![]() ![]() His presentation remains faithful to the Gospel accounts (Matthew 26:36-46 Mark 14:32-42 Luke 22:39-46) and traditional iconography established in Christian art since the late Middle Ages. In the MNBA’s painting, El Greco handled an episode from the Passion of Christ: Jesus’ prayer on the Mount of Olives prior to his arrest and the crucifixion. In parallel, he introduced increasingly radical anatomical alterations, situating his figures in space in a way that defied Renaissance laws of perspective, under skies scored by streaks of light in strange, almost unreal atmospheres. ![]() In this city, his style evolved into a very personal synthesis, where color and brushstrokes acquire primary roles. By 1576 he had moved to Spain and there are records in 1577 of his presence in Toledo, where he would remain until his death. ![]() These changes were affirmed during his later stay in Rome. ![]() Commentary on Jesus in the Garden of Olives (Jesús en el Huerto de los Olivos)Įl Greco received his artistic formation in studios en Crete, but by 1566 he had relocated to Venice, where he modified his post-Byzantine manner of painting, turning toward greater emphasis on chromatic contrasts and more concern for manipulating anatomy and space. ![]()
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