EL GRECO (CRETE 1541-1614 TOLEDO)
EL GRECO (CRETE 1541-1614 TOLEDO)
| Allegory of the Camaldolese Order |
Portrait of a Sculptor (Pompeo Leoni?), about 1577–80
The Lamentation, about 1570
oil on canvas
14 3/8 x 10 5/8 in. (36.5 x 27 cm.)
Saint James the Greater
oil on canvas
16 3/8 x 13 5/8 in. (41.6 x 34.6 cm.)
oil on canvas, a fragment
10 x 7 ¼ in. (25.4 x 18.4 cm.)
oil on canvas
70 5/8 x 40 ¾ in. (179.4 x 103.5 cm.)
signed 'AOMHNIKO[E] OEOTOKOIIY[A]OE [E]IIOI[EI]' (in cursive Greek)
oil on unlined canvas reinforced with jute
17 x 11in. (43 x 28cm.)
oil on canvas
25 x 20 in. (63.5 x 50.8 cm.)
oil on canvas
211⁄2 x 145⁄8 in. (54.6 x 37 cm.)
oil on panel
11 x 7 5/8 in. (28 x 19.4 cm.)
oil on canvas
29 1⁄8 x 22 1⁄2 in. (74 x 57 cm.)
inscribed and dated ‘NASCITUR SESTO CALEND. SEPTEB/ANNO DNI M.D. XXIII.
oil on canvas
39 3⁄8 x 32 5⁄8 in. (100 x 82.8 cm.)
signed (?) 'doménikos theotokópolos e'poíei' (in cursive Greek, lower right, on the cartellino)
oil on canvas
43 ¼ x 25 3/8 in. (110 x 64.5 cm.)
oil on canvas, unframed
23 ½ x 16 7/8 in. (56.6 x 42.8 cm.)
oil on canvas
321⁄2 x 241⁄2 in. (82.6 x 62.2 cm.)
oil on canvas, unframed
43 5/8 x 25 3/8 in. (110.9 x 64.5 cm.)
signed[?] in cursive Greek 'doménikos theotokópoulos e'poíei' (lower right)
oil on canvas
24 ¼ x 13 ½ in. (61.6 x 34.3 cm.)
oil on canvas
26 5/8 x 20 ½ in. (67.7 x 52.1 cm.)
oil on canvas
59½ x 40 in. (151.2 x 101.6 cm.)
with signature 'doménikos theotokópoli' (lower right)
oil on canvas
29 1/8 x 17 3/8 in. (74 x 44 cm.)
with signature 'doménikos theotokópoli' (lower right)
oil on canvas
29½ x 17¾ in. (75 x 45.1 cm.)
oil on canvas
66 x 38¼in. (167.5 x 97cm.)
oil on canvas
24¼ x 20 in. (61.7 x 50.8 cm.)
oil on canvas
13 3/8 x 12 5/8 in. (34 x 32 cm.)
17th Century Follower of El Greco
Saint Jerome
oil on canvas, in its original frame
unframed: 103.5 x 82.5 cm.; 40½ x 32½ in.
framed: 131.5 x 109 cm.; 51¾ x 42⅞ in.
MANNER OF DOMÉNIKOS THEOTOKÓPOULOS, CALLED EL GRECO, 20TH CENTURY
SAINT JOHN THE BAPTIST
oil on canvas, in a 17th century carved and giltwood Spanish frame
unframed: 78.8 x 57 cm.; 31 x 22½ in.
framed: 96 x 74.5 cm.; 37¾ x 29⅜ in.
Saint Veronica holding the veil
signed with initials (delta theta) (at the base of the cross)
oil on canvas, unframed
39 7/8 x 34 in. (101.3 x 86.4 cm.)
oil on canvas
24 x 19¾ in. (61 x 50.2 cm.)
Follower of El Greco
Portrait of Fray Hortensio Félix Paravicino, c. 1610s
El Greco
Portrait of Fray Hortensio Félix Paravicino, 1609
Museum of Fine Arts, Boston (Inv. No. 04.234)
Friar Hortensio Félix Paravicino y Arteaga (1580–1633) was an important Spanish theologian, orator, royal preacher, and poet. Paravicino, a member of the Trinitarian Order, was a close friend of El Greco. He was a great connoisseur of painting, but argued for the destruction of all paintings of nudes: “the finest paintings are the greatest threat: burn the best of them”. However these views were too extreme for even 17th century Spain, where the King and leading courtiers kept galleries of such works in relatively private rooms, and his piece on the subject was not published in the pamphlet for which it was written.
The work was purchased in 1904 on the recommendation of John Singer Sargent, another great portraitist and an admirer of Spanish art.
这幅强烈的肖像描绘了费尔南多·尼诺·德·格瓦拉（1541-1609），他在1596年被任命为红衣主教，并在这里穿着红衣主教。1599年，他成为西班牙总检察长，但在1602年辞职，担任塞维利亚大主教。这幅画可能可以追溯到1600年春天，当时红衣主教与菲利普三世和马德里宫廷成员一起在托莱多。埃尔·格雷科曾住在威尼斯和罗马的法尔内塞宫，在那里，提香的肖像（如法尔内塞教皇保罗三世的肖像）将向希腊画家揭示肖像画的心理可能性。
El Greco在威尼斯或罗马画了这部戏剧性故事的杰作，他在1567年离开克里特岛后和1576年搬到西班牙之前在那里工作。它说明了基督通过涂抹眼睛来治愈盲人的福音记载。前景中的两个人物可能是盲人的父母。构图的左上半部分未完成。El Greco画了该主题的另外两个版本，似乎把这个版本带到了西班牙。
Saint Martin and the Beggar (1597-99)
El Greco
The Adoration of the Name of Jesus, c. 1578-80
Detail: Portrait of Philip II of Spain
National Gallery, London (NG6260)
“The larger version of this picture is in the Escorial in Madrid, and was probably intended for King Philip II. El Greco made small copies of several of his own pictures to keep in his studio, of which this is probably one. The subject is thought to be an allegory of the Holy League, a military alliance between Spain, the Papacy and the Venetian Republic, which was formed to combat the rise of Islam and the Turks.”
