El
Greco
El
Christ Driving the
Money
Changers from the Temple 1600 oil on canvas, 41% x 51 in. c.
(106.3 x 129.7 cm)
Greco
The
Spain
1
detail.
monumental
at is as a
bridge
experience ami beginning of his lite in Italian
Greco
St. Louis,
and Page
Italian training
oil
1586
on
46 x
canvas, 37'/2in.
(117x 95 cm) Louvre, Paris
The
tin-
works. At the
same time, the overpowering melancholy that envelops the figures,
the elongation of the
forms, and the atmosphere
physicality, attention
of bitter foreboding are characteristic of the
to descriptive detail (e.g.,
all
the breastplate painted
painter's
with almost
and are
features peculiar to his earliest
c.
illusionistic
precision), and three-
dimensional energy
The abandoni
Mu
al
<l
bod]
the
s
helangelo
Judgment
in
mature work, which aims at a complete autonomv o( form.
(tin- Last
thr Sistine
Chapel and the Rondanini w lni h Greco had
fieta),
derive from El Greco's
King of France,
ful
influence of thr late works
between the master's
El
powei
a
of Christ show
(iOOx 179 cm) rnnlo, MaJnJ
painting
forci
depi( tu'M ol anatomic
18 x 70'/2in.
This solemn,
expressivi
In
balanced In
1577 on canvas,
oil
of National Gallery, London
I
ami imaginative thrust are
Trinity
I
I
evidently studied during ili.
El
\
eai
s
spent
in
Rome.
Greco
The Miracle of
Christ
Healing the Blind
1570-1577 on canvas, 47 x 57'/2 in. (119.4X 146.1 cm) Metropolitan Museum of Art, New York oil
Repeated
in a
versions, this painter's
number is
of
one of the
most interesting
youthful compositions. Influenced by the Venetian style,
it
Italian
when
dates from the
period, the vcars
Greco was a "worthy follower* of Titian. In this II
described as ease,
however, he appears
to follow not so
much
tin-
teaching of Titian as the
"manner" of Tintoretto. li