LaurieAnnie's photos with the keyword: ElGreco

The Miracle of Christ Healing the Blind, possibly ca. 1570 El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 47 x 57 1/2 in. (119.4 x 146.1 cm) Gift of Mr. and Mrs. Charles Wrightsman, 1978 (1978.416) This early work by El Greco, of which there are variants in the museums of Dresden and Parma, was perhaps painted in Venice about 1570. The subject was popular during the period of the Counter-Reformation because the healing of blindness is emblematic of the revelation of the true faith. Text from: www.metmuseum.org/toah/hd/grec/ho_1978.416.htm

The Miracle of Christ Healing the Blind, possibly ca. 1570 El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 47 x 57 1/2 in. (119.4 x 146.1 cm) Gift of Mr. and Mrs. Charles Wrightsman, 1978 (1978.416) This early work by El Greco, of which there are variants in the museums of Dresden and Parma, was perhaps painted in Venice about 1570. The subject was popular during the period of the Counter-Reformation because the healing of blindness is emblematic of the revelation of the true faith. Text from: www.metmuseum.org/toah/hd/grec/ho_1978.416.htm

Saint Jerome as Cardinal, ca. 1610–14 El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 42 1/2 x 34 1/4 in. (108 x 87 cm) Robert Lehman Collection, 1975 (1975.1.146) Cloaked in the red vestments of a cardinal, Saint Jerome rests his hands on an open book, an allusion to his translation of the Bible from Greek to Latin in the fifth century. Artists have generally shown Saint Jerome as penitent ascetic, recalling his retreat to the Syrian desert. But by the fifteenth century, under the influence of Italian humanism, Jerome takes on the guise of a scholar. Text from: www.metmuseum.org/TOAH/ho/09/eusi/ho_1975.1.146.htm

Saint Jerome as Cardinal, ca. 1610–14 El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 42 1/2 x 34 1/4 in. (108 x 87 cm) Robert Lehman Collection, 1975 (1975.1.146) Cloaked in the red vestments of a cardinal, Saint Jerome rests his hands on an open book, an allusion to his translation of the Bible from Greek to Latin in the fifth century. Artists have generally shown Saint Jerome as penitent ascetic, recalling his retreat to the Syrian desert. But by the fifteenth century, under the influence of Italian humanism, Jerome takes on the guise of a scholar. Text from: www.metmuseum.org/TOAH/ho/09/eusi/ho_1975.1.146.htm

Christ Carrying the Cross, ca. 1580s (?) El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 41 3/8 x 31 in. (105 x 79 cm) Robert Lehman Collection, 1975 (1975.1.145) During his long career in Spain, El Greco produced numerous paintings of Christ Carrying the Cross. The Lehman canvas, arguably his earliest version of the subject, is not a narrative scene: no other figures are represented and the setting is not recognizable. Instead, it is a devotional image of haunting immediacy, resonant with pathos. Christ's willing sacrifice for humankind is expressed through his gentle embrace of the cross and his heavenward gaze. Text from: www.metmuseum.org/TOAH/HD/grec/ho_1975.1.145.htm

View of Toledo El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 47 3/4 x 42 3/4 in. (121.3 x 108.6 cm) H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.6) The painter's given name was Domenikos Theotokopoulos. In Toledo, where he lived for nearly forty years, he was known as "El Greco" (the Greek). This view is the only independent landscape by the artist that survives. He has imaginatively reconfigured the city, showing the cathedral not in its actual position but to the left of the Alcázar palace. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=11&vie...

View of Toledo El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 47 3/4 x 42 3/4 in. (121.3 x 108.6 cm) H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.6) The painter's given name was Domenikos Theotokopoulos. In Toledo, where he lived for nearly forty years, he was known as "El Greco" (the Greek). This view is the only independent landscape by the artist that survives. He has imaginatively reconfigured the city, showing the cathedral not in its actual position but to the left of the Alcázar palace. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=11&vie...

The Vision of Saint John, 1608–14 El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas (top truncated); 87 1/2 x 76 in. (222.3 x 193 cm); with added strips 88 1/2 x 78 1/2 in. (224.8 x 199.4 cm) Rogers Fund, 1956 (56.48) The painting depicts a passage in Revelation (6:9–11) describing the opening of the Fifth Seal and the distribution of white robes to "those who had been slain for the work of God and for the witness they had borne." It is cut down from a larger altarpiece painted between 1608 and 1614 for the church of the hospital of Saint John the Baptist in Toledo. The missing upper part may have shown the Sacrificial Lamb opening the Fifth Seal. The broad, open brushwork is characteristic of El Greco's late style. The picture is unfinished and much damaged and abraded. Text from: www.metmuseum.org/toah/hd/grec/ho_56.48.htm

Portrait of a Cardinal, Probably Cardinal Don Fernando Niño de Guevara (1541–1609), ca. 1600 El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 67 1/4 x 42 1/2 in. (170.8 x 108 cm) H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.5) This portrait dates from about 1600. The identification of the sitter as Cardinal Guevara, the Grand Inquisitor, is not certain. Text from: www.metmuseum.org/works_of_art/collection_database/europe...

