United States or Haiti ? Vote for the TOP Country of the Week !
The Prado has two dozen specimens, though two of them at least a poor replica of the Orgáz burial, and another are known to be by El Greco's son, Jorge Manuel Theotocopuli; of the numerous portraits and other pictures dispersed by time and chance to the four quarters of the globe, we have written earlier in this volume, when dealing with the definitive work on this Greek by Señor Manuel B. Cossio.
It furnishes a frontispiece for the Cossio volume. The same dignitary was again painted, a variant, which Rudolph Kann owned, and now in the possession of Mrs. Huntington. The cardinal's head is strong, intellectual, and his expression proud and cold. Mr. Frick, at a private club exhibition, showed his Greco, St. Jerome, a subject of which the painter was almost as fond as of St.
Violent to exaggeration in composition, morbidly mystic, there are power and emotional quality revealed in his work; above all else he anticipated Velasquez in his use of cool gray tones, and as a pupil or at least a disciple of Titian he is, as his latest biographer, Señor Manuel B. Cossio, names him, "the last epigone of the Italian Renaissance." But of the man we know almost nothing.
Señor Cossio sums up in effect by declaring that Venice educated Greco in his art; Titian taught him technique; Tintoretto gave him his sense of dramatic form; Angelo his virility. But of the strong personality which assimilated these various influences there is no doubt when confronted with one of his canvases, every inch of which is signed El Greco.
Señor Cossio has so well accomplished his task that his book may be set down as definitive. A glance at the bibliography he compiled shows that not many writers on art have seen fit to pay particular attention to El Greco. Ellis truthfully remarks, still a storehouse of original exploration. But the Cossio work, naturally, tops them all.
Beruete is real, so Cossio, the author of the El Greco biography; so the realistic novelist Blanco Ibañez; but the best, after those of his, Sorolla's, wife and children, is that of Frantzen, a photographer, in the act of squeezing the bulb. It is a frank characterisation.
No doubt he was a pupil of Titian; Gautier but repeated current gossip when he said that the Greek went mad in his attempt to emulate his master. But Tintoretto's influence counts heavier in this picture than Titian's, a picture assigned by Cossió midway between Greco's first and second period.
Then follows a searching and vivid exposition of the pictures in Madrid, Toledo, and elsewhere, a technical and psychological analysis which displays vast research, critical acumen, and the sixth sense of sympathy. No pictures, sketches, sculptures, or retablos escape Cossio. He considers El Greco in his relations to Velasquez and modern art.
He has all the authorities at his tongue's tip; he views the man and artist from every angle. "Domenico El Greco died at Toledo two years before his contemporary Cervantes," says Cossio.
Word Of The Day