By Andrew R. Casper
Artwork and the non secular snapshot in El Greco’s Italy is the 1st book-length exam of the early profession of 1 of the early glossy period’s so much notoriously misunderstood figures. Born round 1541, Domenikos Theotokopoulos begun his occupation as an icon painter at the island of Crete. he's top recognized, below the identify “El Greco,” for the works he created whereas in Spain, work that experience provoked either rapt admiration and scornful disapproval considering the fact that his demise in 1614. however the approximately ten years he spent in Venice and Rome, from 1567 to 1576, have remained underexplored beforehand. Andrew Casper’s exam of this era permits us to realize a formal knowing of El Greco’s whole profession and divulges a lot in regards to the tumultuous surroundings for non secular portray after the Council of Trent.
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Extra info for Art and the Religious Image in El Greco's Italy
Veronica’s Veil, ca. 1577–79. Private collection. Photo: Oronoz Archivo Fotográfico. Figure 16 El Greco, St. Veronica, ca. 1580. Formerly Colección Maria Louisa Caturla, Madrid. Photo © Fundació Institut Amatller d’Art Hispànic / Arxiu Mas. Figure 17 El Greco, St. Veronica, ca. 1580. Museo de Santa Cruz, Toledo. Photo: Erich Lessing / Art Resource, New York. Figure 18 El Greco, St. Veronica’s Veil, ca. 1580. Private collection. 30 31 Art and the Religious Image in El Greco’s Italy A man of average or moderate height, and very distinguished.
Figure 17 El Greco, St. Veronica, ca. 1580. Museo de Santa Cruz, Toledo. Photo: Erich Lessing / Art Resource, New York. Figure 18 El Greco, St. Veronica’s Veil, ca. 1580. Private collection. 30 31 Art and the Religious Image in El Greco’s Italy A man of average or moderate height, and very distinguished. He has an impressive appearance, so that those who look on him love and fear him. His hair is the color of a ripe hazel-nut. It falls straight almost to the level of his ears; from there down it curls thickly and is rather more luxuriant, and this hangs down to his shoulders.
The idea of an angel operating as Luke’s aid is evident in Jan Gossaert’s second St. Luke Painting the Virgin and Child, in which an angel guides the Evangelist’s hand as he records graphically the mystical apparition of Mary and Christ before him (fig. 6). The decision to include the angel assisting Luke in this manner was inspired by the icon of Christ at San Giovanni in Laterano that Gossaert saw in Rome in 1508. 27 El Greco’s angel does not appear to participate directly in Luke’s physical manufacture of the image.