2. Apr 21, 2015 - Page of The Assumption of the Virgin by GRECO, El in the Web Gallery of Art, a searchable image collection and database of European painting, sculpture and architecture (200-1900) First, she convinced her friends Louisine and Henry Havemeyer to loan Durand-Ruel the money to purchase the painting. This painting was the central element of the altarpiece that was El Greco’s first major Spanish commission and first large public work. 7. The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, Chicago, 1925, pp. Aug 7, 2014 - Shop Assumption of the Virgin by El Greco Postcard created by argentarts. At the Art Institute of Chicago there is a monumental work by El Greco entitled "The Assumption Of The Virgin" which hangs prominently in the Mannerist Galleries. 25. 24, no. cat., Byzantine Museum of Athens, and London, Royal Academy of Arts, 1987, p. 191, under 67. The work had a great influence on the reputation of Greco. 54-61, ill. Al Gury, Color for Painters: A Guide to Traditions and Practice (New York: Watson-Guptill Publications, 2010), p. 85 (ill.). Allan Braham, “Two Notes on El Greco and Michelangelo,” Burlington Magazine 108 (1966), pp. Jon Margolis, “Off-the-Wall Lessons in History: One Man’s Unorthodox View of the Art Institute,” Chicago Tribune Magazine, Sept. 17, 1995, p. 16. Francisco de Alcántara, “El Greco, pintor cristiano,” El Imparcial (June 5, 1902), pp. Philip L[eslie] Hale, Great Masters in Art (New York: Crown Publishers, 1935). 10. 418–20, fig. Palma Martínez-Burgos, El Greco (Madrid: Editorial LIBSA, 2014), pp. 566–72, pl. The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, Chicago, 1920, p. 20, no. 46–48, 391, vol. 507 (ill.). 204–05, fig. ‘Assumption of the Virgin’ was created in 1577 by El Greco in Mannerism (Late Renaissance) style. Jonathan Brown, “El Greco and Toledo,” in El Greco of Toledo, exh. The subject was represented by numerous artists, but El Greco’s take of the theme is … Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. 136–37, fig. Carlos Cid, Madrid, 1967, vol. 23. Dario Gamboni, “Arts visuels, espace et territoire,” in Le Grand Atlas de I’art, Paris , 1993, pp. With or without painting frame. The discovery of the Dormition led to the attribution of three other signed works of "Doménicos" to El Greco (Modena Triptych, St. Luke Painting the Virgin and Child, and The Adoration of the Magi) and then to the acceptance as authentic of more works, signed or not (such as The Passion of Christ (Pietà with Angels), painted in 15… 110B. 1, pp. 307–08, fig. 80% off a Hand Made Oil Painting Reproduction of Assumption of the Virgin, one of the most famous paintings by El Greco (Domenikos Theotokopoulos). Judith A. Barter, Art Institute of Chicago, 1998, pp. Rebeca J. The museum is temporarily closed. Michel Utrillo, Domenikos Theotokopoulos, “El Greco,” Barcelona, n.d. 29. The Assumption of the Virgin Date 1603 Technique Oil Support Canvas Dimension Height: 140 cm. 1. Yasunari Kitaura, “El Greco: La antigüedad encontrada a través del Renacimiento italiano,” in El Greco in Italy and Italian Art, ed. 9. A mediados del siglo XVII el laúd era uno de los instrumentos más apreciados en Europa para la música doméstica, especialmente en Centro Europa. Alfonso E. Pérez Sánchez, “On the Reconstruction of El Greco’s Dispersed Altarpieces,” in El Greco of Toledo, pp. 6, 8, 10, figs. Assumption of the Virgin by El Greco. This ornament features details of El Greco's The Assumption of the Virgin, 1577-79.With no major commissions in Rome, El Greco moved on to Spain in 1577. Carl Justi, “Domenico Theotocopuli von Kreta,” Zeitschrift für bildende Kunst, n.s., 8 (1897), pp. 1, Madrid, 1774, letter 4; reprinted, 1947, p. 78. The Art Institute of Chicago, A Brief Illustrated Guide to the Collections, Chicago, 1941, p. 2 (ill.). 9, 18, pl. cat. Xavier Bray, El Greco, London, 2004, p. 23. ed., 1970, vol. Teri J. Edelstein, Chicago, 1993, p. 24 (ill.). The Assumption of the Virgin is a painting by El Greco which was uploaded on July 7th, 2016. 