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The Holy Family with Saint Anne and the Infant Saint John
Oil on canvas. Ca. 1600
el Greco (Domenikos Theotokopoulos)
The Holy Family with Saint Anne and the Infant Saint John
Oil on canvas. Ca. 1600
el Greco (Domenikos Theotokopoulos)

From the decade of the eighties onwards, El Greco developed an interesting iconography on the theme of the Holy Family. Over the course of the following years, he continued to work on this topic and produced several versions (Hispanic Society in New York, Museo de Santa Cruz in Toledo, National Gallery of Art in Washington). The Prado version shows Mary full-length, seated at the centre of the com

Portrait of a Gentleman
Oil on canvas. 1600 - 1605
el Greco (Domenikos Theotokopoulos)
Portrait of a Gentleman
Oil on canvas. 1600 - 1605
el Greco (Domenikos Theotokopoulos)

A portrait of an unidentified gentleman dressed in black with a white ruff. His expressive gaze and the loose and confident brushstrokes denote the high quality of this work, which is very similar to other portraits painted by El Greco at the beginning of the sixteenth century, like the so-called Aged Gentleman (P00806). There are various hypotheses about the identity of the sitter. Some authors b

The Annunciation
Oil on panel. 1570 - 1572
el Greco (Domenikos Theotokopoulos)
The Annunciation
Oil on panel. 1570 - 1572
el Greco (Domenikos Theotokopoulos)

In keeping with iconographic tradition, the Virgin turns in surprise at the arrival of the Archangel Gabriel and the Holy Ghost. This work is very close, compositionally and stylistically, to the Annunciation of the Modena Triptych, but it is not known whether it is a sketch for that work, or an autograph reduction. Probably painted in Venice just before 1570, this piece seems to be inspired by th

The Virgin Mary
Oil on canvas. 1595 - 1600
el Greco (Domenikos Theotokopoulos) (And Workshop)
The Virgin Mary
Oil on canvas. 1595 - 1600
el Greco (Domenikos Theotokopoulos) (And Workshop)

Mary, wrapped in a red tunic, with a white headdress under her blue robes, is depicted here with an intense sense of devotion. The luminous halo alludes to the image´s sacred character and is used by El Greco to emphasize the figure´s volume. Equally characteristic are the features of the female figure, which the painter would use on numerous occasions: an adolescent with a melancholy face, a fine

Portrait of a Doctor
Oil on canvas. 1582 - 1585
el Greco (Domenikos Theotokopoulos)
Portrait of a Doctor
Oil on canvas. 1582 - 1585
el Greco (Domenikos Theotokopoulos)

The figure represented in this painting is identified as a doctor on account of the ring on the thumb of his left hand. This could be Luis Mercado, physician to Philip II, or Rodrigo de la Fuente, a personal friend of El Greco’s and a very influential figure in Toledo at that time. The work is cited in the 1686 inventory of the Alcázar Palace of Madrid, where it remained until the fire of 1

The Resurrection
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Resurrection
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

At the top, a nude Christ bears a white banner in his left hand, symbolizing triumph over death. His purple robe signifies sacrifice and martyrdom, while his rhomboidal halo echoes the Byzantine tradition. The soldiers that guard the sepulcher appear surprised and confused by the event, except for one who is asleep. The use of scorcio gives these figures a high degree of dynamism. The borders of t

The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation of Christ in Mary by the Holy Ghost in the form of a dove. The burning bush, which appeared to A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation o

Portrait of a Young Gentleman
Oil on canvas. 1600 - 1605
el Greco (Domenikos Theotokopoulos)
Portrait of a Young Gentleman
Oil on canvas. 1600 - 1605
el Greco (Domenikos Theotokopoulos)

Both the large ruff the sitter is wearing and the technique used date this portrait to the beginning of the seventeenth century. The loose brushwork (in the form of subtle highlights, dabbing and small but decisive touches of colour) endow the face with great vivacity. Tha face also has great psychological depth. For some time, the sitter was thought to be the poet, Baltasar Eliseo de Medinilla, a

Fable
Oil on canvas. Ca. 1580
el Greco (Domenikos Theotokopoulos)
Fable
Oil on canvas. Ca. 1580
el Greco (Domenikos Theotokopoulos)

This scene of a young man blowing on burning embers was already developed by El Greco in Italy. Here, the motif is complicated by a mischievous young man and a monkey. This possible allegory of sexual desire may also be inspired by a classical work that was often used at that time, Pliny the Elder´s Natural History. The lighting effects and color contrasts show how the Bassano influenced El Greco,

The Baptism of Christ
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Baptism of Christ
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

This evangelical episode is divided into two overlapping horizontal zones joined by the dove, which symbolizes the Holy Ghost. On the earthly plane, Christ, nude but for his loincloth, is framed by a red cloak, which is the liturgical color of sacrifice and martyrdom. On the right, Saint John the Baptist appears. He wears a camel skin and, next to him, there is an axe in a tree trunk, which allude

