Fernando Marías, El Greco: Life and Work—A New History (London: Thames & Hudson, 2013), pp.132-145, pp. David Davies, El Greco: Mystery and Illumination, exh. Long, “Greco peintre de retables: Ambitions et frustrations (1577–1582),” in Greco, exh. Teri J. Edelstein, Chicago, 1993, p. 24 (ill.). Long, ed., El Greco: Ambition and Defiance, exh. Jon Margolis, “Off-the-Wall Lessons in History: One Man’s Unorthodox View of the Art Institute,” Chicago Tribune Magazine, Sept. 17, 1995, p. 16. Élie Lambert, “Les Procédés du Greco,” Gazette des Beaux-Arts, 5th ser., 10 (1924), p. 154. 53, 188–89, no. 13. David A. Hardy, exh. Palma Martínez-Burgos, El Greco (Madrid: Editorial LIBSA, 2014), pp. 288–89. cat., Fine Arts Museums of San Francisco, 1998, pp. Elizabeth du Gué Trapier, El Greco: Early Years at Toledo, New York, 1958, pp. José Gudiol, Spanish Painting, exh. He quickly earned a major commission for the altarpiece for the Church of Santo Domingo el Antiguo in Toledo, the result being the monumental The Assumption of the Virgin (1577–79). Fiske Kimball and Lionello Venturi, Great Paintings in America, New York, 1948, p. 94, no. cat., San Francisco, M. H. De Young Memorial Museum, 1947, n.pag. Assumption of the Virgin 1577 El Greco (1541-1614/Greek) Oil on Canvas Art Institute of Chicago ist eine lizenzierte Nachbildung, die auf Premium-schweres Papier, die alle von den lebhaften Farben und Details des Originals einfängt gedruckt wurde. Antonio Weyler, “Reflexiones sobre El Greco,” Arte español 10 (1929), pp. ed., 1943, p. 142. The Art Institute of Chicago, Master Paintings in The Art Institute of Chicago, Chicago, 1988, pp. Guillermo J. de Guillén García, “Domenico Theotocópuli (El Greco): Sus cuadros,” Revista de la Asociación artístico arqueológica barcelonesa 3 (1899), p. 243. 249–53, figs. 1, 5. Allan Braham, “Two Notes on El Greco and Michelangelo,” Burlington Magazine 108 (1966), pp. Kenneth S. Lynn, Hemingway, Cambridge, Mass., 1987, pp. 299 (ill.). Suzanne Stratton, La inmaculada concepción en el arte español, Madrid, 1989, pp. First, she convinced her friends Louisine and Henry Havemeyer to loan Durand-Ruel the money to purchase the painting. Byzantine art was produced in the Middle Ages, in the Byzantine Empire, and the art was almost entirely centered on religious themes and … Verardo García Rey, El Déan de la Santa Iglesia de Toledo, don Diego de Castilla, Toledo, 1927, pp. 31-34 (illustrated, but miscredited to the Museo del Prado). The Assumption of the Virgin … The subject was represented by numerous artists, but El Greco’s take of the theme is … “La exportació de objectes d’art,” Forma 2 (1907), p. 451. Steven F. Ostrow, “Zurbarán’s Cartellini: Presence and the Paragone,” Art Bulletin 99 (2017), pp. 2, p. 1356, no. 14. cat., ed. ed. Fernando Marías, “The Greek, Between Invention and History,” in El Greco of Toledo: Painter of the Visible and the Invisible (Madrid: Ediciones El Viso, 2014), pp. Kyle MacMillan, “El Greco on A Grand Scale: Art Institute’s extensive exhibition showcases Greek master’s expressive power,” Chicago Sun Times, March 4, 2020, 25 (color ill). 35, 139, 141–42 fig. Paris, Grand Palais, Greco, October 14, 2019–February 10, 2020, cat. 131. 78, 91–92, fig. 34, 112, figs. The Assumption of the Virgin, 1577, Oil on canvas, 158" x 90" (401 x 129 cm). They rejected it. 25. Cassatt went on a campaign, after the Met’s rejection, to interest American museums in the painting. 