Visualizzazione post con etichetta Greek Art. Mostra tutti i post
Visualizzazione post con etichetta Greek Art. Mostra tutti i post
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El Greco | L'eredità artistica

El Greco (1541-1614) fu molto poco considerato dalle generazioni immediatamente successive, perché il suo lavoro sotto molti aspetti era opposto ai principi del primo stile barocco che iniziò ad imporsi verso gli inizi del XVII secolo e che presto finì per soppiantare gli ultimi fuochi del manierismo del XVI secolo.
El Greco fu giudicato incomprensibile e non ebbe seguaci di rilievo.
Solo suo figlio e alcuni altri sconosciuti pittori realizzarono delle poco valide imitazioni dei suoi lavori.
Tra la fine del XVII secolo e l'inizio del XVIII dei critici spagnoli iniziarono a lodare la sua abilità, criticando però al contempo il suo stile anti-naturalistico e la sua complessa iconografia.


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El Greco (1541-1614) | Technique and style

The primacy of imagination and intuition over the subjective character of creation was a fundamental principle of El Greco's style.
El Greco discarded classicist criteria such as measure and proportion. He believed that grace is the supreme quest of art, but the painter achieves grace only by managing to solve the most complex problems with ease.
El Greco regarded color as the most important and the most ungovernable element of painting, and declared that color had primacy over form.

Francisco Pacheco, a painter and theoretician who visited El Greco in 1611, wrote that the painter liked "the colors crude and unmixed in great blots as a boastful display of his dexterity" and that "he believed in constant repainting and retouching in order to make the broad masses tell flat as in nature".


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El Greco (1541-1614) | Mannerist painter

Doménikos Theotokópoulos / Δομήνικος Θεοτοκόπουλος, most widely known as El Greco ("The Greek"), was a painter, sculptor and architect of the Spanish Renaissance.
"El Greco" was a nickname, a reference to his Greek origin, and the artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος (Doménikos Theotokópoulos), often adding the word Κρής (Krēs, "Cretan").


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El Greco (1541-1614) | Influence on other artists

According to Efi Foundoulaki, "painters and theoreticians from the beginning of the 20th century 'discovered' a new El Greco but in process they also discovered and revealed their own selves".
His expressiveness and colors influenced Eugène Delacroix and Édouard Manet.
To the Blaue Reiter group in Munich in 1912, El Greco typified that mystical inner construction that it was the task of their generation to rediscover.
The first painter who appears to have noticed the structural code in the morphology of the mature El Greco was Paul Cézanne, one of the forerunners of Cubism.
Comparative morphological analyses of the two painters revealed their common elements, such as the distortion of the human body, the reddish and (in appearance only) unworked backgrounds and the similarities in the rendering of space.