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The early literature that Walter Liedtke mentions in "Three Paintings by El Greco," suggests that the View of Toledo was painted after 1600 and shortly before El Greco died in 1614. However, art historian Harold Wethey believes it was painted between 1595 and 1600 because of the similarities to El Greco's other piece, Saint Joseph and the ...
El Greco (1541–1614) was a Cretan-born painter, sculptor and architect of the Spanish Renaissance. El Greco left his birthplace for Venice in 1567, never to return. El Greco's three years in Venice profoundly influenced his style. In 1577, he emigrated to Toledo, Spain, where he lived and worked until the end of his life.
The Assumption of the Virgin is an oil on canvas painting by Greek artist Doménikos Theotokópoulos, known as El Greco, in 1577–1579. The painting was a central element of the altarpiece of the church of Santo Domingo el Antiguo in Toledo, Spain. [1] It was the first of nine paintings that El Greco was commissioned to paint for this church. [2]
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]
El Greco's older brother, Manoússos Theotokópoulos (1531–1604), was a wealthy merchant and spent the last years of his life (1603–1604) in El Greco's Toledo home. [13] El Greco received his initial training as an icon painter of the Cretan school, a leading center of post-Byzantine art.
View and Plan of Toledo (Spanish: Vista y plano de Toledo, ca. 1608) is a landscape painting by El Greco. The image is notable for its juxtaposition of the view of Toledo with the trompe l'oeil map of the city's streets.
El Greco, (a detail of) The Virgin of Immaculate Conception and Saint John (ca. 1585), oil on canvas, 237 x 118 cm, Museo de Santa Cruz, Toledo. In hopes of becoming a reputed and well-represented artist in Spain, El Greco aimed to be recognised by King Phillip II .
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. De Castilla senior also arranged El Greco's other major commission, on which he worked simultaneously, the paintings for the Toledan church of Santo Domingo el Antiguo. [2]