1, Paris, 1927, pp. 27, 75. El Greco's signature on the base of the central candelabrum was discovered in 1983. cat., Guillaune Kientz, ed., (Paris: RMN Editions, 2019), 42. 215, 222, 226, 231, pl. “The New El Greco Frame,” Bulletin of the Art Institute of Chicago 1 (1908), pp. Favorites. Michel Florisoone, “La Mystique plastique du Greco et les antécédents de son style,” Gazette des Beaux-Arts 6th ser., 49 (1957), p. 36, fig. 24. Harold E. Wethey, El Greco and His School, Princeton, 1962, vol. 12. cat., ed. The Museum of Fine Arts, Boston, said no. cat., Toledo Museum of Art, 1982, pp. 28, 30, 36, 105, 142, pl. p. 110. 283. 9. Havemeyer then offered the Assumption to the Metropolitan Museum of Art. 39–41, 391, vol. Richard L. Kagan, “Urbs sacra: The Demand for Art in El Greco’s Toledo,” in El Greco: Ambition and Defiance, Rebecca J. 2, Berlin, 1908, pp. 149–50. 125–37, 143–44, 594, no. This work of art was originally housed in the church of Santo Domingo, Toledo, Spain. Long, ed., (Chicago: Art Institute of Chicago, 2020), 42 (replica ill.), 43–44. 139–73, pl. 3. Mercedes Orihuela, ed., Museo de la Trinidad (bienes desarmortizados), vol. Everett Fahy and Sir Francis Watson, The Wrightsman Collection, vol. ], p. 5 (ill.). by Robert L. Herbert, Art Institute of Chicago, 2004, pp. Madrid, Museo Nacional de Pintura y Escultura, Exposición de las obras de Domenico Theotocópouli, llamado El Greco, April 30 - July 31, 1902, cat. Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America, New York, 1986, pp. Learn more. 26. Lorinda Munson Bryant, What Pictures to See in America, New York, 1915, pp. 105. El Greco’s "Assumption of the Virgin" was the central element in his first major Spanish commission, a complex of paintings for the church of the Cistercian convent of Santo Domingo el Antiguo in Toledo. Antonina Vallentin, El Greco, trans. The Art Institute of Chicago, 100 Masterpieces, Chicago, 1978, pp. cat., Toledo Museum of Art, 1941, p. 66, fig. With or without painting frame. 67–68, 77, 342, no. Hannah Lynch, Toledo: The Story of an Old Spanish Capital, London, 1898, pp. The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, Chicago, 1925, pp. The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, Chicago, 1945, p. 2 (ill.). My favorite painting was The Assumption of the Virgin. Richard George Mann, “La ‘Asunción de la Virgen’: Creación y recepción de una obra maestra,” in El Greco, pp. Carl Justi, “Domenico Theotocopuli von Kreta,” Zeitschrift für bildende Kunst, n.s., 8 (1897), pp. 23f (ill.). Keith Christiansen, “Greco en Italie,” in Greco, exh. 1. Spanish ed., trans. If you wish to buy this Assumption of the Virgin print (on canvas or paper, stretched or unstretched, framed or unframed) in a customized size of your own choosing, simply enter an image size in either box below, then click in the other one, and the correct proportions and price for your custom El Greco print will suddenly appear, by magic. Philip L[eslie] Hale, Great Masters in Art (New York: Crown Publishers, 1935). El laúd evoluciona a partir de su ancestro directo, el “ud”, original de Medio Oriente que aparece en Occidente en los siglos IX y X. Floreció en toda Europa desde el medioevo al siglo XVIII. Written in the Venetian style, it uses intense colors and light contrasts, which have become the hallmark of work. 2, but bought in, then lent by the Infanta’s heirs to the Museo del Prado, Madrid, 1902–04 [see Cossío 1908, p. 594, no. 