El Greco
Portrait of Diego de Covarrubias, c. 1600
Museo de El Greco, Toledo, Spain (CE00016)
Diego de Covarrubias y Leyva (1512–1577) was a Spanish jurist and Roman Catholic prelate who served as Archbishop of Segovia (1564-1577) and President of the Council of Castile. Covarrubias had been professor of canon law at the University of Salamanca, and a member of the intellectual group of scholars known as Salmanticenses, the School of Salamanca. Such was the recognized eminence of his legal science that he was styled the Bartolus of Spain. His vast legal learning was always set forth with “a peculiar beauty of diction and lucidity of style.”
El Greco
Portrait of Antonio de Covarrubias, c. 1600
Museo de El Greco, Toledo, Spain (CE00015)
El Greco
Portrait of Charles de Guise, Cardinal of Lorraine, 1572
Kunsthaus Zürich, Switzerland
Charles de Lorraine (1524–1574), Duke of Chevreuse, a member of the powerful House of Guise, was a French Cardinal, Abbot of Cluny, and Archbishop of Reims. Charles became an influential statesman, all-powerful during the reigns of Henry II and Francis II; he was an orator of talent, protector of renowned writers such as Rabelais and Ronsard, and founded the first Reims University, but is also often held to be responsible for the outbreak of the Huguenot wars, and to have attempted to establish the Inquisition in France. — “Brilliant, cunning and a master of intrigue, he was, like all the Guises, devoured with ambition and devoid of scruples.”
El Greco
Apparition of the Virgin and Child to Saint Hyacinth, c. 1605–1610
Barnes Foundation, Philadelphia (BF876)
El Greco
Portrait of Dr. Francisco de Pisa, c. 1610-14
Kimbell Art Museum, Fort Worth, Texas (AP 1977.05)
In 1577, El Greco, based in Italy since 1568, departed for Spain and settled in the city of Toledo. He was patronized there by members of the city’s wealthy and educated elite. This painting, which dates from the last period of El Greco’s career, attests to the artist’s profound gifts as a portraitist, which were praised since his years in Italy and remained undiminished in old age. The sitter is Dr. Francisco de Pisa (1534–1616), an important Toledan cleric and official historian of the city, who in 1610 expressed the intention to endow the Convent of the Purísima Concepción de Nuestra Señora, also known as the Convent of the Benitas. A portrait of Pisa probably identifiable as the Kimbell painting was bequeathed by him to the convent and recorded there in 1616 and 1623, along with other paintings by El Greco.
El Greco
Portrait of a Doctor, 1582-85
Museo del Prado, Madrid, Spain (P002644)
The gentleman portrayed in this painting is identified as a doctor on account of the ring on the thumb of his left hand. He could be Dr. Luis Mercado (c. 1525–1611), a professor at the University of Valladolid, medicine scholar and treatise writer, and royal physician to Philip II of Spain; or Rodrigo de la Fuente (c. 1510–1589), “el médico de más fama de esta ciudad" (”the most famous physician in the city ”) according to Cervantes in La ilustre fregona (1613), a personal friend of El Greco’s, and a very influential figure in Toledo at that time.
El Greco
Saint Louis, King of France, and a Page; c. 1590-97
Musée du Louvre, Paris (RF 1507)
El Greco
Portrait of a Cardinal, c. 1600-1605
El Greco
Saint Ildephonsus of Toledo, c. 1603-1605
El Greco
The Madonna of Charity, c. 1603-1605
FUNCAVE | Santuario de la Caridad (Capilla Mayor), Illescas, Spain
El Greco
Portrait of Cardinal Juan Pardo de Tavera, c. 1608
Hospital de San Juan Bautista (Hospital Tavera), Toledo, Spain
Juan Pardo de Tavera (1472–1545) was a Spanish cardinal (from 1531), Archbishop of Toledo and Primate of Spain (1534–1545), and Grand Inquisitor (1539–1545). Following the death of Isabella of Portugal in 1539, Emperor Charles V appointed Tavera Regent of Castile in his absence, a post he would hold until 1541. Tavera founded what is considered the first and most important classical Renaissance building in the Kingdom of Castile, designed for a dual purpose: as a hospital for “those afflicted with different illnesses”, and as the pantheon of its founder.
El Greco
Portrait of a Trinitarian Friar, 1609
El Greco
Julián Romero and his Patron Saint, 1612-18
Museo del Prado, Madrid (P002445)
The subject of this portrait kneels in prayer dressed in the white habit of a Knight of the Spanish Order of Saint James (Orden de Santiago). The armored knight standing at his side and looking to the heavens may well be Saint Louis, King of France, who was considered the model Christian soldier. An inscription on one side of the base of the column identifies the kneeling gentleman as Julián Romero de Ibarrola (1518–1577), a valiant soldier who first reached the rank of Captain of the Tercios (Spain’s soldiers in Flanders), and later that of Field Marshall. Romero was one of the soldiers responsible for Philip II’s victory at Saint Quentin (1557), for which he was made a Knight, and he participated in important campaigns in Holland, alongside the Duke of Alba, crushing the Dutch Revolt; and in Italy, where he died. After his death, Julian Romero became in Spain a military hero who gave his life for his country, and playwrights wrote historical plays about his deeds.
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