El Greco Essay example -- Essays Papers

El GrecoThe badgering In the Garden, a mannerist bearing of subterfuge by EL Greco, procl forces a hotshot 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 roughly characteristic figure of Spanish airs. El Greco wasinfluenced by and became acquainted with the dodge of Titian and Jacopo Bassano in Venicewhere he studied in 1566. In addition to visit Italy, El Greco made his way to Rome,Parma and probably Florence. On his travels he became more than familiar with the work ofParmigianino and the work of Correggio. In El Grecos procedure of form throw out 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 works of guile being selected by Philip II, probably attracted El Greco to Spain. However, El Grecofailed to rew ard the Italianate tastes of the King. He lived virtually uninterruptedly in Toledo from 1575 on. In Toledo he make friendships with men of advanced beliefs andhumanist interests. The monastic, from which his prime commitment came, were glad to illustrate their churches and cloisters with his elevated visionary paintings. El Grecopaintings bordered on a superhuman world of creative fantasy. Most of his paintingssurvive in a anatomy of copies painted in his own hand. El Grecos studio which employ a large number of assistants also produced many contrasts of his works. People were really curious about his paintings with their unusual restrictting and flickeringimpressiveness.In The Agony In The Garden there are two planes displayed in the art work thatare disconnected by a few devoid branches that contain fugitive leaves. The upper planeconsists of the vision of Christ set against a large rock with a few trees. Christ is kneelingin a reddish-purple robe, with hands stretch ed 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. prior from an outline of an imaginary town, on the right, aresoldiers carrying flags. The inconceivable impression of the determine is due to the contrast of not only passionate and cerebral barely 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 universal and benefited most formthe prudent principles of their times. A Baroque painter yet 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 condemned Mannerism in someunstable terms, with all its integrit y 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 later on it had been dead for a few centuries. It fist came back to life with the uncovering 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.