关于绘画，地点和艺术家的其他绘画的信息. El Greco – Assumption of the Virgin El Greco (1541-1614/Greek) Museum of Santa Cruz Toledo Poster Drucken (45, 72 x 60, 96 cm) günstig auf Amazon.de: Kostenlose Lieferung an den Aufstellort sowie kostenlose Rückgabe für qualifizierte Artikel 161, 163–66, vol. Church of The Assumption of Virgin Mary: El Greco! William N. Bates, “Archaeological News,” American Journal of Archaeology 19, 3 (1915), pp. This poster is ready for hanging or framing. 668. 3–4. Personalize it with photos & text or purchase as is! 79–81, pl. Edi Baccheschi, El Greco, trans. cat., Tokyo, National Museum of Western Art, 1986, pp. 260–61, fig. El Greco- Δομήνικος Θεοτοκόπουλος (Doménikos Theotokópoulos) Painting of The Assumption of the Virgin 1577-1579 Toledo, Spain. The Assumption of the Virgin, c1613 by El Greco as fine art print. 48, 50, pls. Janis Tomlinson, From El Greco to Goya: Painting in Spain, 1561–1828, New York, 1997, pp. Jigsaw puzzle. Joaquín Melendo Pomareta, El misterio de El Greco y el franciscano Peretti: Papa Sixto V (1585-90) (Carenas: ASPACAR [Asociación en Defensa del Patrimonio de Carenas], 2013), pp. Richard G. Mann, “El Greco’s Altarpieces for the Chapel of Saint Joseph: Devotion, Politics, and Artistic Innovation in Counter-Reformation Toledo,” in The Word Made Image: Religion, Art, and Architecture in Spain and Spanish America, 1500–1600, ed. Our Moving Fate: A Study of El Greco’s Assumption of the Virgin 1741 Words | 7 Pages 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 … The Assumption of the Virgin (1577–1579, oil on canvas, 401 × 228 cm, Art Institute of Chicago) was one of the nine paintings El Greco completed for the church of Santo Domingo el Antiguo in Toledo, his first commission in Spain. The Assumption of the Virgin As I walked through the halls of the Art institute, I saw many paintings and sculptures. F[rancisco] J[avier] Sánchez Cantón, El Greco, Milan, 1961, p. 3. This, the first work executed in Spain, is the only painting by El Greco bearing the date of its execution. 142 & 144 (ill.), Leticia Ruiz Gómez, Domenikos Theotokopooulos, El Greco: 1541-1614 (Madrid: Mapfre, 2013), pp. 92–96, 243 (ill.), 279, no. All products are produced on-demand and shipped worldwide within 2 - 3 business days. 33–34 (ill.). 147, 154–55, pl. Antonio Ponz, Viaje de España, vol. Luis Rodriguez Miguel, Guía del viajero en Toledo, Toledo, 1880, pp. 54–56. 270–79, figs. 507 (ill.). Jacques Lassaigne, El Greco, trans. Art Institute of Chicago, A Century of Progress, June 1–November 1, 1934, cat. The work had a great influence on the reputation of Greco. 153–56. André-Absinthe Lavice, Revue des musées d’Espagne: Catalogue raisonné, Paris, 1864, p. 225. Éva Nyerges, “La Madeleine pénitente du Greco à Budapest,” Bulletin du Musée Hongrois des Beaux-Arts 76 (1992), p. 51, fig. 48, 50, pls. Walter Heil, Loan Exhibition of Masterworks by El Greco, exh. J[ens] F[erdinand] Willumsen, La Jeunesse du peintre El Greco, vol. Leo Bronstein, El Greco, New York, 1966, pp. El Greco: Spanish School, Masters in Arts Series vol. Stretched on canvas or printed as photo. cat., Guillaune Kientz, ed., (Paris: RMN Editions, 2019), 138 cat. Juan de la Encina, Domenico Greco, Mexico City, 1944, pp. cat., London, National Gallery, and New York, Metropolitan Museum of Art, 2003, pp. Apr 21, 2015 - Page of The Assumption of the Virgin by GRECO, El in the Web Gallery of Art, a searchable image collection and database of European painting, sculpture and architecture (200-1900) Learn more. 249-253. José Gudiol, Doménikos Theotokópoulos, El Greco, 1541–1614, Barcelona, 1971, pp. Halldor Soehner, “Greco in Spanien,” Münchner Jahrbuch der