Shadows and Distortions by El Greco

Publishing, Britannica Educational, and Kathleen Kuiper. Painters of the Renaissance. Chicago: Britannica Educational Pub, 2013. <http://public.eblib.com/EBLPublic/PublicView.do?ptiID=1069113>.

The authors argue that the use of light, shadows, and distortions saw El Greco move by far like no other artists. For more than a period of 250 years since his death, El Greco (Domenikos Theotokopoulos) was considered as an insane and extravagant painter who deserved less than a footnote in the history of art. In fact, his work has been criticized by some scholars during and after his time. For example, Antonio Palomino, a Spanish artist dismissed the work of El Greco as ridiculous and disgraceful especially on the disjointed drawing, as well as, the unpleasant color. However, it was not until the mid of the 19^th century that people began at looking at his work deeper. In fact it was from the daring perspective of Greco, audacious light, color, and distortions that Greco’s ,once critics established reinforcement and basis for their own ideas on art. El Greco stands as among the greatest prophets of modern art for Expressionists and European Romantics. In fact, a significant number of individuals have struggled to comprehend the complexities in the work of Greco, developing theories and paradigms that have lasted up to date, but which have little foundation. Despite all these, Greco’s work represents high competency in the field of art. This is reflected in his work, “The Adoration of the Shepherds”, painted in the last years of his life.

Kuiper, Kathleen. The 100 Most Influential Painters & Sculptors of the Renaissance. New York, NY: Britannica Educational Pub. in association with Rosen Educational Services, 2010.

The author notes that the painting once adorned the painter’s tomb in a church known as the Monastery of St. Dominic located in Toledo. In fact, the painting was later used in the altar for which it was meant initially. The author has made this painting adorable as this work is among the most colorful. In this work, light enlightens from the child, as well as, from the heavenly white cloth that the baby lies. This is a representation of the images of Mary and the surprised shepherds. The light aspect shows that the author is so much interested in doing art with light and colors, just like in his earlier work. The scenery religious painting was painted on oil on board, which is accredited to Giorgio Barbarelli, an Italian artist or commonly called Giorgione. The painting may be found in various galleries of arts. The main characters in the picture are the two shepherds on the left side, Mary and Joseph at the right, and the nude baby Jesus who is placed at the center. The picture’s scene is at a cave, incorporated in a large surrounding landscape, in a manger. The land is presumed as the city of Bethlehem, where Jesus was reported to have been born. Greco’s work, therefore, has a strong basis making it outstanding besides the use of shadows and distortions. Emphasis on biblical subjects contributes significantly to the success of the artist’s work. However, the subject of the painting is meant to bring some meaning to the observer. Fundamentally, the subject of the picture is noticeably the interpretation of nativity by El Greco that is borrowed from the gospel of Luke that offers a narration on the birth of Christ. As commonly known and understood by many Christians, as well as, the non-Christians, the shepherds went to visit the Holy Family. This was immediately after an angel had appeared to them and informed that that Christ had been born. The artist grasps the eyes of the observer due to his ability of adding beauty to the scene. The surrounding landscape is made colorful by the author offering an attractive scene. It is extremely obvious that one cannot fail to notice the emphasis of the artist on creating a calmness mood.

LaVerdiere, Eugene, and Paul Bernier. The Firstborn of God: The Birth of Mary’s Son, Jesus ; Luke 2:1-21. Chicago, Ill: Liturgy Training Publications, 2007.

The size and the spatial depth of the painting are large as compared to most artistic work. This obviously makes the image more attractive to attention and visible. As concerning the content’s size proportion of the image itself, the figures’ size appears smaller as they are shown beyond the scene establishing a spatial depth to the painting. This approach in painting is commonly referred to as atmospheric perspective. The homes and building mountains that are usually bigger than individual beings are depicted of minor sizes than the main human being figures that recommend that the latter are nearer to the observer. In addition, on this perspective the farther the image is the less comprehensive it is hazier and drawn is the color. The colors used by the author symbolize humility, coolness, and calmness. They also lighten the scene. There is a variety of shape combinations Greco’s painting to build a realistic scenery and object. For example, there is the rectangular and square houses and building, tree stumps and circular heads, the triangular roofs and mountains and a variety of landscapes’ freeform shapes. The shapes are not symmetrically arranged, but strategically scattered all over the painting.

