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Tradition And Originality In El Greco's Work

Tue, 11 Mar 2008 23:37:02 GMT

102 Richard G. Mann The numbers of pictures of Saint Francis, which have been catalogued as autograph works by El Greco, have ranged from 135 (Camón Aznar) to 24 (Wethey).1 Since its publication in 1962, Wethey’s catalogue has been regarded as a deﬁnitive compilation of authentic works.2 Wethey deﬁned a convincing corpus of paintings by deattributing many obvious copies and forgeries. However, my review of representations of a very popular Franciscan theme indicates that he also eliminated from the artist’s oeuvre important autograph pictures. In the process of reclassifying many wo

El Greco by National Gallery Of Art

Tue, 11 Mar 2008 23:33:20 GMT

El Greco (Spanish,  – ) he man known as El Greco was a Greek artist whose emotional style vividly expressed the passion of Counter-Reformation Spain. Here at the National Gallery is the most important collection of his work outside that country, which was his adopted home. The haunting intensity of El Greco’s paintings—resulting from their unnaturally long ﬁgures and strong contrasts of color and light—has invited a kind of mythmaking about his life and art. Following his death, El Greco’s work fell into obscurity and, after its rediscovery in the last centu

El Greco - Richly Repeating Himself

Tue, 11 Mar 2008 23:31:59 GMT

ART REVIEW; El Greco, Richly Repeating Himself By ROBERTA SMITH on May 25, 2001 DESPITE the impressive gowns, does the Jacqueline Kennedy show at the Metropolitan Museum of Art ultimately strike you as bland and sentimental? On a more substantial note, do Frank Gehry's beautiful architectural models at the Guggenheim Museum sometimes seem a bit overbearing and overwrought? If so, you may need a little more old-fashioned art and a little less spectacle and commerce in your museum experience. Consider, as an antidote, the Frick Collection's small gemlike exhibition of the 16thcentury Greek-born

Was El Greco Astigmatic

Tue, 11 Mar 2008 23:31:35 GMT

STATEMENT WAS EL GRECO ASTIGMATIC? Stuart Anstis, Department of Psychology, University of California at San Diego, La Jolla, CA 92093-0109, U.S.A. E-mail: . Received 14 September 2000. Accepted for publication by Roger F. Malina. Why did El Greco (1541–1614) paint such elongated human gures? It has been suggested that he suffered from astigmatism. This is an optical defect of the frontal surface of the eyeball, which if over-corrected by a spectacle lens, could have optically stretched his retinal images horizontally, causing him to paint tall, thin objects that looked nor

Some Remarks On The Question Of Originality Of The Renaissance

Tue, 11 Mar 2008 23:29:50 GMT

Some Remarks on the Question of the Originality of the Renaissance Ernst Cassirer; Francis R. Johnson; Paul Oskar Kristeller; Dean P. Lockwood; Lynn Thorndike Journal of the History of Ideas, Vol. 4, No. 1. (Jan., 1943), pp. 49-74. Stable URL: http://links.jstor.org/sici?sici=0022-5037%28194301%294%3A1%3C49%3ASROTQO%3E2.0.CO%3B2-W Journal of the History of Ideas is currently published by University of Pennsylvania Press. By purchasing content from the publisher through the Service you agree to abide by the Terms & Conditions of Use, available at http://www.jstor.org/about/terms.html. These Te

Our Moving Fate: A Study Of El Greco's Assumption Of The Virgin

Tue, 11 Mar 2008 23:28:20 GMT

Anesi 1 Our Moving Fate: A Study of El Greco’s Assumption of the Virgin Introduction to Art, Department of Art History, University of Chicago George Anesi – October 18, 2005 El Greco painted his “Assumption of the Virgin” in 1577 for the convent of Santo Domingo el Antiguo in Toledo, Spain. Born in Greece as Domenikos Theotocopoulos, (his nickname translates from Spanish into “The Greek”), El Greco was the top artist of the Spanish School, and was commissioned to paint “Assumption” to adorn the convent’s altar. The painting is a daunting size—over six feet wide and twice as

El Greco's Statements On Michelangelo the Painter

Tue, 11 Mar 2008 00:33:22 GMT

El Greco's Statements on Michelangelo the Painter George A. Rodetis Journal of Aesthetic Education, Vol. 31, No. 3. (Autumn, 1997), pp. 25-37. Stable URL: http://links.jstor.org/sici?sici=0021-8510%28199723%2931%3A3%3C25%3AEGSOMT%3E2.0.CO%3B2-E Journal of Aesthetic Education is currently published by University of Illinois Press. By purchasing content from the publisher through the Service you agree to abide by the Terms & Conditions of Use, available at http://www.jstor.org/about/terms.html. These Terms & Conditions of Use provide, in part, that this Service is intended to enable your noncom