El Greco: The Burial of the Count of Orgaz

That’s a pretty odd sounding name. But let’s not hold it against the owner. Though, there is indeed something orgiastic in the happenings above the funeral, and I mean that in the strict formal sense, without any cynical attempts at blasphemy. The artistic confusion taking place in the celestial scene (the painting is located in the Church of Santo Tomé, Toledo) appears like the exact opposite of the appropriately grave conduct below: disorderly, joyfully inspiring, fantastical and fanciful to the point of being bizarre. There is great sense to such distribution of imaginative chaos and order; after all, the artist may have well witnessed analogous processions, and could have had the privilege of depicting from memory, whereas the only guide for the metaphysical scene above the physical one might have been only his fantasy. And as long as he stayed within the catholic doctrinal framework, pure invention was probably encouraged.

 

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El Greco: The Holy Family (with Saint Anne)

The first thing I noticed about this painting was St. Joseph’s hand supporting the baby’s foot: Raphael’s invention in a different variation. The second was the strange looking clouds, the gape above the Virgin’s head serving as a halo. While these features differ significantly in their specificity, they may both index El Greco’s ability to convert, reinvent and subordinate ideas, for his own particular needs. The clouds, a background element, suddenly assume the utmost role of signifying sainthood, while Raphael’s gesture becomes reincarnated to involve a different actor, a man, standing behind Mary. I think that this is an essential quality of the artist, as it reveals broad intellectual capacity — something that I found convenient to write off as secondary to El Greco’s dominant emotionalism. It seems that after all the head and the heart are together in this ploy, without any preferences.

 

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