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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 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

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

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

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

The Holy Trinity
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)
The Holy Trinity
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)

The Heavenly Father, with an Eastern Miter on his head, holds the body of Christ in his lap. The dove of the Holy Ghost appears over his head, while six young angels surround the scene. Several cherubs´ heads appear at Jesus´ feet and under God the Father´s robes. Based on an engraving by Albrecht Dürer, this was one of El Greco´s first commissioned pieces in Toledo. The artist harmonizes the

Saint Benedict
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)
Saint Benedict
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)

This image of Saint Benedict of Nursia (c.480-547) was painted for the high altar in the Church of Santo Domingo el Antiguo, one of the oldest convents in Toledo founded by the Benedictine order in the seventh century. In the sixteenth century, a new church was built with funding from a wealthy patron, Doña María de Silva, who died in 1575. Diego de Castilla, the deacon of the Cathed

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

A night view of Calvary with a markedly Eucharistic character. Mary Magdalene, at Christ´s feet, and three angels collecting the blood of the slain Savior, appear framed by the figures of the Virgin and Saint John the Evangelist. Light and color are used to bring dramatic intensity to the chosen subject, generating a night scene with highly contrasted colors. Some figures, such as that of Mary Mag

An Elderly Gentleman
Oil on canvas. 1587 - 1600
el Greco (Domenikos Theotokopoulos)
An Elderly Gentleman
Oil on canvas. 1587 - 1600
el Greco (Domenikos Theotokopoulos)

A portrait of an anonymous nobleman, possibly from Toledo, with a narrow white ruff. The background is neutral. This work is considered one of the artist´s finest portraits. With the combination of thin and thick brushstrokes, he manages to bring the sitter extraordinarily close to us. This painting is listed in the inventories of Madrid´s Alcázar Palace from 1666, 1686 and 1700. It is sign

Saint Bernard
Oil on canvas. 1603
el Greco (Domenikos Theotokopoulos)
Saint Bernard
Oil on canvas. 1603
el Greco (Domenikos Theotokopoulos)

Saint Bernard of Siena (1380-1444) was an important figure within the Franciscan Order. Here he carries a staff with the anagram of Christ, while at his feet three mitres symbolise the bishoprics of Siena, Ferrara and Urbino that he turned down. The background includes two well known Toledan buildings: the Franciscan monastery of San Bartolomé de la Vega, which was destroyed during the Peni

Saint Francis of Assisi and Brother Leo meditating on Death
Oil on canvas. 1600 - 1614
el Greco (Domenikos Theotokopoulos) (And Workshop)
Saint Francis of Assisi and Brother Leo meditating on Death
Oil on canvas. 1600 - 1614
el Greco (Domenikos Theotokopoulos) (And Workshop)

Sheltered in a cave, Saint Francis of Assisi kneels thoughtfully while holding a skull in his hands bearing the stigmata. The saint kneels on a sort of stone pedestal that elevates him above Brother Leo. To the right of the saint, Brother Leo is also depicted kneeling and foreshortened. He is praying while contemplating the skull, the object that centres the composition. The two monks wear the gre

Jerónimo de Cevallos
Oil on canvas. 1613
el Greco (Domenikos Theotokopoulos)
Jerónimo de Cevallos
Oil on canvas. 1613
el Greco (Domenikos Theotokopoulos)

A portrait of Jerónimo de Cevallos, dressed in black with a white ruff, on a dark background. Born in Escalona in 1562, he died in 1641. Cevallos was a friend and protector of the painter, as well as a famous jurist and politician in Toledo. A member of the so-called Academy of the Count of Mora, a discussion group attended by important members of Toledo´s intellectual and literary circles,

Saint John the Evangelist and Saint Francis of Assisi
Oil on canvas. After 1600
el Greco (Domenikos Theotokopoulos) (Workshop Of)
Saint John the Evangelist and Saint Francis of Assisi
Oil on canvas. After 1600
el Greco (Domenikos Theotokopoulos) (Workshop Of)

Saint John the Evangelist and Saint Francis of Assisi converse amidst a rocky landscape with rolling hills in the background and a blue sky full of clouds. The two saints are standing and are depicted according to more traditional iconography. To the left of the viewer, Saint John appears as a beardless young man with long blond hair, wearing a blue tunic and pink cloak. He blesses the chalice fro

Pentecost
Oil on canvas. Ca. 1600
el Greco (Domenikos Theotokopoulos)
Pentecost
Oil on canvas. Ca. 1600
el Greco (Domenikos Theotokopoulos)

This work depicts the moment when the Holy Ghost, in the form of flames, rests on the Virgin and the Apostles on Pentecost day in Jerusalem, as is told in the book of Acts (2: 1-5). The bald, bearded Apostle who looks out at the viewer from the right of the canvas has been identified as a self-portrait, or as a portrait of the artist´s friend, Antonio de Covarrubias. Along with other paintings in

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