214:. Two other probable companions are the renditions of Saint Peter and Saint Ildefonso. As in the earlier version, El Greco includes several elements attributed to the Virgin Mary: such as flowers like roses and lilies, a fountain of clear water, and an enclosed garden. Here we see an added view of Toledo on the bottom left of the painting. For an atmosphere of divinity, El Greco has depicted the supernatural simultaneous glowing of the sun and the moon. When comparing the two paintings to one another, the time gap in their production is visible in how El Greco's stylistic preferences become exaggerated. Towards the later years of his career, his style progresses into one that overlooks proportion, scale, atmospheric perspective, realistic anatomy, and color blending. His figures become radically elongated and possess an ethereal, ghostly skin tone. These details act in contrast to the lifelike floral
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183:, who remarked that, "Crete gave him life and the painter's craft, Toledo a better homeland, where through Death he began to achieve eternal life." Besides the appreciation shown towards El Greco by his contemporaries, he also found success in his artistic career; between the years of 1581 and 1585. As such, the demand for devotional works by El Greco's patrons escalated rapidly. His customers were able to choose from a few samples, often smaller versions of his works, which he would then alter to suit their preferences.
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In accordance to his training in Venice, as well as his preference that opposed
Northern Italy's focus on design over color, El Greco held the belief that the color used in a composition is superior to its form. The works of his later years contain figural depictions that are more theatrical than
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El Greco later became the master of a workshop which dealt with the creation of architectural or framing devices for cathedrals. These years of 1597 - 1607 were a profitable decade for him and his workshop, yielding several commissions and outputs. Despite staying in Toledo, this granted El Greco
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The work is noticeably painted with the artist's intent for the viewer's gaze to concentrate on the Virgin. Painted for the high altar of the Chapel of Oballe, San
Vicente, Toledo, it was the schematic centerpiece and was accompanied by the
259:, who were drawn to his use of color and expression, the creative correspondence continued into the 20th century. His muddling of space and the forms which occupy it became a pictorial device later employed by modern artists such as
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Despite the criticism El Greco faced during the span of his artistic career, especially in his later years, his works found admirers and inspired the innovations of artists from the 19th century onward. Beginning with artists such as
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153:, or a true artist, was one that surpassed basic craftsmanship into the realm of artistic imagination. However, this Italian mutual ideology and treatment of artists was not echoed in Toledo, Spain.
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Consequently, El Greco remained in Toledo for the rest of his life, where he was well-received by his contemporaries. One such contemporary was the
Spanish preacher and poet
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movement. He left behind a circle of like-minded individuals in Italy, mostly scholars and fellow artists, who shared the belief that a
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Krén, Emil. "The Oballe Chapel in San
Vincente, Toledo (1608-13) by El Greco." Web Gallery of Art., accessed November 30, 2017,
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were influenced by the reserved figural expression the old master portrayed in his pictures, referencing them for their own works.
172:. Royal patronage would have ensured a secure transition to Spain, and could possibly have helped him to move to a metropolis like
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Krén, Emil and Marx, Daniel. "Paintings between 1581 and 1585 by El Greco." Web
Gallery of Art., accessed November 30, 2017,
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in his ecclesial renderings. His tendency to stretch out his figures is amplified in his altarpiece works. In his completion of
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351:"El Greco - the Complete Works - Biography." El Greco Foundation., last modified 2012-, accessed November 30, 2017,
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105:. The work on the painting began in 1607 and was completed in 1613. It is owned by the church of San Nicolás de Bari in
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El Greco had requested that the altarpiece be lengthened so as to not compromise the length of the Virgin's figure.
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Naqvi-peters, Fatima (January 1997). "A Turning Point in Rilke's
Evolution: The Experience of El Greco".
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In hopes of becoming a reputed and well-represented artist in Spain, El Greco aimed to be recognised by
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significant projects which would elevate his artistic career and reputation to meet his ambitions.
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as a basis for her works, have been influenced by the 16th-and-early-17th-century artist.
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they are set against to communicate the metamorphosis from the earthly and the divine.
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descriptive in their forms. Without being melodramatic, El Greco manages to convey
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198:(1577–1579), oil on canvas, 300 x 179 cm, Museo del Prado, Madrid, Spain
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348 cm Ă— 174.5 cm (137 in Ă— 68.7 in)
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229:(1610–13), oil on canvas, 96 x 72.4 cm, Dumbarton Oaks, Washington
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in 1577, and this move signified the beginning of his vital role in the
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164:(ca. 1585), oil on canvas, 237 x 118 cm, Museo de Santa Cruz, Toledo.