The Adoration of the Shepherds El Greco (Domenikos Theotokopoulos) (Greek, Candia [Iráklion] 1540/41–1614 Toledo) Date: ca. 1610 Medium: Oil on canvas Dimensions: 56 7/8 x 39 7/8 in. (144.5 x 101.3 cm); with added strips 64 1/2 x 42 in. (163.8 x 106.7 cm) Classification: Paintings Credit Line: Rogers Fund, 1905 Accession Number: 05.42 Gallery Label: Painted in about 1610, this picture repeats many of the features of a painting done for Juan de Ribera, patriarch of Antioch and archbishop of Valencia. El Greco often made replicas or variants of important compositions. Here the quality is actually higher than the prime version, though some workshop participation was involved (note, for example, the foreshortened hand of the pointing shepherd). X-rays show that in laying the composition some alterations were made: most significantly, the head of Joseph was first placed closer to the Virgin. El Greco's late work is characterized by a tendency towards abstraction and an almost dance-like, restless movement, with gestures indicating excitement and wonder. Yet the placid, homely features of the ass are an example of the way El Greco anchors even his most imaginative flights of fancy in sober observation. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Portrait of a Cardinal, Probably Cardinal Don Fernando Niño de Guevara (1541–1609), ca. 1600 El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 67 1/4 x 42 1/2 in. (170.8 x 108 cm) H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.5) This portrait dates from about 1600. The identification of the sitter as Cardinal Guevara, the Grand Inquisitor, is not certain. Text from: www.metmuseum.org/works_of_art/collection_database/europe...

The Adoration of the Shepherds El Greco (Domenikos Theotokopoulos) (Greek, Candia [Iráklion] 1540/41–1614 Toledo) Date: ca. 1610 Medium: Oil on canvas Dimensions: 56 7/8 x 39 7/8 in. (144.5 x 101.3 cm); with added strips 64 1/2 x 42 in. (163.8 x 106.7 cm) Classification: Paintings Credit Line: Rogers Fund, 1905 Accession Number: 05.42 Gallery Label: Painted in about 1610, this picture repeats many of the features of a painting done for Juan de Ribera, patriarch of Antioch and archbishop of Valencia. El Greco often made replicas or variants of important compositions. Here the quality is actually higher than the prime version, though some workshop participation was involved (note, for example, the foreshortened hand of the pointing shepherd). X-rays show that in laying the composition some alterations were made: most significantly, the head of Joseph was first placed closer to the Virgin. El Greco's late work is characterized by a tendency towards abstraction and an almost dance-like, restless movement, with gestures indicating excitement and wonder. Yet the placid, homely features of the ass are an example of the way El Greco anchors even his most imaginative flights of fancy in sober observation. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

The Miracle of Christ Healing the Blind, possibly ca. 1570 El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 47 x 57 1/2 in. (119.4 x 146.1 cm) Gift of Mr. and Mrs. Charles Wrightsman, 1978 (1978.416) This early work by El Greco, of which there are variants in the museums of Dresden and Parma, was perhaps painted in Venice about 1570. The subject was popular during the period of the Counter-Reformation because the healing of blindness is emblematic of the revelation of the true faith. Text from: www.metmuseum.org/toah/hd/grec/ho_1978.416.htm

El Greco, The Repentant St. Peter, 1600 - 1605 or later, Oil on canvas; 36 7/8 x 29 5/8 in.; 93.7 x 75.2 cm. Acquired 1922. Paintings, 0851, Spanish. acquired by 1899 and held til at least 1906; acquired by 1908; acquired by 1920. On display in Goh Annex, Gal 204. Text from the Phillips Collection website.

El Greco, The Repentant St. Peter, 1600 - 1605 or later, Oil on canvas; 36 7/8 x 29 5/8 in.; 93.7 x 75.2 cm. Acquired 1922. Paintings, 0851, Spanish. acquired by 1899 and held til at least 1906; acquired by 1908; acquired by 1920. On display in Goh Annex, Gal 204. Text from the Phillips Collection website.