishes El Greco’s aim to move his audience.
El Greco was born on the island of Crete and lived from to El Greco shows qualities of many art movements including Mannerism, Byzantine, Renaissance and Counter Reformation but he a certain style all unique to his own.
El Greco or Domenicos Theotocopoulos was born on the isle of Crete in the year , which at the time was a part of the Republic of Venice. El Greco rejected naturalism as a vehicle for his art just as he rejected the idea of an art easily accessible to a large public. What he embraced was the world of a self-consciously, erudite style, or maniera.
El Greco’s Miracle of Christ Healing the Blind Essay Sample. Domenikos Theotokopoulos () also known as El Greco (Spanish for “The Greek”) was a Greek painter, sculptor, and architect who spent much of his time .