John the Baptist and Saint John the Evangelist
Oil on canvas. 1600 - 1610
el Greco (Domenikos Theotokopoulos) (And Workshop)
John the Baptist and Saint John the Evangelist
Oil on canvas. 1600 - 1610
el Greco (Domenikos Theotokopoulos) (And Workshop)

En medio de un paisaje pedregoso y bajo la amenaza de un cielo de tormenta, san Juan Evangelista y san Juan Bautista se presentan en primer término y en actitud de dialogar. Cada uno aparece con la indumentaria y los atributos de su iconografía tradicional: el Evangelista es un joven imberbe que se cubre con túnica azul y un amplio manto rosáceo; bendice el cáliz del que brota un dragoncillo, refe

Saint Anthony of Padua
Oil on canvas. Ca. 1580
el Greco (Domenikos Theotokopoulos)
Saint Anthony of Padua
Oil on canvas. Ca. 1580
el Greco (Domenikos Theotokopoulos)

The pyramidal composition and the monumental character of the figure are similar to those of Saint Benedict (P-817), also in the Prado. An exceptional depiction of this saint from Lisbon holding a spray of white lilies in his right hand. In his left hand is a book with a small image of the Christ Child, a later addition that adapts this painting to the most common iconography of this Franciscan sa

Saints Andrew and Francis
Oil on unlined canvas. Ca. 1595
el Greco (Domenikos Theotokopoulos)
Saints Andrew and Francis
Oil on unlined canvas. Ca. 1595
el Greco (Domenikos Theotokopoulos)

Under a sky filled with leaden-gray storm clouds, Saint Andrew and Saint Francis of Assisi stand next to each other in conversation. The apostle appears on the viewer’s left, wearing a cobalt blue tunic and green robes whose purple silk lining has grey reflections. He faces the viewer and leans on his characteristic x-shaped cross, turning his head to his left, where Saint Francis stands. The latt

The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
el Greco (Domenikos Theotokopoulos)
The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
el Greco (Domenikos Theotokopoulos)

This night scene is set in a narrow, irregular space -a sort of grotto with a gabled opening in the back, consisting of two semi-circular arches. Mary holds her newborn Son, naked on her lap, while Saint Joseph and three shepherds surround them, expressing their fervent devotion to the child. A kneeling ox also contemplates the baby. The compositional ellipse is closed at the top by a group of ang

Portrait of a Gentleman
Oil on canvas. Ca. 1586
el Greco (Domenikos Theotokopoulos)
Portrait of a Gentleman
Oil on canvas. Ca. 1586
el Greco (Domenikos Theotokopoulos)

A long bust of a young manwith a gaunt face bearing a moustache and goatee, large dark, almond-shaped eyes and a long, thin nose. His short, dark hair brings out his pale complexion. He is dressed in black, with a short ruff collar, and the lapels and collar of his outer garment suggest it is a sort of cassock, although the lack of definition in the sleeves prevents any greater specificity. The ba

Julián Romero and his Patron Saint
Oil on canvas. 1612 - 1618
el Greco (Domenikos Theotokopoulos) (Follower Of)
Julián Romero and his Patron Saint
Oil on canvas. 1612 - 1618
el Greco (Domenikos Theotokopoulos) (Follower Of)

Dressed in the habit of a Knight of Saint James, the subject of this portrait kneels in prayer. An armored knight standing at his side and looking to the heavens may well be Saint Louis, King of France, who was considered the model Christian soldier in that period. An inscription on one side of the base of the column identifies the kneeling figure as Julián Romero, he of the Deeds (ca. 1518

The Flight into Egypt
Oil on pine panel. Ca. 1570
el Greco (Domenikos Theotokopoulos)
The Flight into Egypt
Oil on pine panel. Ca. 1570
el Greco (Domenikos Theotokopoulos)

This small panel -it is practically a miniature- is truly exceptional among El Greco’s works. In it, he employs landscape as an essential compositional element while simultaneously demonstrating his mastery of the techniques and expressive resources of 16th-century Venetian painting. The Holy Family is depicted on its journey to Egypt, fleeing the persecution of Herod, who decreed the execution of

Christ carrying the Cross
Oil on canvas. Ca. 1602
el Greco (Domenikos Theotokopoulos)
Christ carrying the Cross
Oil on canvas. Ca. 1602
el Greco (Domenikos Theotokopoulos)

A slightly more than half-length image of Jesus wearing a red tunic and blue robes. Holding the cross with both hands, he rests it on his left shoulder. His head is slightly raised and his watery eyes bear a serene, resigned expression as he looks to the heavens. The crown of thorns on his head is reinforced by a luminous rhomboidal halo. The precisely rendered crown shows each of the tender, inte

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