The outlet exists in the almost intangible push a push expressed by the void between the tip of the foot and the tip of the flagstaff given to the newly created young body of Christ.
A miraculous, yet natural, ascension of this luminous new body is achieved. The disorder of bodies in turmoil below becomes an accompanying support; the equilibrium of rhythm is re-established, and with it the continuity and interconnection of subject and pattern.
Toggle navigation El Greco. At least it gives me one. You see, it makes me look up … a lot. Of the nine figures portrayed, the only soles that touch terra firma are those of the sentry wearing the blue cloak. One minute all is low-key. Then a powerful highlight drapes the grounded man, as a flash of rebirth whirls the soldiers out of darkness and disbelief. A few thoughts on how he does it. Well, except for the feather-helmeted one who offers a nod to Piero.
Pinacoteca Comunale, Sansepolcro. El Greco halves his composition vertically. But he provides numerous unifying elements, such as the echoing raised arms of the soldiers—especially the skewed triangle formed between Jesus and the two guards in blue bordering him below. Another unifier: all but one of the sentries look up, taking our gaze with them. And then there are those coy elbows, toes, and strips of cloth, hailing from a long line of fig leaves, which create a rhythm of bleeps that lead us up and down.
El Greco painted psychology and religion like no one else. He took revolutionary liberties with sinuous, sensuous forms. But El Greco, a believer, believed in discretion over description. Like storm-blown trees, the soldiers ring around a spiritual rose. The star of the show, upright and ascending, is sublime; the strongly foreshortened guard beneath him is a great big crumpled doormat to trip over. Whirling drapery, vivid colours and elongated figures with arms dislocated by emphatic gestures add to the drama of the picture.
Broad brush strokes, high contrast lighting and violent foreshortening of the figures create energy as well as tension. This style of painting foreshortening of figures is often viewed as Byzantine which is not a surprise since El Greco himself was born in Crete and attended the Cretan school where he trained as an icon painter. El Greco was a visionary; many art historians believe that his style prepared the way for the modernism of the early twentieth century. The Expressionist movement that originated in Austria and Germany seem closely related to his distorted bodies.
Download as PDF Printable version. El Greco — Italian-Spanish painter, sculptor, architect, artist, draftsperson and designer. Toledo , Crete , Venice , Rome. Authority control. Height: cm Museo del Prado Inventory.
Museo Nacional del Prado. Madrid , Spain.
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