Sunday, March 17, 2019

Our Moving Fate: A Study of El Greco’s Assumption of the Virgin Essay

Our Moving Fate A Study of El Grecos Assumption of the Virgin El Greco piebald his Assumption of the Virgin in 1577 for the convent of Santo Domingo el Antiguo in Toledo, Spain. Born in Greece as Domenikos Theotocopoulos, (his nickname translates from Spanish into The Greek), El Greco was the top artist of the Spanish School, and was commissioned to paint Assumption to adorn the convents altar. The characterization is a daunting sizeover six feet wide and doubly as tallsurrounded by a wooden set tinted with a non-uniform metallic gold paint. The oil on canvas creates some, although not obvious texture, and brush strokes are visible only slightly in the garments of the human subjects. The Virgin Mary is the main figure in the painting, placed horizontally-centered in the upper-half of the canvas. She is wearing a blue flowing g aver which begins to a lower place her bosom and reaches down to her feet, and a deep red fabric covers her toilet table and upper limbs. Her arms are outstretched and she is looking up into the heavens, flanked by female angels, adults and infants, who are praying and looking on. Below the clouds in the bottom-half of the canvas is a group of mortal men with mixed emotions and split into two groups release a part in the mass directly below Mary. totally of the figures wear loose outfits similar to Marys, and many of the colors, bright and not full, are repeated throughout. One subtle detail peculiarly worth noting is a small piece of white paper in the bottom right-hand corner of the canvas. El Greco added the image to the paintings that he believed were his unbowed masterpieces. Regardless of any analysis, it is certain that El Greco was extremely proud of Assumption, and believed it to be one of his best.... ...Assumption of the Virgin, El Greco has done three remarkable things. His workout of sneaky geometry and symbolism first completely hijacks control of the viewers gaze, and then creates a dynamic, acceler ating scene on what is in reality a canvas at rest. Finally, instead of simply presenting a scene, he creates an existing anticipation of judgment, and brings the viewer so completely into the scene that he shares the aforementioned(prenominal) fate as the painted mortals themselves. It is fitting that El Grecos masterpiece made its way to the altar in a sanctuary, where its effect would be most appropriate. And perhaps this was El Grecos intention all along. As a believing Catholic, he must have been satisfied to slam that worshipers praying in Antiguos church would witness, and literally join humankind as they desperately tried to please God, agonizing over his judgment of their own fate.

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