Our Moving Fate: A Study of El Greco’s Assumption of the Virgin

The fate of our movement: In 1577, Study of Our Lady Mary's hypothesis by El Greco, he painted the "Assumption Mother" for Santo Domingo Monastery in Toledo, Spain. El Greco was born in Greece as Domenikos Theotocopoulos (his nickname translated from Spanish to "Greek") and was asked to paint "Assumption" to decorate the altar of the monastery. This picture is a terrible size surrounded by a wooden frame painted with uneven metal lacquer, more than 6 feet wide and 2 times tall.

El Greco, still important for his initial biography, still in Crete, probably painted his Madonna Sabbath at the end of the Cretan era before 1567. The other three prominent works "Doménicos" are due to El Greco (Modenatriptik, painting St. Luke Virgin and Child, and worship of magicians). In 1563, at the age of 22, El Greco was already the registered master of the local guild, probably his own studio director. A few years later he left Venice and never returned to Crete. His Madonna Sabbath, a panel of temperatures and gold before 1567, may have been created at the end of the El Greco Crete period. This painting is a combination of Post Byzantine style and Italian style style and graphic elements, with elements of Cretan style built in.

In 1908, Spanish art historian Manuel Bartolomé Cossío published a comprehensive catalog of the work of the first El Greco; in this book El Greco was introduced as the founder of the Spanish school. In the same year, the French Impressionist Julius Mayr Greif was traveling to Spain, looking forward to studying Velázquez, but fascinated by El Greco, he traveled to Spain (a trip to Spain, in 1926 Published in English) recorded his experience. Among El Greco's works, Meier-Graefe found a prediction of modernity. These are the words used by Meyer Grayf to describe the influence of El Greco on the art movement of the time.

Among his mature work, El Greco showed a tendency to be dramatic rather than descriptive. Strong mental emotions are conveyed directly from the painting to the audience. According to Pacheco, the art of El Greco's anxiety, violence and sometimes careless executions is due to research efforts to gain style freedom. El Greco likes tall, slender figures and slimmer works for both expressive purposes and aesthetic principles. When they are destined to be an altarpiece. In the mature work of El Greco, the anatomy of the human body became further abnormal; due to Immaculate pregnancy El Greco asked the altar decoration itself to extend 1.5 feet (0.46 m). Rather than reducing, this may be the worst thing for the character. "