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El Greco's altarpieces are renowned for their dynamic compositions and startling innovations. Art historian Max Dvořák was the first scholar to connect El Greco's art with Mannerism and Antinaturalism. [34] Modern scholars characterize El Greco's theory as "typically Mannerist" and pinpoint its sources in the Neoplatonism of the Renaissance. [35]
At the time of El Greco's death his belonging included 115 paintings, 15 sketches and 150 drawings. In 1908 Manuel B. Cossio, who regarded El Greco's style as a response to Spanish mysticism, published the first comprehensive catalogue of his works. In 1937 a highly influential study by art historian Rodolfo Pallucchini had the effect of ...
El Greco was a nickname, [a] and the artist normally signed his paintings with his full birth name in Greek letters often adding the word Κρής (Krḗs), which means "Cretan" in Ancient Greek. El Greco was born in the Kingdom of Candia (modern Crete), which was at that time part of the Republic of Venice, Italy, and the center of Post ...
Agony in the Garden (El Greco, London) Allegory of the Camaldolese Order; Annunciation (El Greco, Illescas) Annunciation (El Greco, Madrid) Annunciation (El Greco, Museo Thyssen-Bornemisza) Annunciation (El Greco, São Paulo Museum of Art) Annunciation (El Greco, Sigüenza) The Apparition of the Virgin to Saint Hyacinth; Assumption of the ...
It is one of El Greco's most famous works. [1] A document dated July 2, 1577 which refers to this painting is the earliest record of El Greco's presence in Spain. The commission for the painting was secured thanks to El Greco's friendship from Rome with Luis, the son of Diego de Castilla, the dean of the Cathedral of Toledo.
The Virgin of Charity (Spanish - La Virgen de la Caridad) is a 1597-1603 painting by El Greco.It was part of a commission to paint five works for the high altarpiece of the Santuario de Nuestra Señora de la Caridad in the Spanish town of Illescas, Toledo, gained through the mediation of his son Jorge Manuel Theotocópuli.
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The painting is a work which the artist made to hang over his own tomb in the convent of Santo Domingo el Antiguo in Toledo. [1] His signature, in Greek, may be seen in the lower left corner. [2] El Greco's remains were transferred to another church after a few years, but the painting remained at Santo Domingo until the 20th century.