9. 112–13. 1–2. Mercedes Agueda, “La colección de pinturas del infante Don Sebastián Gabriel,” Boletín del Museo del Prado 3 (1982), p. 106, no. 12; 3rd ed., 1954, pp. The Art Institute of Chicago, Masterpieces in The Art Institute of Chicago, 1952, n.pag. Personalize it with photos & text or purchase as is! 47–49, fig. 151–52, figs. Long, ed., (Chicago: Art Institute of Chicago, 2020), 66. This scarf features details of El Greco's The Assumption of the Virgin, 1577-79.With no major commissions in Rome, El Greco moved on to Spain in 1577. Art Institute of Chicago, A Century of Progress, June 1–November 1, 1934, cat. Salvador Sanpere y Miquel, “Exposiciones Rosales y Greco,” Album Salón 115 (June 1, 1902), pp. William N. Bates, “Archaeological News,” American Journal of Archaeology 19, 3 (1915), pp. After living in Venice and Rome, where he absorbed the late Mannerist style, the Greek-born artist settled in the Spanish city of Toledo in 1577 to work on the high altar of the convent church of Santo Domingo el Antiguo. 270–79, figs. cat., Edinburgh, National Gallery of Scotland, 1989, pp. Edit attribution Download full size: 2082×4096 px (1,8 Mb) Painter: El Greco. Information about image downloads and licensing is available here. If you wish to buy this Assumption of the Virgin print (on canvas or paper, stretched or unstretched, framed or unframed) in a customized size of your own choosing, simply enter an image size in either box below, then click in the other one, and the correct proportions and price for your custom El Greco print will suddenly appear, by magic. He quickly earned a major commission for the altarpiece for the Church of Santo Domingo el Antiguo in Toledo, the result being the monumental The Assumption of the Virgin (1577–79). Learn more. The Assumption of the Virgin … He quickly earned a major commission for the altarpiece for the Church of Santo Domingo el Antiguo in Toledo, the result being the monumental The Assumption of the Virgin (1577–79). 31. Die gesamte Papierformat 45,72 x 60,96 cm und die Bildgröße 45,72 x 60,96 cm. 4, 5, 18 (ill.). Luis Rodriguez Miguel, Guía del viajero en Toledo, Toledo, 1880, pp. The religious capital of Spain at the time, Toledo lacked professional painters. Hall, The Sacred Image in the Age of Art: Titian, Tintoretto, Barocci, El Greco, Caravaggio (New Haven: Yale University Press, 2011), p. 228, 232 fig. Albert Boime, “El Greco en Nueva York: Su influencia en Jackson Pollock,” in Francisco Calvo Serraller, ed., El Greco, Madrid, 2003, p. X. Fernando Checa, “El Greco y Tiziano,” in El Greco, p. 37. Stretched on canvas or printed as photo. Long, ed., (Chicago: Art Institute of Chicago, 2020), 18, 26. 621–22. This, the first work executed in Spain, is the only painting by El Greco bearing the date of its execution. Leo Bronstein, El Greco, New York, 1966, pp. High-quality museum quality from Austrian manufactory. Raymond Escholier, Greco, Paris, 1937, p. 31 (ill.). 40–42 (ill.), 282.. Damián Bayón, “El Greco: Creador de conjuntos plásticos,” Colóquio 5 (1971), pp. Henry O’Shea, Guide to Spain and Portugal, Edinburgh, 1868, pp. 153–56. 135–37. 59 (image of replica), 143–44, 146. 2, Berlin, 1908, pp. August L. Mayer, Dominico Theotocopuli, El Greco, Munich, 1926, p. 19, no. Tiziana Frati, L’opera completa del Greco, Milan, 1969, pp. Frederick Albert Gutheim, “El Greco and Chicago,” Survey Graphic 23 (1934), pp. Keith Christiansen, “Greco en Italie,” in Greco, exh. El Greco's Assumption of the Virgin was the central element in his first major Spanish commission, a complex of paintings for the church of the Cistercian convent of Santo Domingo el Antiguo in Toledo. Antonio Palamino de Castro y Velasco, El museo pictórico y escala óptica, vol. 16. 76, 154, no. Philip Troutman, El Greco, New York, 1963, pp. Frederick A. 79–80, 87–89. El Greco (Doménikos Theotokópoulos)Greek, active in Spain, 1541–1614. 67–68, 77, 342, no. 75–76. David Davies, El Greco: Mystery and Illumination, exh. 260–61, fig. Sweet, Spanish Painting, exh. Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei’ in Chicago,” Pantheon 12 (1933), p. 381. 372–77 for the status of his estate]; his widow, the Infanta María Cristina de Borbón (died 1902), Aranjuez and Madrid; offered for sale, Madrid, October 1902, no. Thomas Connors, “Master Plans: The Art Institute takes a good hard look at the great El Greco,” Splash Magazine (March 2020), 13 (color ill.). cat., ed. El Greco Exhibition, exh. 24–25, fig. 4–5, no. José Gudiol, Spanish Painting, exh. 35. “The New El Greco Frame,” Bulletin of the Art Institute of Chicago 1 (1908), pp. Find more prominent pieces of religious painting at Wikiart.org – best visual art database. cat., Toledo Museum of Art, 1941, p. 66, fig. 260–62; reprinted in Miscellaneen aus drei Jahrhunderten spanischen Kunstlebens, vol. 关于绘画，地点和艺术家的其他绘画的信息. Harold E. Wethey, El Greco and His School, Princeton, 1962, vol. Fiske Kimball and Lionello Venturi, Great Paintings in America, New York, 1948, p. 94, no. 1, Paris, 1927, pp. 102–03. Hannah Lynch, Toledo: The Story of an Old Spanish Capital, London, 1898, pp. Louis Viardot, Les Musées d’Espagne, Paris, 1860, p. 159. From Art Institute of Chicago, El Greco, The Assumption of the Virgin (1577-1579), Oil on canvas, 396.4 × 202.5 cm EL Greco – Assumption of The Virgin EL Greco (1541-1614/Greek) Museum of Santa Cruz Toledo Poster Drucken (60, 96 x 91, 44 cm) günstig auf Amazon.de: Kostenlose Lieferung an den Aufstellort sowie kostenlose Rückgabe für qualifizierte Artikel 111–12, ill. opp. 134–36 (ill.). Jacques Lassaigne, El Greco, trans. 6–7, 12, pl. 39–41, 391, vol. 125–37, 143–44, 594, no. cat., Brooklyn Museum of Art, 1935, n.pag., under no. El Greco. Erica E. Hirschler, “Helping ‘Fine Things across the Atlantic’: Mary Cassatt and Art Collecting in the United States,” in Mary Cassatt: Modern Woman, exh. Richard L. Kagan, “Tolède, Urbs Sacra: Le paintre et ses commanditaires,” in Greco, exh. Diego Angulo Iñíguez, Pintura del Renacimiento, Ars Hispaniae 12, Madrid, 1954, p. 277, fig. Ludwig Goldscheider, El Greco, London, 1938, p. 9, pl. 171–72 (ill.). 30–33. Steven F. Ostrow, “Zurbarán’s Cartellini: Presence and the Paragone,” Art Bulletin 99 (2017), pp. Ignacio de Beryes, Domenicos Theotocopoulos, El Greco, Barcelona, 1944, p. 17. 67, 104–05. 257–58, fig. 39. 78, 91–92, fig. José Álvarez Lopera, De Ceán á Cossío: La fortuna critica del Greco en el siglo XIX, Madrid, 1987, pp. We produce your artwork exactly like you wish. 215, 222, 226, 231, pl. 22; 2nd ed., 1949, pp. 2, but bought in, then lent by the Infanta’s heirs to the Museo del Prado, Madrid, 1902–04 [see Cossío 1908, p. 594, no. El Greco painted his Dormition of the Virgin near the end of his Cretan period, probably before 1567. Halldor Soehner, “Greco in Spanien,” Münchner Jahrbuch der bildenden Kunst, 3rd ser., 8 (1957), pp. We deliver El Greco Assumption of the Virgin all over the world; shipping fee is $15.00 for one item, but it is ZERO if order more than one piece at a time. The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, Chicago,1932, pp. Weight with frame: 331 lbs/ 150.139 kg, Gift of Nancy Atwood Sprague in memory of Albert Arnold Sprague. Dormition of the Virgin was painted sometime before 1567 by El Greco This painting was one of his early works of Post-Byzantine Art. cat., Vienna, Kunsthistorisches Museum, 2001, pp. cat., San Francisco, M. H. De Young Memorial Museum, 1947, n.pag. 11 (ill.), 24–25; rev. 66. Antonina Vallentin, El Greco, trans. Guillaume Kientz, ed., Greco, exh. 1–2; repr., New York, 1990. Nicos Hadjinicolaou, Iraklion, 1995, pp. Set at the center of the lower story of a huge retable that filled the end of the sanctuary, the Assumption was flanked by paintings of single saints and crowned by a depiction of the Trinity. Neil Harris, Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago, 1893–1993, ed. cat., Fine Arts Museums of San Francisco, 1998, pp. Similar. 