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‘’View of Toledo’’ SPOOKY HOUSE (Grade 6 Print: ‘’View of Toledo’’ by El Greco) Watercolor paint over black ink drawing makes a very spooky landscape for October. This project could be used to illustrate creative writing about adventure on a dark spooky night. The project will encourage students to include descriptive writing in the story. CURRICULUM CONNECTION: architecture, literature, creative writing, Illustration and landscape ART CONCEPT: Use of color for mood, lines to create feeling through drawing and painting (EALR grade 6 # 1.1.1, 1.1.2) MEDIUM: pens, watercolor and tempera TIME: Session 1: drawing and pen work 45mins-1hour Session 2: watercolor 30-45 minutes. GRADE LEVEL: 6 MATERIALS: white construction paper 12X18 Black fine tip felt pens, water- soluble Watercolor sets with brush Large brush about 1” wide or large round brush. Water container Paper towel Pictures of houses PROCEDURES: 1. Show pictures of old houses of various styles. Particularly pay attention to the siding, shutters, shingles porches and steps. 2. Students will make pencil drawings of the basic outline of their house. If they are illustrating their story it should match their description. DO NOT put in fine detail. 3. Use the black pens to trace over pencil lines and add fine detail. 4. Talk about what should be in the yard, and where is the horizon? Add these to the picture. 5. Painting with watercolor will smear the pen lines but it really adds to the spooky mood. Do a watercolor wash across the sky. Demo this. Wet a large brush with water and sweep it across the sky. Load the brush with dark blue, black, and or purple paint. Dab or swish it into the wet areas. Leave some areas white for clouds. This is a once over, very fast process. 6. Now the students will paint in the remainder of their pictures and may choose to use medium size brushes. 7. Let the picture dry. 8. Then press them under a pile of large books. 9. Display with their stories. .

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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.
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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.
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Music As an Angelic Message in El Greco's Oeuvre
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LOCATING El GRECO in LATE SIXTEENTH-CENTURY
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El Greco the Next Painting Is by a Famous Artist Called “El Greco” Which Is Spanish for “The Greek” A
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