 | | The Disrobing of Christ | | El Greco, 1577-1579 | | oil on canvas | | 285 × 173 cm | | Sacristy of the Cathedral, Toledo, Spain | The Disrobing of Christ (or El Espolio), a painting begun in the summer of 1577 and completed in the spring of 1579 for the High Altar of the sacristy of the Cathedral of Toledo, where it still hangs, is one of El Greco's most renowned works.[1] A document dated 2 July 1577 refers to this painting is the earliest record of El Greco in Spain. This commission of this painting was secured thanks to El Greco's friendship with Diego de Castilla, the dean of the Cathedral of Toledo.[2] Image File history File links Download high resolution version (850x1438, 201 KB) Summary The Spoliation - 1577-79 - Oil on canvas, 285 x 173 cm - Sacristy of the Cathedral, Toledo - El Greco Licensing This image is in the public domain because its copyright has expired in the United States and those...
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A sacristy is a room for keeping vestments (such as the cassock and chasuble) and other church furnishings, sacred vessels and church treasures. ...
The Cathedral of Toledo was modeled after the Bourges Cathedral though it also combines some characteristics of the Mudéjar style, is remarkable for its incorporation of light and no part is more remarkable than the Baroque altar called El Transparente, several stories high, with fantastic figures of stucco, painting...
El Greco (possibly a combination of the Castilian and the Venetian language for The Greek, 1541 – April 7, 1614) was a prominent painter, sculptor, and architect of the Spanish Renaissance. ...
July 2 is the 183rd day of the year (184th in leap years) in the Gregorian Calendar, with 182 days remaining. ...
Events March 17 - formation of the Cathay Company to send Martin Frobisher back to the New World for more gold May 28 - Publication of the Bergen Book, better known as the Solid Declaration of the Formula of Concord, one of the Lutheran confessional writings. ...
In religious terminology, a dean is a title accorded to persons holding cartain positions of authority within a religious heirarchy. ...
Harold Wethey regards the painting as a "masterpiece of extraordinary originality".[3] The powerful effect of the painting especially depends upon his original and forceful use of colour. Something of the effect of the grand images of the Saviour in Byzantine art is recalled. The motif of the crowding round Christ suggests an acquaintance with the works of the Northern artist, Bosch; the figure preparing the Cross could be derived from the similar figure bending forward in Raphael's tapestry cartoon of the Miraculous Draught of Fishes. This is, however, the last time that there are any hints of specific borrowings. The original altar of gilded wood that El Greco designed for the painting has been destroyed, but his small sculptured group of the Miracle of St. Ildefonso still survives on the lower center of the frame.[3] This article is about Jesus of Nazareth. ...
The most famous of the surviving Byzantine mosaics of the Hagia Sophia in Constantinople - the image of Christ Pantocrator on the walls of the upper southern gallery. ...
This page is about the title or the Divine Person. For the Messiah and Son of God, see Jesus. ...
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Raphael or Raffaello (April 6, 1483 – April 6, 1520), born in Urbino, Italy, was a master painter and architect of the Florentine school in the Italian High Renaissance, celebrated for the perfection and grace of his paintings. ...
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The painting shows Christ looking up to Heaven with an expression of serenity; his idealized figure seems segregated from the other people and the violence surrounding him.[2] A figure in the background bearing a red hat points at Christ accusingly, while two others argue over his garments. A man in green to Christ's left holds him firmly with a rope and is about to rip off his robe in preparation for his crucifixion. At the lower right, a man in yellow bends over the cross and drills a hole to facilitate the insertion of a nail to be driven through Christ's feet. The radiant face of the Savior is violently juxtaposed to the coarse figures of the executioners, who are amassed around him creating a disturbance with their movements, their gestures and lances.[4] Crucifixion of St. ...