bildenden Kunst, 3rd ser., 8 (1957), pp. (Chicago: Art Institute of Chicago, 2020), cover image, 9, 12, 14, 114–115 cat. We were amazed not only by El Greco`s icon but also by experiencing such a truly unique masterpiece as a whole! Find more prominent pieces of religious painting at Wikiart.org – best visual art database. Henry O’Shea, Guide to Spain and Portugal, Edinburgh, 1868, pp. El Greco, exh. 8, 23 (ill.). The Assumption of the Virgin by El Greco, c. 1577, is an arched oil on canvas altarpiece painting of the Virgin Mary leaving her intended tomb and rising to Heaven. Hugo Kehrer, Greco in Toledo: Höhe und Vollendung, 1577–1614, Stuttgart, 1960, p. 18. 2, pp. Assumption of the Virgin 1577 El Greco Oil on Canvas Art Institute of Chicago Poster Print (18 x is a licensed reproduction that was printed on Premium Heavy Stock Paper which captures all of the vivid colors and details of the original. The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, Chicago,1932, pp. 14-15, 60-61 (ill.). cat., Vienna, Kunsthistorisches Museum, 2001, pp. From career-launching triumph to a risky purchase for a young American museum to the centerpiece of an international exhibition, El Greco’s The Assumption of the Virgin has had a long and fascinating life. 67–68. Gilbert Jimenez, “El Greco’s ‘The Assumption’ Has More than Meets the Eye,” Chicago Sun-Times, Aug. 15, 1986, p. 35. 73; Art Institute of Chicago, El Greco: Ambition and Defiance, March 7–June 21, 2020, cat. He would later claim that the painting inspired him to write as boldly as El Greco had painted. 41, figs. The religious capital of Spain at the time, Toledo lacked professional painters. Leo Bronstein, El Greco, New York, 1950, pp. 2. 260–62; reprinted in Miscellaneen aus drei Jahrhunderten spanischen Kunstlebens, vol. The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, Chicago, 1948, p. 2 (ill.). 66. 279]; purchased from them by Galerie Durand-Ruel, Paris, for 100,000 frs. This painting was the central element of the altarpiece that was El Greco’s first major Spanish commission and first large public work. Here the Virgin floats upward, supported on the crescent moon that is symbolic of her purity, while the boldly modeled heads of the crowd of apostles gathered around her empty tomb express amazement and concern. 80% off a Hand Made Oil Painting Reproduction of Assumption of the Virgin, one of the most famous paintings by El Greco (Domenikos Theotokopoulos). Jane Brenton, London, 1973, pp. Sylvia Ferino-Pagden and Fernando Checa Cremades, eds., El Greco, exh. Albert Boime, “The Americanization of El Greco,” in El Greco of Crete, ed. El Greco – Assumption of the Virgin by El Greco 1541-1614 Spain Toledo Iglesia Santa Cruz Artistica di Stampa (45,72 x 60,96 cm): Amazon.es: Hogar 111–12, ill. opp. 3, Madrid, 1717, chap. 279; rev. Richard G. Mann in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago (Chicago, 2008), pp. 89–91 (ill.), 203–04. Paul Lafond, “Domenikos Theotokopuli, dit Le Greco,” Les Arts 58 (Oct. 1906), pp. El Greco. 17–18, 229, 233, 238, 243, fig. 8. Philip Troutman, El Greco, New York, 1963, pp. Myrtali Acheimastou-Potamianou, ed., From Byzantium to El Greco, trans. Mercedes Agueda, “La colección de pinturas del infante Don Sebastián Gabriel,” Boletín del Museo del Prado 3 (1982), p. 106, no. 32. 