Artehistoria el greco biography

Even in his childhood, young El Greco showed huge interest and talent in the field of art, and became enthusiastic in taking up training as an icon painter and studying the cultures of Ancient Greece and Latin traditions and culture in a Cretan school, which was the main source of post-Byzantine style of painting that time. Inhe eventually went to Rome in order to hone his skills further.

This new thought sparked new interest, and this was evident in his works that were full with strange Mannerism techniques like twisted and intense gestures and violent vanishing points. Inhe soon went to Madrid and then to Toledo to create most of his mature work. Unlike his stay in Rome where he was disgustingly criticized by most art critics, he regained a huge reputation in Toledo where he contributed world-renowned paintings like the El Espolio and nine paintings to complete The Trinity and The Assumption of the Virgin in the church of Santo Domingo el Antiguo.

His aim that time was to gain the interest of King Philip II, but unfortunately he was not happy with his works due to a few reasons which included being uncomfortable with the inclusion of living bodies in a religious artwork or the violation of the Counter-Reformation rule wherein the content was more prominent than the style. What he embraced was the world of a self-consciously, erudite style, or maniera.

The paradox is that, at a time when the blatant display of artifice inherent in Mannerism was being criticized as an indulgence, and artists in Rome were striving to rid their paintings of anything that artehistoria el greco biography seem mere display, El Greco took just the opposite route. He made elongated, twisting forms, radical foreshortening, and unreal colors the very basis of his art.

The difference was that he made these effects deeply expressive and not merely emblems of virtuosity. No other great Western artist moved mentally—as El Greco did—from the flat symbolic world of Byzantine icons to the world-embracing, humanistic vision of Renaissance painting, and then on to a predominantly conceptual kind of art.

Those worlds had one thing in common: a respect for Neoplatonic theory about art embodying a higher realm of the spirit. Christiansen, Keith. Citation Christiansen, Keith. Balkan Peninsula, — A. Iberian Peninsula, — A. Anti : 40— Voyage en Espagne in French. Grierson, Ian The Eye Book. Liverpool University Press. Griffith, William Viking Press.

Art Bulletin. College Art Association: — Hadjinicolaou, Nicos Meanings of the Image edited by Nicos Hadjinicolaou in Greek. University of Crete. Harris, Enriquetta April Helm, Robert Meredith SUNY Press. Hispanic Society of America Printed by order of the trustees. Johnson, Ron October Arts Magazine. V 2 : — Kandinsky Wassily, Marc Franz L'Almanach du "Blaue Reiter".

Lambraki-Plaka, Marina El Greco-The Greek.

Artehistoria el greco biography

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Autumn Art Journal. College Art Association. Wethey, Harold E. Princeton University Press. March Alberge, Dalya 24 August The Times. Retrieved 17 December Berg, Liisa. Archived from the original on 21 June Retrieved 14 October Cormack, Robin; Vassilaki Maria August Apollo Magazine. Archived from the original on 26 June Retrieved 28 August Retrieved 17 October The Guardian.

Retrieved 7 December Hamerman, Nora 4 December Catholic Herald. Harrison, Helen A 20 March The New York Times. Georgios Klontzas Pintor cretense especialista en iconos en los que manifiesta cierta dependencia del estilo bizantino junto a innovaciones procedentes del Renacimiento italiano. Tiziano Vecellio Pintor renacentista italiano h. Francesco,Girolamo Francesco Mazzola Pintor manierista italiano, destaca por sus esbeltas y estilizadas Madonnas.