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Sorabella, Jean. “Venetian Color and
Florentine Design.” In
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The
Immaculate Conception with Saint John the Evangelist
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techniques for size. Afterwards, El Greco relocated to
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I.II., 1913), were written after the poet had viewed
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335:. New York: The Metropolitan Museum of Art, 2000–.
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416:https://www.wga.hu/frames-e.html?/html/g/greco_el/
396:https://www.wga.hu/frames-e.html?/html/g/greco_el/
368:Kagan, Richard L. (1982). "El Greco and the Law".
162:The Virgin of Immaculate Conception and Saint John
353:http://www.el-greco-foundation.org/biography.html
337:http://www.metmuseum.org/toah/hd/vefl/hd_vefl.htm
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1160:The Apparition of the Virgin to Saint Hyacinth
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1460:Portrait of Fray Hortensio FĂ©lix Paravacino
1098:Saint John the Evangelist and Saint Francis
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295:. Contemporary artists as well, such as
245:The Virgin of the Immaculate Conception,
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1337:The Nobleman with his Hand on his Chest
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301:The Virgin of the Immaculate Conception
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90:The Virgin of the Immaculate Conception
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109:. It is displayed, however, in the
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1437:Cardinal Fernando Niño de Guevara
1075:Allegory of the Camaldolese Order
1002:Christ Taking Leave of his Mother
333:Heilbrunn Timeline of Art History
121:El Greco immersed himself in the
1476:Portrait of JerĂłnimo de Cevallos
1468:Portrait of Juan Pardo de Tavera
1452:Portrait of an Unknown Gentleman
865:The Burial of the Count of Orgaz
749:Disrobing of Christ (El Expolio)
1385:–1597; lost, known from a copy)
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1295:Julián Romero and Saint Julian
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16:C, 1610 painting by El Greco
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888:Saint Peter and Saint Paul
633:Purification of the Temple
181:Hortensio FĂ©lix Paravicino
1523:Jorge Manuel TheotocĂłpuli
1507:Museum of El Greco, Crete
1314:Portrait of Giulio Clovio
1223:Opening of the Fifth Seal
1175:The Immaculate Conception
1145:Saint John the Evangelist
1113:Saint Bernardino of Siena
779:Christ Carrying the Cross
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313:List of works by El Greco
299:, in her specific use of
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22:The Immaculate Conception
1215:Saint Thomas the Apostle
1129:Coronation of the Virgin
949:The Penitent Saint Peter
818:The Tears of Saint Peter
741:Assumption of the Virgin
194:El Greco, (a detail of)
160:El Greco, (a detail of)
1502:El Greco Museum, Toledo
1360:Portrait of a Gentleman
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234:Technique and influence
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1352:Portrait of a Doctor
679:Entombment of Christ
111:Museum of Santa Cruz
76:Museum of Santa Cruz
914:Agony in the Garden
147:Spanish Renaissance
125:during his stay in
123:Italian Renaissance
881:Holy Face of Jesus
703:Penitent Magdalene
289:Himmelfahrt Mariae
281:Rainer Maria Rilke
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113:in Toledo, Spain.
