On the Origin and Status of the “El Greco Fallacy”
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El Greco, a Mediator of Modern Painting
El Greco, a mediator of modern painting Estelle Alma Maré Tshwane University of Technology, Pretoria E-mail: [email protected] Without clear articulation of their insights, except in painted copies of and citations from his works, various modern artist seem to have recognised that formally El Greco’s late paintings are mental con- structs, representing only a schematic version of reality. El Greco changed the communicative function of painting from commenting on reality to constituting a reality. It is proposed that modern artists in a quest for a new approach to painting found El Greco’s unprecedented manner of figural expression, extreme degree of anti-naturalism and compositional abstraction a source of inspiration. For various painters that may have been a starting point in finding a new paradigm for art that was at a loose end after the influence of disciples of the French Academy terminated. Key words: El Greco, copying and emulation, Diego Vélazquez, Francis Bacon, Gustave Courbet, Éduard Manet, Edgar Degas, Paul Cézanne, J.F. Willumsen, Oscar Kokoschka, Pablo Picasso, Jackson Pollock El Greco, ’n medieerder van moderne skilderkuns Sonder dat hulle hul insigte duidelik geartikuleer het, behalwe in geskilderde kopieë van en aanhalings uit sy werke, het verskeie moderne kunstenaars blykbaar tot die insig geraak dat El Greco se latere skilderye denkkonstrukte is wat ’n geskematiseerde weergawe van die werklikheid verteenwoordig. Daar word betoog dat moderne kunstenaars op soek na ’n nuwe benadering tot die skilderkuns in El Greco se buitengewone wyse van figuurvoorstelling, anti-naturalisme en komposisionele abstraksie ’n bron van inspirasie gevind het. Vir verskeie kunstenaars was dit waarskynlik ’n aanknopingspunt vir die verwesenliking van ‘n nuwe paradigma vir kuns wat koers verloor het nadat die invloed van die dissipels van die Franse Akademie geëindig het. -
Quidditas 23 (2002)
QUIDDITAS Journal of the Rocky Mountain Medieval and Renaissance Association v olume 23 2002 ii QUIDDITAS 23 (2002) EDITORS Editor: Sharon A. Beehler, Montana State University Associate Editor: Eugene R. Cunnar, New Mexico State University Associate Editor: Margaret Harp, University of Nevada, Las Vegas Associate Editor: Harry Rosenberg, Colorado State University Book Review Editor: Lowell Gallagher, UCLA Associate Editor/Production: Kathryn Brammall, Truman State University MEMBERS OF THE EXECUTIVE COUNCIL AND EDITORIAL ADVISORY BOARD Susan Aronstein, University of Wyoming Sylvia Bowerbank, McMasters University (through 2003) Allen D. Breck, University of Denver (ex-officio) Jean R. Brink, Arizona State University (ex-officio) Stan Benfell, Brigham Young University (through 2004) Eugene R. Cunnar, New Mexico State University (ex-officio) Paul A. Dietrich, University of Montana (ex-officio) Thomas R. Eckenrode, Fort Lewis College (ex-officio) James Fitzmaurice, Northern Arizona University (ex-officio) Lowell Gallagher, UCLA (through 2000) Phebe Jensen, Utah State University (through 2001) Jean MacIntyre, University of Alberta (through 1999) Isabel Moreira, University of Utah (through 2001) Carol Neel, Colorado College (ex-officio) Glenn Olson, University of Utah (ex-officio) Joseph Perry, Brigham Young University (through 2004) Harry Rosenberg, Colorado State University (ex-officio) Charles Smith, State University of Colorado (ex-officio) Sara Jayne Steen, Montana State University (ex-officio) Jesse Swan, University of Northern Iowa (through 2004) Paul Thomas, Brigham Young University (through 2003) Michael Walton, University of Utah (through 1999) Charles Whitney, University of Nevada, Las Vegas (through 2003) Elspeth Whitney, University of Nevada, Las Vegas (through 2003) Jane Woodruff, William Jewell College (through 2004) © Copyright 2002 by The Rocky Mountain Medieval and Renaissance Association. -
The Grotesque in El Greco
Konstvetenskapliga institutionen THE GROTESQUE IN EL GRECO BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME © Författare: Lena Beckman Påbyggnadskurs (C) i konstvetenskap Höstterminen 2019 Handledare: Johan Eriksson ABSTRACT Institution/Ämne Uppsala Universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Lena Beckman Titel och Undertitel THE GROTESQUE IN EL GRECO -BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME Engelsk titel THE GROTESQUE IN EL GRECO -BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME Handledare Johan Eriksson Ventileringstermin: Hösttermin (år) Vårtermin (år) Sommartermin (år) 2019 2019 Content: This study attempts to investigate the grotesque in four paintings of the artist Domenikos Theotokopoulos or El Greco as he is most commonly called. The concept of the grotesque originated from the finding of Domus Aurea in the 1480s. These