6. Nicos Hadjinicolaou, ed., El Greco in Italy and Italian Art, exh. Long, ed., (Chicago: Art Institute of Chicago, 2020), 42 (replica ill.), 43–44. Commissioned 1577 by Don Diego de Castilla for the convent church of Santo Domingo el Antiguo, Toledo; installed with other paintings in the main retable by September 1579; sold c. 1830 to the Infante Don Sebastián Gabriel de Borbón y Braganza (died 1875), Madrid and later Pau, France, but confiscated from him by the Spanish government and installed in the Museo Nacional de la Trinidad, Madrid, in 1835 [Lavice 1864 recorded that the Assumption was on display in the Museo Nacional de Pinturas, but this cannot be confirmed]; returned to Don Sebastián in 1861; his estate in custody of the Spanish government, 1875–87 [see María Teresa Baratech Zelama, “La testamentario del Infante Don Sebastián Gabriel de Borbón y Braganza,” Archivo español de arte 62 (1989), pp. The high altarpiece of the church of S. Domingo el Antiguo was the work that called El Greco to Toledo, Spain. Suzanne Stratton, La inmaculada concepción en el arte español, Madrid, 1989, pp. 34. José Álvarez Lopera, El Greco: La obra esencial, Madrid, 1993, pp. Éva Nyerges, “La Madeleine pénitente du Greco à Budapest,” Bulletin du Musée Hongrois des Beaux-Arts 76 (1992), p. 51, fig. Explore our collection of El Greco fine art prints, giclees, posters and hand crafted canvas products Sweet, “Tintoretto and El Greco,” Bulletin of the Art Institute of Chicago 44 (1950), p. 23. Camille Mauclair, Le Greco, Paris, 1931, pp. 2, 13, 41–44, 163, fig. James Emmons, New York, 1956, p. 18. Byzantine art was produced in the Middle Ages, in the Byzantine Empire, and the art was almost entirely centered on religious themes and … 92–96, 243 (ill.), 279, no. 53, 188–89, no. Aline B. Saarinen, The Proud Possessors, New York, 1958, p. 165. cat., London, National Gallery, and New York, Metropolitan Museum of Art, 2003, pp. They rejected it. Jonathan Brown, “Picasso and the Spanish Tradition of Painting,” in Picasso and the Spanish Tradition, ed. 142 & 144 (ill.), Leticia Ruiz Gómez, Domenikos Theotokopooulos, El Greco: 1541-1614 (Madrid: Mapfre, 2013), pp. The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, Chicago, 1948, p. 2 (ill.). cat., Rebecca J. A[ureliano] de Beruete y Moret, Conferencias de arte, Madrid, 1924, pp. Alice Cooney Frelinghuysen et al., Splendid Legacy: The Havemeyer Collection, exh. p. 110. 142, 144, vol. Bernardino de Pantorba, 70 obras maestras del Greco, Madrid, 1953, p. 50, pl. 2, p. 1356, no. 41, figs. Lorinda Munson Bryant, What Pictures to See in America, New York, 1915, pp. The vigor of El Greco’s broad brushstrokes proclaims the confident achievement of this early work, as does this artist’s large signature in Greek, painted as though affixed to the surface of the picture at the lower right. It had passed through a few hands since the 16th century, and the heirs of the then-owners were unable to sell it in Madrid. (ill.). Arthur Symons, “A Study at Toledo,” Monthly Review 2, 6 (1901), pp. Morton H. Bernath, “Drei Hauptwerke des Greco in Amerika,” Zeitschrift für bildende Kunst, n.s., 21 (1909–10), pp. 89–91 (ill.), 203–04. Marcia B. One painting that stood out the most was called, “The Assumption of the Virgin,” by El Greco. 257 (ill.), 262. Albert Boime, “The Americanization of El Greco,” in El Greco of Crete, ed. Jane Carroll (New York: Rizzoli, 1980), 26, no. 44–45, fig. Katharine Baetjer, “El Greco,” Metropolitan Museum of Art Bulletin 39, 1 (1981), pp. The painting may be purchased as wall art, home decor, apparel, phone cases, greeting cards, and more. It had passed through a few hands since the 16th century, and the heirs of the then-owners were unable to sell it in Madrid. El Greco painted his Dormition of the Virgin near the end of his Cretan period, probably before 1567. 73; Art Institute of Chicago, El Greco: Ambition and Defiance, March 7–June 21, 2020, cat. David Davies, “The Relationship of El Greco’s Altarpieces to the Mass of the Roman Rite,” in The Altarpiece in the Renaissance, ed. 14-15, 60-61 (ill.). 