37. From Art Institute of Chicago, El Greco, The Assumption of the Virgin (1577-1579), Oil on canvas, 396.4 × 202.5 cm This El Greco Assumption of the Virgin painting is oil on canvas. Pál Kelemen, El Greco Revisited: Candia, Venice, Toledo, New York, 1961, pp. 102–03. August L. Mayer, El Greco: Eine Einführung in das Leben und Wirken des Domenico Theotocopuli, Munich, 1911, pp. Information about image downloads and licensing is available here. cat., New York, Metropolitan Museum of Art, 1993, pp. The Art Institute Chicago. José Milicua, ed., El Greco: La seva revaloració pel Modernisme català, exh. 1, Madrid, 1774, letter 4; reprinted, 1947, p. 78. The Assumption of the Virgin El Greco (1541-1614) 69 / 235 0 ; El Greco – The Assumption of the Virgin 1577. Frederick A. 14, 193, Keith Christiansen, “El Greco in Italy,” in El Greco: Ambition and Defiance, exh. So the Art Institute now had the Assumption, where it quickly became a signature work. 151–52, 156, figs. Peter Humfrey and Martin Kemp, Cambridge, 1990, pp. El Greco's Assumption of the Virgin was the central element in his first major Spanish commission, a complex of paintings for the church of the Cistercian convent of Santo Domingo el Antiguo in Toledo. Guillaume Kientz, (Paris: RMN Editions, 2019), 29–30, 36. 23. This enormous painting by El Greco is based on the apocryphal account by Saint James, who is depicted here holding his book. Alfonso E. Pérez Sánchez, “On the Reconstruction of El Greco’s Dispersed Altarpieces,” in El Greco of Toledo, pp. The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, Chicago, 1961, pp. The museum is temporarily closed. 1906.99 Even though he is regarded as a prominent Spanish painter, Domenico Theotokopoulos was born and raised on the island of Crete in Greece. 25. 67–68, 77, 342, no. 18, 20, pl. 6. 621–22. Antonio Palamino de Castro y Velasco, El museo pictórico y escala óptica, vol. 30–31 (ill.). El Greco painted his Dormition of the Virgin near the end of his Cretan period, probably before 1567. Nicos Hadjinicolaou, ed., El Greco in Italy and Italian Art, exh. 20–21 (ill.). (ill.). 11c; 11 (1960), p. 176. 257 (ill.), 262. Katharine Baetjer, “El Greco,” Metropolitan Museum of Art Bulletin 39, 1 (1981), pp. 372–77 for the status of his estate]; his widow, the Infanta María Cristina de Borbón (died 1902), Aranjuez and Madrid; offered for sale, Madrid, October 1902, no. This impressive size was part of a larger project and painted for the altar of Santo Domingo el Antiguo. One painting that stood out the most was called, “The Assumption of the Virgin,” by El Greco. José Camón Aznar, Dominico Greco, Madrid, 1950, vol. M[arian] C[omings], “El Grecos in the Art Institute,” Bulletin of the Art Institute of Chicago 18 (1924), pp. Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei’ in Chicago,” Pantheon 12 (1933), p. 381. Suzanne Stratton, The Immaculate Conception in Spanish Art, Cambridge, 1994, pp. 40 (ill.). The Assumption of the Virgin Date 1603 Technique Oil Support Canvas Dimension Height: 140 cm. 1, pp. 74, 92 n. 51. 151–52, figs. Aureliano de Beruete y Moret, Velázquez, Paris, 1898, pp. 4, 5, 18 (ill.). Aug 7, 2014 - Shop Assumption of the Virgin by El Greco created by argentarts. 16. 95–96, 286–88, pl. Morton H. Bernath, “Drei Hauptwerke des Greco in Amerika,” Zeitschrift für bildende Kunst, n.s., 21 (1909–10), pp. 29. Art Institute of Chicago, A Century of Progress, June 1–November 1, 1933, cat. Richard George Mann, El Greco and His Patrons, Cambridge, 1986, pp. A sacred place with a long history. The Assumption of the Virgin by El Greco as fine art print. 