grottoes had once been part of Nero’s palace, and the images and paintings that were found on its walls were to result in a break with the formal and naturalistic ideals of the Quattrocento and the mid-renaissance. By the end of the Cinquecento, artists were working in the mannerist style that had developed from these new ideas of innovativeness, where excess and artificiality were praised, and artists like El Greco worked from the standpoint of creating art that were more perfect than perfect. The grotesque became an end to reach this goal. While Mannerism is a style, the grotesque is rather an effect of the ‘fantastic’.By searching for common denominators from earlier and contemporary studies of the grotesque, and by investigating the grotesque origin and its development through history, I have summarized the grotesque concept into three categories: between form, beyond language and beside the sublime. -
El Greco at the Ophthalmologist's
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AIR Universita degli studi di Milano Predella journal of visual arts, n°35, 2014 - Miscellanea / Miscellany www.predella.it / predella.cfs.unipi.it Direzione scienti" ca e proprieta ̀ / Scholarly Editors-in-Chief and owners: Gerardo de Simone , Emanuele Pellegrini - [email protected] Predella pubblica ogni anno due numeri online e due numeri monogra" ci a stampa / Predella publishes two online issues and two monographic print issues each year Tutti gli articoli sono sottoposti alla peer-review anonima / All articles are subject to anonymous peer-review Comitato scienti" co / Editorial Advisory Board : Diane Bodart, Maria Luisa Catoni, Michele Dantini, Annamaria Ducci, Fabio Marcelli, Linda Pisani, Riccardo Venturi Cura redazionale e impaginazione / Editing & Layout: Paolo di Simone Predella journal of visual arts - ISSN 1827-8655 pubblicato nel mese di Ottobre 2015 / published in the month of October 2015 Andrea Pinotti El Greco at the Ophthalmologist’s The paper aims at reconstructing the centennial history of the so-called “El Greco fallacy”, namely the hy- pothesis that the extremely elongated gures painted by the Cretan artist were due to his astigmatism and not to a stylistic option intentionally assumed by the painter. This hypothesis interestingly and prob- lematically intertwines the status of the perceptual image with the status of the represented picture. While o ering a survey of the main positions defended by ophthalmologists, psychologists, art critics and art historians on this optical issue, the essay tries to reject the false alternative between a physiologistic and a spiritualistic approach to art, both based on an unsustainable causalistic assumption. -
Masters in Art : a Series of Illustrated Monographs
JULY, 1908 EL GRECO PRICE, 20 CENTS IftpStajHitflrt |^M|k EL GRECO PART 103'- VOLUME 9 JJateHflDGuildQompany, Kublteljerg 42<$aunit$tRrt MASTERS I N ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 103 JULY VOLUME 9 351 <£r CONTENTS Plate I. The Annunciation Owned by Durand-Ruel Plate II. Portrait du Cardinal Tavera Museum, Toledo Plate III. The Assumption Art Institute, Chicago Plate IV. Portrait of Cardinal Sforza Pallavicino Art Museum, Boston Plate V. The Nativity Plate VI. St. Basil Prado Museum, Madrid Plate VII. Portrait of a Physician Prado Museum, Madrid Plate VIII. Portrait of Cardinal Don Fernando Nino de Guevara Private Collection Plate IX. Head of a Man Prado Museum, Madrid Plate X. Christ Dead in the Arms of God Prado Museum, Madrid The Life of El Greco Page 23 The Art of El Greco Page 28 Criticisms by Justi, Stirling-Max well, Muther, Ricketts, Lafond and Geffroy The Works of El Greco: Descriptions of the Plates and a List of Paintings Page 38 El Greco Bibliography Page 42 Photo-engravings by Suffolk Engraving and Electrotyping Co.: Boston. Press-work by the Everett Press: Boston. A complete index for previous numbers will be found in the Reader's Guide to Periodical Literature, which may be consulted in any library. PUBLISHERS’ ANNOUNCEMENTS SUBSCRIPTIONS: Yearly subscription, commencing with any number of the current calendar year, $2.00, payable in advance, postpaid to any address in the United States. To Canada, $2.25 ; to foreign countries in the Pos¬ tal Union, $2.50. As each yearly volume of the magazine commences with the January number, and as indexes and bindings are prepared for complete volumes, intending subscribers are advised to date their subscriptions from Jan¬ uary. -
Nawoord Summary Bibliografie Herkomst Afbeeldingen
VU Research Portal Het huis en de regels van het denken de Mare, H. 2003 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) de Mare, H. (2003). Het huis en de regels van het denken: Een cultuurhistorisch onderzoek naar het werk van Simon Stevin, Jacob Cats en Pieter de Hoogh. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 02. Oct. 2021 NAWOORD Nawoord Dichterbijhuis:overhetnutvancultuurhistorischesensibiliteit ‘Wanneermentegenoveruonsvakalsluxe-vakbetitelt,ishetaanutetoonen,dateen samenlevingmoeilijkgevaarlijkerkandolen,danwanneerzijdenwegtothaareigenkunstwerken heeftverlorenendathetbehoedendierwerkenenhetvrijhoudenvandatpadeenculturelearbeid isvanhetgrootstebelang.’H.vandeWaal, -