Zuffi, Stefano. Gospel Figures in Art. Oxford UP, 2003.

What distinguishes Greco from other painters is the ability to use what many refer to as harsh light, and cold color, as well as, the free brush stroke. This is why it is not easy to classify this work as belonging to one category (mannerism, baroque, and renaissance). As compared with his earlier explanations on the same subject matter, the artist tends to relinquish any effort to attain balanced proportions, comprehensive space, and harmonious coloring. He ends up transforming the scene into a spiritual and transcendent event depicted in bright colors that contrast each other. For instance, the shepherd who is bearded in the middle is dressed in a bright orange-red jacket over breeches of green-yellow. On the other hand, St Joseph, who is on the left side, is in a tunic with a purplish-blue color and yellow fabric. Yellow and Blue a reappear in the clothes of the shepherd standing to the right, while the person on his left wears green, complementing attractively with the blue mantle of the Virgin and rose tunic. Adjacent to the sky background sky comprised of flashing blues and whites, a team of angels flies above the scene. One of the angels has a banderole that has the words ‘Glory to God in the Highest, and on earth peace’. There is another angel who crosses the arms of the angel with a banderole in a pose alike to that of the shepherd below.

Scholz-Hansel, Michael, and Greco. El Greco: Domenikos Theotokopoulos, 1541-1614. Hong Kong, China: Taschen, 2006.

In this case, however, light is not just used for the sake of it. Rather, it is a means to express some hidden idea. Pantocrator’s words are often found in Romanesque churches. Consequently, they are also found in the light of the World. As also found in his other artistic works, lengthened images including tongues of fire, marks of emotion, faith, and eagerness are represented in “The Adoration of the Shepherds”. This establishes the painting especially as a link in the modern art and Gothic style. In this work, the painter prefers bold color and abruptness instead of the glazed style and soft transition during his time. These have produced a strong visual effect that has enabled Greco’s work stand out even in modern art.

Rathbone, Eliza E., Greco El, and Pablo Picasso. Art Beyond Isms: Masterworks from El Greco to Picasso in the Phillips Collection; [Sept. 22, 2002 – Jan. 5, 2003, Museum of Fine Arts, Houston, TX, … Febr. 6 – May 16, 2004, Frist Center for the Visual Arts, Nashville, TN]. London: Third Millennium Publ, 2002.

Some critics may argue that Greco tried to express religious emotions in a manner that appears exaggerated. However, for those who understand the modern art, the argument may differ as Greco’s work has formed a basis on which modern artists have developed ideas that are essential in the field of art today. Distortions are highly represented in “The Adoration of the Shepherds”. Similar to the final works of El Greco, the shepherds’ bodies are significantly distorted from their natural forms. This contrasts with the more conventional look of the angels who are above the scene, flying. The distortions, together with the unusual poses and angles of the scene characters, were meant to offer an impression of delighted wonder. There exists an immense deal of dissimilarity between shade and light in Greco’s work, with the mixture of this aspect and the brilliant colors of the pictures, which is intended to further intensify the sense that the observer is witness to a world changing occurrence.

From the above critical analysis and interpretation, it is evident that El Greco was successful in his use of distortions, shadow, and light, in his work. He stands out as a prophet of modern art in today’s world.

Bibliography

Kuiper, Kathleen. The 100 Most Influential Painters & Sculptors of the Renaissance. New York, NY: Britannica Educational Pub. in association with Rosen Educational Services, 2010.

LaVerdiere, Eugene, and Paul Bernier. The Firstborn of God: The Birth of Mary’s Son, Jesus ; Luke 2:1-21. Chicago, Ill: Liturgy Training Publications, 2007.

Publishing, Britannica Educational, and Kathleen Kuiper. Painters of the Renaissance. Chicago: Britannica Educational Pub, 2013. <http://public.eblib.com/EBLPublic/PublicView.do?ptiID=1069113>.

Scholz-Hansel, Michael, and Greco. El Greco: Domenikos Theotokopoulos, 1541-1614. Hong Kong, China: Taschen, 2006.

Zuffi, Stefano. Gospel Figures in Art. Oxford UP, 2003.