112–13. The Assumption of the Virgin came on the market in 1904, when El Greco’s reputation as a painter was at a relatively low ebb. The Assumption of the Virgin El Greco (1541-1614) 69 / 235 0 ; El Greco – The Assumption of the Virgin. Arthur Symons, “A Study at Toledo,” Monthly Review 2, 6 (1901), pp. A[ureliano] de Beruete y Moret, Conferencias de arte, Madrid, 1924, pp. Long, “El Greco’s Altarpieces: Artistic Ambition and Legal Frustration,” in El Greco: Ambition and Defiance, Rebecca J. Middle years. Long, ed., (Chicago: Art Institute of Chicago, 2020), 66. High-quality museum quality from Austrian manufactory. The visionary imagery of the Assumption and the Trinity aptly expressed the patron’s hope of salvation. 418–20, fig. 6. 75–80. cat. cat., Brooklyn Museum of Art, 1935, n.pag., under no. Erica E. Hirschler, “Helping ‘Fine Things across the Atlantic’: Mary Cassatt and Art Collecting in the United States,” in Mary Cassatt: Modern Woman, exh. 67, 79, 86–91, 94, 100–01, 104–05, 120, 128, 130, 236, 309, 370, fig. 7. 1214, pl. The vigor of El Greco’s broad brushstrokes proclaims the confident achievement of this early work, as does this artist’s large signature in Greek, painted as though affixed to the surface of the picture at the lower right. 67, 104–05. “El Greco Moves In,” Arts & Antiques (June 2020): 24. He quickly earned a major commission for the altarpiece for the Church of Santo Domingo el Antiguo in Toledo, the result being the monumental The Assumption of the Virgin (1577–79). Andrea Emiliani, Le Greco, Paris, 1967, p. 8. 22. 11 (ill.), 24–25; rev. Charles Blanc, introduction to Sébastien de Bourbon, “Les huiles et des vernis employés pour la peinture,” Gazette des Beaux-Arts 1st ser., 15 (1863), p. 176. (#7759) 76, 154, no. Cassatt took it upon herself to find the altarpiece a home. 1–2; repr., New York, 1990. 9, 18, pl. Nicos Hadjinicolaou, Iraklion, 1995, pp. Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector, New York, 1961, pp. 1. Commissioned 1577 by Don Diego de Castilla for the convent church of Santo Domingo el Antiguo, Toledo; installed with other paintings in the main retable by September 1579; sold c. 1830 to the Infante Don Sebastián Gabriel de Borbón y Braganza (died 1875), Madrid and later Pau, France, but confiscated from him by the Spanish government and installed in the Museo Nacional de la Trinidad, Madrid, in 1835 [Lavice 1864 recorded that the Assumption was on display in the Museo Nacional de Pinturas, but this cannot be confirmed]; returned to Don Sebastián in 1861; his estate in custody of the Spanish government, 1875–87 [see María Teresa Baratech Zelama, “La testamentario del Infante Don Sebastián Gabriel de Borbón y Braganza,” Archivo español de arte 62 (1989), pp. It went on view at the Galerie Durand-Ruel in Paris from 1904 to 1905, where it became a favorite of modern artists such as Picasso and … Mary Cassatt. Emilio Huguet del Villar, El Greco en España, Madrid, 1928, pp. 43–44, fig. 6. Jane Carroll (New York: Rizzoli, 1980), 26, no. The Assumption of the Virgin 1577 Oil on canvas, 401 x 229 cm Art Institute, Chicago: Painted for the central panel of the High Altarpiece of the church of Santo Domingo el Antiguo, Toledo, the commission which brought him to Spain. 34. We offer original oil painting, stretched canvas and large framed art, but do not offer poster, print or giclee for this El Greco Assumption of the Virgin. 30–33. 