A One-Semester Art History Course Outline for High School Students
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1965 A One-Semester Art History Course Outline for High School Students Patricia R. Grover Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Art Education Commons, Curriculum and Instruction Commons, and the Secondary Education and Teaching Commons Recommended Citation Grover, Patricia R., "A One-Semester Art History Course Outline for High School Students" (1965). All Master's Theses. 455. https://digitalcommons.cwu.edu/etd/455 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A ONE-SEMESTER ART HISTORY COURSE ourLINB FOR HIGH SCHOOL STUDEN.rS A Thesis Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Education by Patricia R. Grover July 1965 • i ". ';. i:.; ~-ccb <,...6-0J £'Tl..J.,g. G'I APPROVED FOR THE GRADUATE FACULTY ________________________________ Edward C. Haines, COMMITTEE CHAIRMAN _________________________________ Louis A. Kollmeyer _________________________________ Clifford Erickson ACKNOWLBDGMENI' I wish to express my appreciation to all the members of my committee for the assistance they have given me, Mr. Haines, Dr. Brickson and Dr. Kollmeyer. Patricia R. Grover TABLE Of CONTENTS -
BRADLEY WALKER TOMLIN 1899 - 1953 Paintings
Baruch College The City University of New York 17 Lexington Avenue New York, New York 10010 BRADLEY WALKER TOMLIN 1899 - 1953 Paintings January 30 to Mar ch 3, 1989 Baruch College Gallery 135 East 22 Street, New York, New Yo r k 1001 0 Acknowledgments It is an honor for the Baruch College Gallery to present a group of Bradley Walker Tomlin's magnificent paintings. The exhibition could not have been organized without the expertise and assistance of guest curator Jeanne Chenault Porter and the advice of Jack Tilton. For their special efforts we t hank Sandy Summer, Miriam Allen, and Lenora Rock. Above all, we are grateful to the museums and collectors who generously lent their paintings. Katherine B. Crum Director Baruch College Gallery Introduction In 1989, with its figurative painting and appropriated imagery, this exhibition might appropriately be given the subtitle "Looking Back at the Av ant-Garde." The famousAbstract Expressionists who comprised the New York School of the late 1940s and 1950s are now our Old Masters. The group was never artistically homogenous but, in the words of Barnett Newman, consisted of "a collection of individual voices." For many New Yorkers Bradley Walker Tomlin's name may bring to mind the huge monochromatic painting Number 20, (1949) which is perpetually on display at the Museum of Modern Art. The work is a masterpiece despite its restrained palette, which is exceptional and seemingly out of character. For like Philip Guston, who dedicated a painting to him in 1952, Tomlin was a colorist. Guston remembered above all "how Tomlin could take an old yellow and a dirty white and make them sing." Nevertheless, out of an apparent desire to be involved in the experimentation carried out by t he painters of the New York School, he occasiona lly purged his paintings of all but black and white during the late 1940s, as 'seen in Tension by Moonlight of 1948. -
LOCATING El GRECO in LATE SIXTEENTH-CENTURY
View metadata, citation and similarbroughtCORE papers to you at by core.ac.uk provided by Online Repository of Birkbeck Institutional Theses LOCATING El GRECO IN LATE SIXTEENTH‐CENTURY ROME: ART and LEARNING, RIVALRY and PATRONAGE Ioanna Goniotaki Department of History of Art, School of Arts Birkbeck College, University of London Submitted for the degree of Doctor of Philosophy, July 2017 -1- Signed declaration I declare that the work presented in the thesis is my own Ioanna Goniotaki -2- ABSTRACT Much has been written about the artistic output of Domenicos Theotocopoulos during his time in Spain, but few scholars have examined his works in Venice and even fewer have looked at the years he spent in Rome. This may be in part attributed to the lack of firm documentary evidence regarding his activities there and to the small corpus of works that survive from his Italian period, many of which are furthermore controversial. The present study focuses on Domenicos’ Roman years and questions the traditional notion that he was a spiritual painter who served the principles of the Counter Reformation. To support such a view I have looked critically at the Counter Reformation, which I consider more as an amalgam of diverse and competitive institutions and less as an austere movement that strangled the freedom of artistic expression. I contend, moreover, that Domenicos’ acquaintance with Cardinal Alessandro Farnese’s librarian, Fulvio Orsini, was seminal for the artist, not only because it brought him into closer contact with Rome’s most refined circles, but principally because it helped Domenicos to assume the persona of ‘pictor doctus’, the learned artist, following the example of another of Fulvio’s friends, Pirro Ligorio. -
