El Greco. Retratos de ilustres varones para el más allá

El Greco is always defined first and foremost as a religious painter. The question addressed in this paper is the relationship between his secular portraits (El Greco painted some thirty portraits in Toledo) and the depictions of religious figures he made in Toledo. All his models are defined as ill...

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Main Author: Cécile Vincent-Cassy
Format: Article
Language:Spanish
Published: Civilisations et Littératures d’Espagne et d’Amérique du Moyen Âge aux Lumières (CLEA) - Paris Sorbonne
Series:E-Spania
Subjects:
Online Access:https://journals.openedition.org/e-spania/41824
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author Cécile Vincent-Cassy
author_facet Cécile Vincent-Cassy
author_sort Cécile Vincent-Cassy
collection DOAJ
description El Greco is always defined first and foremost as a religious painter. The question addressed in this paper is the relationship between his secular portraits (El Greco painted some thirty portraits in Toledo) and the depictions of religious figures he made in Toledo. All his models are defined as illustrious men, whom Domenikos Theotokopoulos glorifies through painting. After defining what portraiture is, which should not be considered within the confines of a genre, we analyse more specifically the way in which the models in his religious “portraits” are visibly in movement, animated by an divine “inspiration”. To this end, we examine in particular the Illescas Saint Ildefonso (1603-1605), which we relate to the Saint Jerome (1610-1614) of the Metropolitan Museum of Art, Portrait of Francisco de Pisa (1610-1614) curated by the Kimbell Art Museum and the Portrait of Cardinal Tavera (c. 1608-1614).
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publisher Civilisations et Littératures d’Espagne et d’Amérique du Moyen Âge aux Lumières (CLEA) - Paris Sorbonne
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spelling doaj.art-48a45b93318742e9a8ab55063b7ca67f2024-02-13T13:41:36ZspaCivilisations et Littératures d’Espagne et d’Amérique du Moyen Âge aux Lumières (CLEA) - Paris SorbonneE-Spania1951-61694010.4000/e-spania.41824El Greco. Retratos de ilustres varones para el más alláCécile Vincent-CassyEl Greco is always defined first and foremost as a religious painter. The question addressed in this paper is the relationship between his secular portraits (El Greco painted some thirty portraits in Toledo) and the depictions of religious figures he made in Toledo. All his models are defined as illustrious men, whom Domenikos Theotokopoulos glorifies through painting. After defining what portraiture is, which should not be considered within the confines of a genre, we analyse more specifically the way in which the models in his religious “portraits” are visibly in movement, animated by an divine “inspiration”. To this end, we examine in particular the Illescas Saint Ildefonso (1603-1605), which we relate to the Saint Jerome (1610-1614) of the Metropolitan Museum of Art, Portrait of Francisco de Pisa (1610-1614) curated by the Kimbell Art Museum and the Portrait of Cardinal Tavera (c. 1608-1614).https://journals.openedition.org/e-spania/41824ToledoEl Grecoportraitsaint IldefonsoIllescassaint Hieronymus
spellingShingle Cécile Vincent-Cassy
El Greco. Retratos de ilustres varones para el más allá
E-Spania
Toledo
El Greco
portrait
saint Ildefonso
Illescas
saint Hieronymus
title El Greco. Retratos de ilustres varones para el más allá
title_full El Greco. Retratos de ilustres varones para el más allá
title_fullStr El Greco. Retratos de ilustres varones para el más allá
title_full_unstemmed El Greco. Retratos de ilustres varones para el más allá
title_short El Greco. Retratos de ilustres varones para el más allá
title_sort el greco retratos de ilustres varones para el mas alla
topic Toledo
El Greco
portrait
saint Ildefonso
Illescas
saint Hieronymus
url https://journals.openedition.org/e-spania/41824
work_keys_str_mv AT cecilevincentcassy elgrecoretratosdeilustresvaronesparaelmasalla