10, 51–52, 70, 84–85, 171, pl. The Art Institute of Chicago, A Brief Illustrated Guide to the Collections, Chicago,1935, p. 2 (ill.). El Greco – Assumption of the Virgin (Detail) El Greco (1541-1614/Greek) Iglesia Santa Cruz Toledo Artistica di Stampa (45,72 x 60,96 cm): Amazon.es: Hogar Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. The Art Institute of Chicago, Masterpieces in The Art Institute of Chicago, 1952, n.pag. ed., 1920, p. 21, pl. The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, Chicago, 1920, p. 20, no. Fernando Marías, “Convent of Santo Domingo el Antiguo, Toledo,” in El Greco of Toledo: Painter of the Visible and the Invisible (Madrid: Ediciones El Viso, 2014), pp. From career-launching triumph to a risky purchase for a young American museum to the centerpiece of an international exhibition, El Greco’s The Assumption of the Virgin has had a long and fascinating life. 3; rev. Jonathan Brown, “El Greco and Toledo,” in El Greco of Toledo, exh. 47–49, fig. June 4, 2010. 142, 144, vol. ... What restaurants are near Church of The Assumption of Virgin Mary? 7. Fernando Marías, El Greco, Madrid, 1997, pp. 31. cat., New York, Frick Collection, 2001, p. 36. 156–57, pl. It had passed through a few hands since the 16th century, and the heirs of the then-owners were unable to sell it in Madrid. cat., Athens, National Gallery, 1995, p. 400. Sweet, “Tintoretto and El Greco,” Bulletin of the Art Institute of Chicago 44 (1950), p. 23. 2, p. 1356, no. 135–37. Jonathan Brown, New Haven, 1996, pp. cat., Barcelona, Museu Nacional d’Art de Catalunya, 1996, p. 106. 34-36 (ill.). The high altarpiece of the church of S. Domingo el Antiguo was the work that called El Greco to Toledo, Spain. David Davies, “The Relationship of El Greco’s Altarpieces to the Mass of the Roman Rite,” in The Altarpiece in the Renaissance, ed. 167. 114, pl. Richard L. Kagan, “Tolède, Urbs Sacra: Le paintre et ses commanditaires,” in Greco, exh. Albert F[rederick] Calvert and C[atherine] Gasquoine Hartley, El Greco, New York, 1909, pp. 566–72, pl. With or without painting frame. ★ 图片: 1983×4056 px. 70. The Philadelphia Academy of the Fine Arts said no. 3. Frank Zuccari, who oversaw 2-year El Greco restoration at the Art Institute, has died. Ella S. Siple, “Museums in Chicago,” Burlington Magazine 58 (1931), p. 108. 3. 27. Guillaume Kientz, ed., Greco, exh. This, the first work executed in Spain, is the only painting by El Greco bearing the date of its execution. This scarf features details of El Greco's The Assumption of the Virgin, 1577-79.With no major commissions in Rome, El Greco moved on to Spain in 1577. 10. Explore our collection of El Greco fine art prints, giclees, posters and hand crafted canvas products 6–7, 12, pl. 36–41, fig. The now famous name, El Greco, became his nickname after he settled in the Spanish city of Toledo in 1577. Weight with frame: 331 lbs/ 150.139 kg, Gift of Nancy Atwood Sprague in memory of Albert Arnold Sprague. - See 54 traveler reviews, 47 candid photos, and great deals for Syros, Greece, at Tripadvisor. Michel Utrillo, Domenikos Theotokopoulos, “El Greco,” Barcelona, n.d. El Greco's signature on the base of the central candelabrum was discovered in 1983. 