193:
165:
153:, focusing on the suffering and love through pain and contention. El Greco also was inspired by the techniques and ideals of the Renaissance period, specifically the idea that a perfect human body was a pure connection to the divine. Most of Greco's works featured figures that related to this divine and iconoclastic sense of being. However, El Greco's figures were often distorted and elongated, contrasting the sheer proportionate perfection of the Renaissance bodily form. Instead, his paintings and works connected to a divine presence by through strong, visual, emotional appeals. This reflection of strong and purposeful emotion stems from the
207:
29:
179:
384:
293:. This narration allows the artist to express the human emotions of Christ rather than his projected divine expression. In this work, the Northern Italian per narration allows Christ to beg for mercy while also having an understanding of his role in God's plan to forgive humankind for their sins. In addition to Christ's emotional expression, the Northern Italian narration of the crucifixion story allowed Christ to be an isolated being, separated from the whirlwind of the crowd surrounding his crucifixion.
148:
Because he combined the stylistic ideas of three different eras and conceptions of art, El Greco's paintings were truly unique. Overall, they captivated a new essence about the idea of the body. Greco's figures often were lengthy, elongated forms that felt almost fluid in nature. His painting
100:
period circa de 1580. The picture depicts Christ in a moment of personal reflection as he carries the cross to his death, therefore committing the ultimate sacrifice for humankind. In the painting, Christ's eyes are lifted up to the heavens as he begins his walk towards his crucifixion. His gentle
421:
This painting is a prime example of religious imagery. Not only does the work feature Christ, a religious, iconoclastic figure, but it also displays an array of biblical passages and narratives throughout the work. As mentioned earlier, the background of the piece demonstrates
Matthew 8:23-27. The
219:
El Greco also found the use of color to be of absolute importance. Establishing an aesthetic color palette was sometimes more important than the actual figure itself. Greco often had a tendency to use deep, full, rich colors to motivate the emotional expression in the piece to affect the viewers
402:
is an overwhelming storm: lightning, thunder, and possible rain. The clouds gather in dark hues to darken the mood and narration of the piece. Usually, storms are associated with feelings of fear and unease: both feelings that are highly applicable to the human nature of this portrait. The storm
357:
The crown of thorns was placed on Christ's head as a mockery from the guards. The guards were taunting Jesus, as he lay nailed to the cross, nagging him for being the King of the Jews. However, the crown no longer has a negative association. The crown now demonstrates that Christ died a king. In
337:
The oversized tears in Christ's eyes demonstrate the moment where Christ is both pleading to the heavens and accepting his fate and sacrifice for humankind. Christ's tears are a direct expression to human emotion, relating to the tenderness and expressiveness of humankind, connecting both on a
371:
An implied line is a suggested connection between two object on the same plane. In this case, Christ's line of sight is directed towards the heavens. Because of the strong cultural association with eye contact, it becomes the strongest form of an implied line. It allows the connection from an
283:, there are a multitude of minute details that help narrate the raw, expressive emotion of the work. Overall, the aching look in Christ's eyes show both a plea for mercy and an understanding of what is to come. The painting itself was inspired by and parallels Michelangelo's
406:
Often, Christ imagery is associated with a biblical passage or text. In this case, the background illustrates
Matthew 8:23-27. In this text, Christ reminds the disciples of their faith, even in moments of struggle and fear. This same narration is shown in
136:. While in Rome, Greco continued to develop his own personal artistic style, combining the styles of the Byzantine era, the Renaissance era, and the Mannerist era. To read a full version of El Greco's life, history, and artistic style click
300:, Christ is carrying the cross to his own crucifixion in Jerusalem. This painting depicts a moment along the way where Christ stops amid a storm to communicate and reflect to the heavens before committing the ultimate sacrifice for humankind.
157:
age, captivating the idea of an aggressive, emotional, and almost violent perspective and strong emotional whirlwind to captive the narration and feeling behind the piece. This was often the structural layout in most of Greco's works.
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mood. The saturated hues of navy, black, purple, and red allowed for the viewer to be taken to another dimension. Greco's use of color captivates a sense of wrathfulness and divine devotion that seems other worldly.
413:. Although the storm seems to be raging in the background in a moment of death, Christ reminds us that God is with us and is with him at all times. There is no need to have doubt or fear in the eyes of the Lord.
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Many of the emotional details in this piece are shown in Christ himself. Below is a table elaborating on a few details from the painting that assist with the narration of the piece.
