How To Use El greco In A Sentence
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Soutine's paintings of skinned rabbits, plucked fowl, fish and beef carcasses—metaphors for suffering and martyrdom, especially the Crucifixion—were inspired by paintings of similar subjects by Titian, El Greco, Rembrandt and Chardin.
Constructivist Criticism Laid Bare
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The London version may come from the large room, which Pacheco saw on his visit to El Greco, full of reduced versions of his paintings which he kept for replicating his works or as a record of their authenticity.
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The oddly attenuated, gothic proportions of her figures, for example, derive from Varo's admiration for El Greco.
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El Greco began as an icon painter in Crete, and certain formal qualities of Byzantine icons - such as their elongation of the figure - never left his art.
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This show includes six nonobjective masterpieces by Malevich, including "Suprematist Composition: Airplane Flying" (1915), which seemingly positions us at the origin of creation, and "Mystic Suprematism" (1920-27), a precise distillation of the torsion experienced in an El Greco crucifixion.
Intersecting Planes and Opposing Angles
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Neither panels, as wings of a triptych, are of course signed, but they witness to a feature of El Greco's life - the production of multiple versions of the same scenes.
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Much of the modern study of El Greco might be described as oscillating between two extremes - either a sharp focus on the attribution of his works, or a discursive handling of the historiography of the artist's personality and image.
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El Greco's Jeronimo de Cevallos, with its slightly blurred focus and vigorous brushwork, anticipates techniques to be used by Velazquez in his paintings of dwarfs and buffoons.
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The best pieces include three paintings by El Greco.
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At the Venice Biennale he encounters "jet-lagged, hectic miens," while El Greco is called "a pictorial rhapsode of militant piety.
An Eye on the Tremors
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But El Greco's figures crowd together; their arms, even when outflung, tend to be absorbed into a complex surface pattern; and the marble architectural settings with their converging perspectives are just backdrops.
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The decisive turning point in the scholarship of early El Greco came out of the blue in 1983, when the Dormition of the Virgin shown in the London exhibition was found.
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With the passing of time, affluent and cultured owners acquired Italian bronzes, stained glass, Gobelin tapestries, and paintings by El Greco, Goya, and Murillo.
Relive the romance of colonial Mexico at a hacienda hotel
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On one wall, there is a gallery of grave, extenuated figures that recall El Greco.
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He is strongly influenced by Spanish painters such as Goya and El Greco.
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Or again, it might be a stern El Greco horizon, pregnant with inky rain, and a passing glimpse of some mummy-necked farmer, and all around alternating stripe of quicksilverish water and harsh green corn, the whole arrangement opening like a fan, somewhere in Kansas.
Nabokov's Art as Story
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Over the span of his life, El Greco moved from an environment dominated by the archaic patterns of piety of the Eastern Church to the febrile, religious atmosphere of Counter-Reformation.
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He is strongly influenced by Spanish painters such as Goya and El Greco.
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Since Pallucchini's researches into the known history and provenance of the Modena triptych turned up only references to its existence in north Italy, he concluded it was a work done during El Greco's period in Venice.
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He was better pleased with the rounded amplitudes of the Danae and the Venuses painted for him by Titian, than by El Greco's wizened male nudes the colour of fog.
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This work, and two other El Greco icons, will be seen for the first time in this country at the Metropolitan exhibition. They are also the first works visitors will see.
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El Greco was like a writer, sometimes a poet and sometimes a versifier, who had little command of syntax.
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The brilliance of the miniature of the stoning of St Stephen, on that saint's chasuble, makes one wonder how much El Greco learned from Clovio and what success he would have had with small details, if he had not generally painted in haste.
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From the granite-and-marble statues of Old Testament kings above the main courtyard, to the blue azulejo tiles in the royal apartments (to say nothing of the Titians, El Grecos, and Riberas), the Escorial has borne up splendidly over four centuries.
The Caudillo’s Cloister
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If El Greco painted at a remove from reality, using figurines as models, that was because he opted to do so.
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At this period El Greco did not paint from life, except for the heads in his portraits.
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It gave his face a lean, rather surprisingly attractive ascetic look—the look of long-distance runners, saints, martyrs, and fanatics, the kind of elongated, soulful face that El Greco painted so hauntingly.
Twilight