Christ is clad in a bright red robe; it is precisely on this red tunic that El Greco concentrated the full expressive force of his art. The purple garment (a metonymic symbol of the divine passion) is spread out in a light fold; only the chromatic couple of yellow and blue in the foreground raises a separate note which approaches, in power, the glorifying hymn of the red.[4]
On the left side of the composition, the three Marys contemplate the event with distress. This is an innovation of El Greco, since the three Marys included in the scene are not mentioned in the account of the Gospels.[4] The presence of three women and the placement of the tormentors above the body of Christ caused the critical comments of the commissioners of the Cathedral, who refused to pay the price set.[2] The Three Marys (or Maries) refer to the three biblical Marys that came to the sepulchre of Jesus in the Gospels. ...
In designing the composition vertically and compactly in the foreground El Greco seems to have been motivated by the desire to show the oppression of Christ by his cruel tormentors. The figure of Christ, robust, tall and tranquil, dominates the center of the composition which is built vertically like a wall.[4] El Greco chose a method of space elimination that is common to middle and late 16th-century Mannerists. According to Wethey, El Greco "probably recalled late Byzantine paintings in which the superposition of heads row upon row is employed to suggest a crowd".[3] Mannerism is the term used to describe the artistic style that arose in mid-16th century. ...
The Disrobing of Christ was a subject of a dispute between the painter and the representatives of the Cathedral regarding the price of the work; El Greco was forced to have recourse to the courts to claim his just recompense.[4] Despite the complaints of the commissioners of the Cathedral it had a huge success; currently, more than 17 versions of the painting are known.[2]
References - ^ M. Lambraki-Plaka, El Greco-The Greek, 43-44
- ^ a b c d M. Tazartes, El Greco, 100
- ^ a b c "Greco, El". Encyclopædia Britannica. (2002).
- ^ a b c d e M. Lambraki-Plaka, El Greco-The Greek, 53
| El Greco | General: The Artist | Chronology | Technique and style | Posthumous fame | Cretan School | Spanish Renaissance | Mannerism
Paintings: List of notable works | The Dormition of the Virgin | The Disrobing of Christ (El Espolio) | The Burial of the Count of Orgaz | View of Toledo | Opening of the Fifth Seal | The Adoration of the Shepherds
The Encyclopædia Britannica is a general encyclopedia published by Encyclopædia Britannica Inc. ...
Image File history File links Download high-resolution version (950x1164, 213 KB) El Greco - The Burial of the Count of Orgaz (1586-88, Oil on canvas, 480 x 360 cm) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed...
El Greco (possibly a combination of the Castilian and the Venetian language for The Greek, 1541 – April 7, 1614) was a prominent painter, sculptor, and architect of the Spanish Renaissance. ...
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El Greco was a prominent painter, sculptor and architect of the Spanish Renaissance. ...
The Dormition of the Virgin (before 1567, tempera and gold on panel, 61,4 x 45 cm, Holy Cathedral of the Dormition of the Virgin, Hermoupolis, Syros) was probably created near the end of El Grecos Cretan period. ...
By region Italian Renaissance Spanish Renaissance Northern Renaissance French Renaissance German Renaissance English Renaissance The Spanish Renaissance was a movement in Spain, originating from the Italian Renaissance in Italy, that spread during the 15th and 16th centuries. ...
Mannerism is the term used to describe the artistic style that arose in mid-16th century. ...
El Greco was a Cretan-born painter, sculptor and architect of the Spanish Renaissance. ...
The Dormition of the Virgin by El Greco was probably created near the end of the artists Cretan period (before 1567). ...
The The Burial of the Count of Orgaz is now El Grecos best known work. ...
View of Toledo, sometimes called Toledo in a Storm, is one of the two surviving landscapes painted by El Greco (Domenikos Theotokopoulos). ...
The Opening of the Fifth Seal (or The Fifth Seal of the Apocalypse or The Vision of Saint John) was painted in the last years of El Grecos life for a side-altar of the church of Saint John the Baptist outside the walls of Toledo. ...
The Adoration of the Shepherds was painted during the last year of El Grecos life. ...
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