The Paintings

The first and third paintings on the cover page are by El Greco.

 

Both are titled The Holy Trinity.

 

The center painting is is by an artist unknown to The Journals editor. It represents the the Holy Spirit as the Spouse of Mary. The painting's title is also not known, however it is very well executed and quite inspiriational.

 

If any of our readers can identify this painting, please contact The Editor .

El Greco's Biography


The Spanish painter El Greco, born Domenicos Theotokopoulos, 1541-1614, was named "El Greco" because he was born in Crete. He often traveled between Venice, Rome, and Spain, and choosing to make his home in Toledo.

El Greco's art is distinct, and markedly different from other two other great Spanish Artists, Francisco de Goya and Diego Velázquez. El Greco’s style was influenced early on when he served as an apprentice in Titian’s workshop. He was also strongly influenced by Tintoretto. Both men were the great masters of the High Renaissance School of Art.

Early in his career, El Greco He quickly began work on his first Spanish commission, producing for the church of Santo Domingo el Antiguo the sumptuous Assumption of the Virgin (1577, Art Institute of Chicago), a painting that marks a turning point in his art.

El Greco also worked for the Toledo Cathedral: His work in the sacristy, The Disrobing of Christ (1577-1579) is a splendid painting of Christ in a scarlet garment, closely surrounded by his captors.

In 1586 El Greco painted The Burial of Count Orgaz which still hangs in the Church of Santo Tomé in Toledo. This painting portrays a 14th-century Toledan nobleman laid in his grave by Saints Stephen and Augustine. Above, the count's soul rises to a heaven densely populated with angels, saints, and contemporary political figures. Count Orgaz’s grave is situated below the painting.

A feverish intensity can be sensed in many of El Greco's canvases dating from the 1590s until the time of his death. Baptism of Christ (c. 1596-c. 1600 signed in Greek, as was the artist's custom), and Adoration of the Shepherds (1612-1614), both in the Prado, Madrid, seem to pulsate a sacred light generated by the holy figures themselves. In addition, the Adoration figures are enveloped by a steamy haze, observable in other late works, which intensifies the mystical nature of the event.

Subjects of classical mythology, such as the Laocoon (c. 1610 1614, National Gallery, Washington, D.C.), and Old Testament history, such as the unfinished apocalyptic scene Opening of the Fifth Seal (c. 1608-1614, Metropolitan Museum of Art), attest to El Greco's humanistic learning and his brilliantly personal and novel approach to traditional themes. El Greco died in Toledo on April 7, 1614, and he was buried there in Santo Domingo el Antiguo.

 

Source: Micrsoft Encarta

 

 


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