132:, one of the most profound Italian Renaissance artists. After three years, El Greco moved from Venice to Rome to continue his studies and works under the patronage of
107:
is an oil painting, 105x79cm. The painting, one of numerous similar paintings by El Greco, is currently in the El Greco room in the New York art collection of the
1249:
1298:
284:
128: El Greco acquired this name while living in Italy, no doubt studying the classical style of art. In Italy, El Greco lived in Venice, and studied under
1991:
403:
clouds also have breaks of light, allowing the viewer to understand Christ's acceptance of his sacrifice as he communicates and reflects with the heavens.
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individual to pierce through to another object. In this work, by looking up, Christ is affirming and connecting to the God moments before his crucifixion.
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1124:
250:
1018:
955:
1421:
1292:
1228:
1996:
1195:
961:
164:
1559:
1859:
1528:
1427:
1574:
1544:
1401:
1201:
192:
1497:
1272:
1386:
1324:
1686:
1234:
1110:
854:
246:
747:
1638:
1333:
1813:
656:
1736:
984:
1836:
1435:
1458:
1318:
1774:
1512:
1012:
1614:
1140:
1132:
1117:
1078:
680:
1875:
1797:
1759:
1371:
943:
881:
826:
422:
actual narration of the crucifixion is written about in all four gospels of the Bible: Mark, Matthew, Luke, and John.
1536:
1489:
1474:
1171:
1024:
1694:
1867:
1851:
1654:
1466:
1264:
1000:
928:
1986:
1450:
1409:
1210:
1883:
1728:
1646:
1280:
1102:
799:
375:
133:
1828:
242:
1922:
358:
addition, the thorns and blood represent the outcast and torture of Christ leading up to his crucifixion.
911:
206:
1789:
258:
108:
730:"Picturing the Passion in Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Lev"
1713:
1622:
901:
431:
297:
290:
748:"March 30, 2012 ~ Where Was Jesus Buried? | March 30, 2012 | Religion & Ethics NewsWeekly | PBS"
1981:
1805:
1348:
178:
1901:
1630:
1590:
1156:
1148:
1606:
1582:
1363:
992:
874:
1678:
1662:
1670:
387:
An alternate portrayal of Jesus calming the storm: Christ at the Sea of
Galilee - Tintoretto
1953:
1937:
1751:
1070:
681:"Mannerist Art: Definition, Characteristics & Examples - Video & Lesson Transcript"
8:
1520:
508:
484:
1094:
775:
343:
1906:
1598:
867:
634:
454:
28:
1960:
1945:
626:
630:
589:
383:
976:
906:
535:
1929:
1442:
1975:
638:
254:
97:
562:
289:. The work also relates directly to the Northern Italian narration of the
1086:
704:
376:
https://artsandculture.google.com/usergallery/implied-lines/-QIS4P1SqwUOLQ
150:
65:
105 cm × 79 cm (41 in × 31 in)
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101:
hands wrap around the cross as a stormy night floods the background.
890:
729:
137:
93:
39:
257:, and in 1975 it was acquired as part of his collection by the
129:
859:
225:
dramatize the narration, emotion, and message of each piece
827:"Jesus Calms the Storm - Bible Story Verses & Meaning"
1250:
The
Immaculate Conception with Saint John the Evangelist
344:
https://www.elgreco.net/christ-carrying-the-cross.jsp
124:Born in 1541 in Crete, El Greco's official name is
776:"Christ Carrying the Cross, 1594-1604 by El Greco"
619:Journal of Pediatric Ophthalmology and Strabismus
1973:
1125:Saint Lawrence's Vision of the Madonna and Child
615:"El Greco: Astigmatism or Calculated Distortion"
613:Hodge, Gerald P.; Ravin, James G. (1967-08-01).
264:It is on view in the Met museum's Gallery 958.
223:The main idea of Greco's painting style was to
143:
1560:The Apparition of the Virgin to Saint Hyacinth
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227:. El Greco often used oil paints on canvas.