Selected Works Selected Works Works Selected
Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 SELECTED WORKS SELECTED WORKS S Snite Museum of Art nite University of Notre Dame M useum of Art SELECTED WORKS SELECTED WORKS Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 S nite M useum of Art Snite Museum of Art University of Notre Dame SELECTED WORKS Snite Museum of Art University of Notre Dame Published in commemoration of the 25th anniversary of the opening of the Snite Museum of Art building. Dedicated to Rev. Anthony J. Lauck, C.S.C., and Dean A. Porter Second Edition Copyright © 2005 University of Notre Dame ISBN 978-0-9753984-1-8 CONTENTS 5 Foreword 8 Benefactors 11 Authors 12 Pre-Columbian and Spanish Colonial Art 68 Native North American Art 86 African Art 100 Western Arts 264 Photography FOREWORD From its earliest years, the University of Notre Dame has understood the importance of the visual arts to the academy. In 1874 Notre Dame’s founder, Rev. Edward Sorin, C.S.C., brought Vatican artist Luigi Gregori to campus. For the next seventeen years, Gregori beautified the school’s interiors––painting scenes on the interior of the Golden Dome and the Columbus murals within the Main Building, as well as creating murals and the Stations of the Cross for the Basilica of the Sacred Heart. In 1875 the Bishops Gallery and the Museum of Indian Antiquities opened in the Main Building. The Bishops Gallery featured sixty portraits of bishops painted by Gregori. In 1899 Rev. Edward W. J. -
El Greco's Representation of Mystical Ecstasy
Maré El Greco’s representation of mystical ecstasy Estelle Alma Maré EL GRECO’S REPRESENTATION OF MYSTICAL ECSTASY ABSTRACT This article deals with one of El Greco’s most original inventions, namely the gesture expressing mystical ecstasy in angelic and human figures. It is introduced with a brief explanation of figural representation in Renaissance painting which was achieved by applying the premises of rhetoric in a visual way, that is by the means of the expressive gestures of figures. In El Greco’s later paintings, which were influenced by NeoPlatonic spiritual ideals, not only the figures of the angels — who are links between heaven and earth — embody spiritual ecstasy, but also human aspirants are portrayed as losing themselves in an ecstatic experience. These figures, merging themselves in a divine vision, are depicted with distinctive vertical forms, gesturing heavenwards in a specific way. The ecstatically gesturing figures are selected from El Greco’s most distinctive paintings. El Greco (15411614) was born in Crete, but left behind his Byzantine roots at the age of 27 and transformed himself from an icon painter into a Renaissance painter in the workshop of the great master Titian (1485/881576) in Venice. He sojourned in Rome from 1570 to 1575, where he enjoyed the patronage of Cardinal Alessandro Farnese who lodged him at the Palazzo Farnese. In Rome he worked as an independent artist, being admitted to the Guild of San Luca. In 1576 he went to Madrid, most probably to seek employment at the court of Philip II who was building his monastic retreat at El Escorial. -
El Greco's Portrait of Giulio Clovio As Creator: an Artistic Affinity and Assertion of Creative Identity Jordan Michael Severson University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2015 El Greco's Portrait of Giulio Clovio as Creator: an Artistic Affinity and Assertion of Creative Identity Jordan Michael Severson University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Severson, Jordan Michael, "El Greco's Portrait of Giulio Clovio as Creator: an Artistic Affinity and Assertion of Creative Identity" (2015). Theses and Dissertations. 982. https://dc.uwm.edu/etd/982 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. EL GRECO’S PORTRAIT OF GIULIO CLOVIO AS CREATOR: AN ARTISTIC AFFINITY AND ASSERTION OF CREATIVE IDENTITY by Jordan M. Severson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee August 2015 ABSTRACT EL GRECO’S PORTRAIT OF GIULIO CLOVIO AS CREATOR: AN ARTISTIC AFFINITY AND ASSERTION OF CREATIVE IDENTITY by Jordan M. Severson The University of Wisconsin-Milwaukee, 2015 Under the Supervision of Professor Tanya Tiffany In 1571, Domenikos Theotokopoulos of Crete, today remembered as El Greco, painted a spectacular portrait of the manuscript illuminator Giorgio Giulio Clovio while in Rome. In this portrait, El Greco commemorated Clovio and his work by depicting him with his most praised creation, The Farnese Hours.