5, New York and Greenwich, Conn., 1973, pp. 52 (ill.), 107. As I stood in front this huge painting I was trying to figure out what was going on in the painting. Jonathan Brown, “Picasso and the Spanish Tradition of Painting,” in Picasso and the Spanish Tradition, ed. [1907? José Amador de los Rios, Toledo pintoresca, o descripción de sus más célebres monumentos, Madrid, 1845, p. 182; reprinted, Barcelona, 1976. Personalize it with photos & text or purchase as is! We produce your artwork exactly like you wish. Sweet, Spanish Painting, exh. (#724073) This ornament features details of El Greco's The Assumption of the Virgin, 1577-79.With no major commissions in Rome, El Greco moved on to Spain in 1577. ‘Assumption of the Virgin’ was created in 1577 by El Greco in Mannerism (Late Renaissance) style. Learn about the painting’s origins, its journey to the museum, and a recent endeavor to clean and preserve the work for future visitors. Sixto Ramón Parro, Toledo en la mano, vol. After living in Venice and Rome, where he absorbed the late Mannerist style, the Greek-born artist settled in the Spanish city of Toledo in 1577 to work on the high altar of the convent church of Santo Domingo el Antiguo. Find more prominent pieces of religious painting at Wikiart.org – best visual art database. 438–39. (Paris: RMN Editions, 2019), 5 (detail ill.), 7 (detail ill.), 8 (detail ill.), 232. 285–86. He quickly earned a major commission for the altarpiece for the Church of Santo Domingo el Antiguo in Toledo, the result being the monumental The Assumption of the Virgin (1577–79). Comment. August L. Mayer, El Greco, Berlin, 1931, pp. 1, pp. 40–42 (ill.), 281; , rev. Yasunari Kitaura, “El Greco: La antigüedad encontrada a través del Renacimiento italiano,” in El Greco in Italy and Italian Art, ed. Assumption of the Virgin by El Greco. Yasunari Kitaura, “El procedor artístico de El Greco,” Boletín del Museo del Prado 7 (1986), p. 87. Juan Antonio Gaya Nuño, La pintura española fuera de España, Madrid, 1958, pp. John Maxon, The Art Institute of Chicago, London, 1970, pp. David Davies, El Greco, London, 1976, pp. 95–96, no. cat., ed. ; Width: 71 cm. Gaston Diehl, El Greco, New York, 1959, p. 32. Frederick Albert Gutheim, “El Greco and Chicago,” Survey Graphic 23 (1934), pp. 22; 2nd ed., 1949, pp. Judith A. Barter, Art Institute of Chicago, 1998, pp. The discovery of the Dormition led to the attribution of three other signed works of "Doménicos" to El Greco (Modena Triptych, St. Luke Painting the Virgin and Child, and The Adoration of the Magi) and then to the acceptance as authentic of more works, signed or not (such as The Passion of Christ (Pietà with Angels), painted in 15… 9, no. 8. 1, p. 51, pls. Frank Rutter, El Greco, New York, 1930, p. 28. 24–25, fig. Vizconde de Palazuelos, Toledo: Guía histórico-práctica, Toledo, 1890, pp. Oskar Frank Leonard Hagen, Patterns and Principles of Spanish Art, Madison, Wis., 1936, p. 117; rev. John D. Morse, Old Masters Paintings in North America, New York, 1979, pp. 116–18, 122, 135, figs. Susan Grace Galassi, “The Frick El Grecos,” in El Greco: Themes and Variations, ed. Angels, saints, cherubs, and the heavenly hosts surround the serene figure as she ascends, while below saints and apostles watch in wonder at her empty crypt. Robert Rosenblum, “The Spanishness of Picasso’s Still Lifes,” in Picasso and the Spanish Tradition, pp. El Greco - Assumption of The Virgin Art Print. 54-61, ill. Al Gury, Color for Painters: A Guide to Traditions and Practice (New York: Watson-Guptill Publications, 2010), p. 85 (ill.). Bernardino de Pantorba, 70 obras maestras del Greco, Madrid, 1953, p. 50, pl. 40–42 (ill.), 282.. Damián Bayón, “El Greco: Creador de conjuntos plásticos,” Colóquio 5 (1971), pp. 79–80, 87–89. The Many Lives of El Greco’s Assumption of the Virgin. Inscribed on paper at lower right in Greek: (Domenikos Theotokopoulos, Cretan, displayed this in 1577), 403.2 × 211.8 cm (158 3/4 × 83 3/4 in.) 15-16, fig. August L. Mayer, Dominico Theotocopuli, El Greco, Munich, 1926, p. 19, no.