1992:Paintings in the Metropolitan Museum of Art
1860:Portrait of Fray Hortensio Félix Paravacino
1498:Saint John the Evangelist and Saint Francis
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882:
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1334:Christ on the Cross Adored by Two Donors
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1737:The Nobleman with his Hand on his Chest
1997:Paintings of Christ carrying the cross
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661:Italian Renaissance Learning Resources
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1814:Portrait of Jorge Manuel Theotocópuli
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657:"The Classical Treatment of the Body"
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73:Metropolitan Museum of Art, New York
1775:Portrait of Rodrigo Vázquez de Arce
1133:Adoration of the Holy Name of Jesus
1118:Santo Domingo el Antiguo Altarpiece
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13:
1798:Portrait of Antonio de Covarrubias
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727:
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1837:Cardinal Fernando Niño de Guevara
1475:Allegory of the Camaldolese Order
1402:Christ Taking Leave of his Mother
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1876:Portrait of Jerónimo de Cevallos
1868:Portrait of Juan Pardo de Tavera
1852:Portrait of an Unknown Gentleman
1265:The Burial of the Count of Orgaz
1149:Disrobing of Christ (El Expolio)
752:Religion & Ethics NewsWeekly
590:"El Greco Paintings, Bio, Ideas"
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1785:–1597; lost, known from a copy)
1436:Doña María de Aragón Altarpiece
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1695:Julián Romero and Saint Julian
1410:Saint Andrew and Saint Francis
1211:The Martyrdom of Saint Maurice
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606:
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338:narrational and divine level.
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149:usually carried the notion of
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1884:Portrait of Francisco de Pisa
1841:
1818:
1779:
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1729:Portrait of Vincenzo Anastagi
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1647:Saint Francis and Brother Leo
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253:. In 1953 it was acquired by
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1829:Portrait of a Young Nobleman
1372:Virgin Mary (Mater Dolorosa)
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243:Sir William Stirling Maxwell
144:Painting style and technique
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1459:Saint Martin and the Beggar
855:«Cristo abrazado a la cruz»
536:"El Greco | Spanish artist"
485:"Christ Carrying the Cross"
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134:Cardinal Alessandro Farnese
114:
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2013:
1790:Portrait of an Elderly Man
1417:Adoration of the Shepherds
1288:Saint Peter and Saint Paul
1033:Purification of the Temple
655:Art, National Gallery of.
259:Metropolitan Museum of Art
109:Metropolitan Museum of Art
1923:Jorge Manuel Theotocópuli
1915:
1907:Museum of El Greco, Crete
1894:
1714:Portrait of Giulio Clovio
1705:
1623:Opening of the Fifth Seal
1575:The Immaculate Conception
1545:Saint John the Evangelist
1513:Saint Bernardino of Siena
1179:Christ Carrying the Cross
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804:Google Arts & Culture
432:List of works by El Greco
410:Christ Carrying the Cross
399:Christ Carrying the Cross
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280:Christ Carrying the Cross
249:, and Lieutenant Colonel
238:Christ Carrying the Cross
171:The Burial of Count Orgaz
126:Doménikos Theotokópoulos.
104:Christ Carrying the Cross
89:Christ Carrying the Cross
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1615:Saint Thomas the Apostle
1529:Coronation of the Virgin
1349:The Penitent Saint Peter
1218:The Tears of Saint Peter
1141:Assumption of the Virgin
417:Christ and cross imagery
354:On top of Christ's head
320:Location of the detail:
96:, produced early in his
1902:El Greco Museum, Toledo
1760:Portrait of a Gentleman
1591:View and Plan of Toledo
944:Dormition of the Virgin
540:Encyclopedia Britannica
331:Tears in Christ's gaze
323:Meaning of the detail:
1537:Marriage of the Virgin
1490:Saint John the Baptist
