El Greco Essay example -- Essays Papers

El GrecoThe crucifixion In the Garden, a mannerist fashion of graphicsistic production by EL Greco, procl begets a mother wit ofspiritual power of religious faith which accomplishes El Grecos aim to move hisaudience. El Greco was born on the island of Crete and lived from 1541 to 1614. Herepresented the to the highest degree characteristic figure of Spanish idiosyncrasy. El Greco wasinfluenced by and became acquainted with the cunning of Titian and Jacopo Bassano in Venicewhere he studied in 1566. In addition to tour Italy, El Greco made his way to Rome,Parma and probably Florence. On his travels he became to a greater extent familiar with the work ofParmigianino and the work of Correggio. In El Grecos mathematical function of form coffin nail be seenFlorentine Mannerism. Venetian Mannerism can be seen in the peculiar brilliance of hiscoloring. The plans for the construction of the Escurial and the discussion of whole caboodle of art being selected by Philip II, pro bably attracted El Greco to Spain. However, El Grecofailed to cope with the Italianate tastes of the King. He lived virtually uninterruptedly in Toledo from 1575 on. In Toledo he form friendships with men of advanced beliefs andhumanist interests. The monastic, from which his prime commitment came, were glad to clip their churches and cloisters with his elevated visionary paintings. El Grecopaintings bordered on a fey world of creative fantasy. Most of his paintingssurvive in a frame of copies painted in his own hand. El Grecos studio which busy a large number of assistants also produced many contrasts of his works. People were truly curious about his paintings with their unusual enclotheting and flickeringimpressiveness.In The Agony In The Garden there are two planes displayed in the art work thatare disconnected by a few strip branches that contain fugitive leaves. The upper planeconsists of the vision of Christ set against a large rock with a few trees. Christ is kn eelingin a reddish-purple robe, with hands stretched out toward the ground. He turns toward the floating angel who is painted in pearly greys. Behind the angel, on the left are spinning clouds. earlier from an outline of an imaginary town, on the right, aresoldiers carrying flags. The inconceivable impression of the exhibit is due to the contrast of not only passionate and cerebral tho in terms of colour- between the two planes and their figural content as w... ...were able tocombine themselves in the melting pot of the European humankind and benefited most formthe prudent principles of their times. A Baroque painter change surface conserved his nationalcharacteristics.Baroque made use of characteristics of the Mannerist style by engaging and futurematuring them. There was more unity in Mannerist styles outweighing ideas and morevariance in its forms of presentation. Classicism, however, was piercingly against everything mutual to Mannerism and the Baroque. It condemn ed Mannerism in someunstable terms, with all its integrity and degeneracys.The Masters, such as El Greco were forgotten, but that taste in art could not behidden forever. Mannerist art came back to life by and by it had been dead for a few centuries. It fist came back to life with the find of El Greco and others. BibliographyBousquet, J. (1964). La Peinture manieriste. Neuchatel Haraszti-Takacs, Marianne. (1968). The Masters of Mannerism. Corvina Press. Hauser, A. (1964). Der Manierismus. Munich. Sherarman, J. (1967). Mannerism. London. Wolf, R. and Millen, R. (1968). Renaissance and Mannerist Art. Harry N Abrams, Inc.