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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 ...
Paintings by Doménicos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος), called El Greco ("the Greek", 1541 – April 7, 1614), a Greek-born painter who worked in Crete, Italy and Spain
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 ...
In his mature works El Greco demonstrated a characteristic tendency to dramatize rather than to describe. [1] The strong spiritual emotion transfers from painting directly to the audience. 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 ...
It is considered by several authors as the masterpiece of the Venetian period of El Greco. Despite containing some Cretan elements acquired during his formal training, [4] this painting can be fully considered a work of the Italian Renaissance. Perspective emphasizes the handling of the anatomy, the application of color and drama of the scene.
Unconfirmed portrait of Cervantes commonly said to have been painted by Juan de Jáuregui. [note 1]The Nobleman with his Hand on his Chest (also known as The Gentleman with His Hand at His Breast [1] or Gentleman with his Hand on his Chest) (Spanish: El caballero de la mano en el pecho) [2] is an oil painting by El Greco, one of the earliest works painted by the artist in Spain.
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.
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