1172:Saint Anthony of Padua
455:"El Greco (1541-1614)"
388:
92:is an oil painting by
1987:Paintings by El Greco
1655:Saint James the Great
1467:The Virgin of Charity
929:Adoration of the Magi
386:
245:(1818–1878), General
1752:Portrait of a Doctor
1079:Entombment of Christ
368:Gaze to the heavens
317:Detail of the work:
241:, had been owned by
16:Painting by El Greco
1314:Agony in the Garden
313:
273:Details of the work
1281:Holy Face of Jesus
1103:Penitent Magdalene
396:The background of
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312:Details of Christ
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247:Archibald Stirling
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1599:Concert of Angels
1001:Flight into Egypt
985:Baptism of Christ
907:Artistic overview
853:ArteHistoria.com
831:Bible Study Tools
513:www.metmuseum.org
489:www.metmuseum.org
459:www.metmuseum.org
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1961:El Greco fallacy
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800:"Implied Lines"
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1949:(1998 album)
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1008:Annunciation
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341:Paragraph 4
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286:Risen Christ
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1957:(2007 film)
1941:(1966 film)
1933:(1947 film)
1887:(1610–1614)
1879:(1609–1613)
1855:(1603–1607)
1845: 1600
1832:(1600–1605)
1822: 1597
1809:(1595–1600)
1801:(1595–1600)
1793:(1587–1600)
1783: 1587
1768: 1586
1755:(1582–1585)
1745: 1580
1732:(1571–1576)
1722: 1571
1698:(1612–1614)
1690:(1610–1614)
1682:(1610–1614)
1674:(1610–1614)
1666:(1610–1614)
1626:(1608–1614)
1618:(1608–1614)
1610:(1608–1614)
1607:The Saviour
1583:Saint Peter
1578:(1607–1613)
1553: 1605
1540:(1603–1607)
1532:(1603–1605)
1524:(1603–1605)
1506: 1600
1493:(1597–1607)
1483: 1597
1470:(1597–1603)
1462:(1597–1599)
1451:Virgin Mary
1446:(1596–1600)
1438:(1596–1599)
1430:, 1612–1614
1413:(1595–1598)
1395: 1595
1387:Holy Family
1380: 1594
1367:(1592–1595)
1364:Saint Louis
1357: 1590
1342: 1590
1327:, 1597–1607
1306: 1587
1295:, 1587–1592
1284:(1586–1595)
1276:(1586–1588)
1273:Holy Family
1258: 1585
1242: 1590
1231:, 1587–1596
1229:Mexico City
1225:, 1580–1589
1214:(1580–1582)
1204:, 1597–1600
1198:, 1590–1595
1191: 1580
1165: 1577
1152:(1577–1579)
1144:(1577–1579)
1136:(1577–1579)
1114:(1576–1579)
1106:(1576–1578)
1098:(1571–1576)
1090:(1571–1572)
1082:(1570–1576)
1074:(1570–1575)
1052:, 1595–1600
1044:Minneapolis
1027:, 1600–1605
1021:, 1575–1576
993:Last Supper
988:(1567–1569)
980:(1567–1569)
969: 1573
947:(1565–1566)
937: 1565
734:linkbax.com
268:The artwork
213:Saint Peter
151:Romanticism
1976:Categories
1679:Saint Paul
1663:Saint Luke
1038:Washington
836:2019-03-21
809:2019-03-21
785:2019-03-21
758:2019-03-21
714:2019-02-28
705:"El Greco"
690:2019-04-16
666:2019-04-20
599:2019-04-16
572:2019-04-16
563:"El Greco"
545:2019-04-16
518:2019-04-16
494:2019-02-28
464:2019-04-20
438:References
392:Background
231:Provenance
81:1975.1.145
62:Dimensions
1706:Portraits
1422:Bucharest
1293:Barcelona
1196:Barcelona
1087:El Soplón
1071:The Fable
921:Paintings
685:Study.com
639:0191-3913
567:Biography
483:The Met.
155:Mannerist
78:Accession
1954:El Greco
1946:El Greco
1938:El Greco
1521:Nativity
1184:New York
1050:New York
1025:Illescas
891:El Greco
426:See also
326:Source:
185:Nobelman
115:El Greco
94:El Greco
70:Location
40:El Greco
1916:Related
1895:Museums
1671:Laocoön
1325:Andújar
956:Dresden
296:On the
199:Laocoön
1871:(1609)
1863:(1609)
1824:–1603)
1658:(1610)
1650:(1609)
1642:(1609)
1634:(1609)
1602:(1608)
1594:(1608)
1586:(1608)
1516:(1603)
1454:(1597)
1428:Madrid
1424:, 1596
1405:(1595)
1382:–1604)
1359:–1595)
1321:, 1590
1319:London
1268:(1586)
1202:Madrid
1175:(1580)
1167:–1579)
1128:(1577)
1120:(1577)
1064:, 1609
1062:Madrid
1058:, 1600
1056:London
1046:, 1570
1040:, 1570
1019:Madrid
1015:, 1570
1004:(1570)
996:(1568)
958:, 1567
939:–1567)
709:Artble
637:
304:Christ
130:Titian
98:Toledo
54:Medium
36:Artist
1925:(son)
1308:–1592
1095:Pietà
1013:Prado
962:Parma
1235:Oslo
635:ISSN
138:here
49:1580
46:Year
627:doi
277:In
1978::
1842:c.
1819:c.
1780:c.
1765:c.
1742:c.
1719:c.
1565:c.
1550:c.
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1239:c.
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966:c.
964:,
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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