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601:Flight into Egypt
585:Baptism of Christ
507:Artistic overview
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1607:Doves in art
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1549:(1998 album)
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693:
685:
677:
669:
632:
608:Annunciation
607:
599:
591:
583:
575:
550:
542:
527:
433:
429:
423:
390:
373:
369:
332:
327:
300:
297:Kysa Johnson
292:
288:
261:Paul CĂ©zanne
249:
244:
237:
226:
209:
206:
195:
185:
178:
167:
161:
150:
138:
134:
120:
89:
88:
87:
1557:(2007 film)
1541:(1966 film)
1533:(1947 film)
1487:(1610–1614)
1479:(1609–1613)
1455:(1603–1607)
1445: 1600
1432:(1600–1605)
1422: 1597
1409:(1595–1600)
1401:(1595–1600)
1393:(1587–1600)
1383: 1587
1368: 1586
1355:(1582–1585)
1345: 1580
1332:(1571–1576)
1322: 1571
1298:(1612–1614)
1290:(1610–1614)
1282:(1610–1614)
1274:(1610–1614)
1266:(1610–1614)
1226:(1608–1614)
1218:(1608–1614)
1210:(1608–1614)
1207:The Saviour
1183:Saint Peter
1178:(1607–1613)
1153: 1605
1140:(1603–1607)
1132:(1603–1605)
1124:(1603–1605)
1106: 1600
1093:(1597–1607)
1083: 1597
1070:(1597–1603)
1062:(1597–1599)
1051:Virgin Mary
1046:(1596–1600)
1038:(1596–1599)
1030:, 1612–1614
1013:(1595–1598)
995: 1595
987:Holy Family
980: 1594
967:(1592–1595)
964:Saint Louis
957: 1590
942: 1590
927:, 1597–1607
906: 1587
895:, 1587–1592
884:(1586–1595)
876:(1586–1588)
873:Holy Family
858: 1585
842: 1590
831:, 1587–1596
829:Mexico City
825:, 1580–1589
814:(1580–1582)
804:, 1597–1600
798:, 1590–1595
791: 1580
765: 1577
752:(1577–1579)
744:(1577–1579)
736:(1577–1579)
714:(1576–1579)
706:(1576–1578)
698:(1571–1576)
690:(1571–1572)
682:(1570–1576)
674:(1570–1575)
652:, 1595–1600
644:Minneapolis
627:, 1600–1605
621:, 1575–1576
593:Last Supper
588:(1567–1569)
580:(1567–1569)
569: 1573
547:(1565–1566)
537: 1565
1576:Categories
1279:Saint Paul
1263:Saint Luke
638:Washington
319:References
277:symbolists
225:El Greco,
216:still life
211:Visitation
117:Background
64:Dimensions
1612:Mannerism
1306:Portraits
1022:Bucharest
893:Barcelona
796:Barcelona
687:El SoplĂłn
671:The Fable
521:Paintings
450:233511859
376:: 78–90.
49:1607–1613
1554:El Greco
1546:El Greco
1538:El Greco
1121:Nativity
784:New York
650:New York
625:Illescas
491:El Greco
446:ProQuest
382:42617942
307:See also
203:Analysis
151:virtuoso
103:El Greco
95:painting
72:Location
40:El Greco
1516:Related
1495:Museums
1271:Laocoön
925:AndĂşjar
556:Dresden
139:disegno
97:of the
82:, Spain
1471:(1609)
1463:(1609)
1424:–1603)
1258:(1610)
1250:(1609)
1242:(1609)
1234:(1609)
1202:(1608)
1194:(1608)
1186:(1608)
1116:(1603)
1054:(1597)
1028:Madrid
1024:, 1596
1005:(1595)
982:–1604)
959:–1595)
921:, 1590
919:London
868:(1586)
802:Madrid
775:(1580)
767:–1579)
728:(1577)
720:(1577)
664:, 1609
662:Madrid
658:, 1600
656:London
646:, 1570
640:, 1570
619:Madrid
615:, 1570
604:(1570)
596:(1568)
558:, 1567
539:–1567)
448:
380:
275:. The
273:Cubism
241:pathos
174:Madrid
143:Toledo
135:colore
127:Venice
80:Toledo
54:Medium
36:Artist
1525:(son)
908:–1592
695:PietĂ
613:Prado
562:Parma
378:JSTOR
93:is a
835:Oslo
283:and
271:and
263:and
255:and
137:and
131:Rome
129:and
46:Year
438:doi
101:by
1578::
1442:c.
1419:c.
1380:c.
1365:c.
1342:c.
1319:c.
1165:c.
1150:c.
1103:c.
1080:c.
992:c.
977:c.
954:c.
939:c.
903:c.
901:,
855:c.
839:c.
837:,
788:c.
786:,
762:c.
566:c.
564:,
534:c.
444:.
434:72
432:.
403:^
374:11
372:.
360:^
344:^
78:,
1447:)
1440:(
1417:(
1378:(
1370:)
1363:(
1347:)
1340:(
1324:)
1317:(
1170:)
1163:(
1155:)
1148:(
1108:)
1101:(
1085:)
1078:(
997:)
990:(
975:(
952:(
944:)
937:(
860:)
853:(
760:(
532:(
483:e
476:t
469:v
452:.
440::
418:.
398:.
384:.
355:.
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