67–68, 77, 342, no. 151–52, 156, figs. Joaquín Melendo Pomareta, El misterio de El Greco y el franciscano Peretti: Papa Sixto V (1585-90) (Carenas: ASPACAR [Asociación en Defensa del Patrimonio de Carenas], 2013), pp. Andrew Révai and Robin Chancellor, Garden City, N.Y., 1955, pp. Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector, New York, 1961, pp. Richard G. Mann, “El Greco’s Altarpieces for the Chapel of Saint Joseph: Devotion, Politics, and Artistic Innovation in Counter-Reformation Toledo,” in The Word Made Image: Religion, Art, and Architecture in Spain and Spanish America, 1500–1600, ed. (Paris: RMN Editions, 2019), 5 (detail ill.), 7 (detail ill.), 8 (detail ill.), 232. 131. ], p. 5 (ill.). 70. One of the most important paintings of El Greco’s career, "The Assumption of the Virgin" has become an iconic work in the Art Institute collection. Richard G. Mann, catalogue entry in “Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago,” edited by Martha Wolff (New Haven and London: Yale University Press/Art Institute of Chicago, 2008): 60–61. 6. The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, Chicago, 1945, p. 2 (ill.). David Davies, El Greco, London, 1976, pp. Guillermo J. de Guillén García, “Domenico Theotocópuli (El Greco): Sus cuadros,” Revista de la Asociación artístico arqueológica barcelonesa 3 (1899), p. 243. 2, pp. Written in the Venetian style, it uses intense colors and light contrasts, which have become the hallmark of work. 95–96 (ill.), 173. [1907? 33–34 (ill.). 285–86. 28, 30, 36, 105, 142, pl. The Assumption of the Virgin El Greco (1541-1614) 69 / 235 0 ; El Greco – The Assumption of the Virgin. cat. 365–66. 75–80. 67, 79, 86–91, 94, 100–01, 104–05, 120, 128, 130, 236, 309, 370, fig. Long, “Greco peintre de retables: Ambitions et frustrations (1577–1582),” in Greco, exh. cat., New York, Frick Collection, 2001, p. 36. The Assumption of the Virgin As I walked through the halls of the Art institute, I saw many paintings and sculptures. This work of art was originally housed in the church of Santo Domingo, Toledo, Spain. 24. 36–41, fig. 125. 1214, pl. 34-36 (ill.). Frank Rutter, El Greco, New York, 1930, p. 28. 5, Madrid, 1800, p. 10. 16–17, 44, 51, pl. J[ens] F[erdinand] Willumsen, La Jeunesse du peintre El Greco, vol. 30-31, fig. El Greco – Assumption of the Virgin by El Greco 1541-1614 Spain Toledo Iglesia Santa Cruz Artistica di Stampa (45,72 x 60,96 cm): Amazon.es: Hogar Comment. 161, 163–66, vol. 20–24 (ill.). 专辑: El Greco, #76/235. 9, no. 668. 43–44, fig. 27, 75. (#7759) The Art Institute of Chicago, Master Paintings in The Art Institute of Chicago, Chicago, 1988, pp. cat., ed. 116–18, 122, 135, figs. 149–50. 25. 2, p. 20, no. 50. His mother, who had a family membership to the Art Institute, frequently took him to the museum specifically to see the Assumption. Emilio Huguet del Villar, El Greco en España, Madrid, 1928, pp. 95–96, no. Frederick A. 8; rev. The Assumption of the Virgin 1577 Oil on canvas, 401 x 229 cm Art Institute, Chicago: Painted for the central panel of the High Altarpiece of the church of Santo Domingo el Antiguo, Toledo, the commission which brought him to Spain. The Assumption of the Virgin (1577–1579, oil on canvas, 401 × 228 cm, Art Institute of Chicago) was one of the nine paintings El Greco completed for the church of Santo Domingo el Antiguo in Toledo, his first commission in Spain. 1, pp. 1; rev. The Assumption of the Virgin, 1577 is a painting by El Greco which was uploaded on April 16th, 2020. Favorites. Neil Harris, “The Park in the Museum: The Making of an Icon,” in Seurat and the Making of “La Grande Jatte,” exh. Juan Antonio Gaya Nuño, La pintura española fuera de España, Madrid, 1958, pp. 114, pl. We produce your artwork exactly like you wish. This El Greco Assumption of the Virgin painting is oil on canvas. 22. Pau, Salons de l’ancien Asile de Pau, Tableaux appartenant aux héritiers de feu Msg. Elizabeth du Gué Trapier, El Greco: Early Years at Toledo, New York, 1958, pp. C[harles] J[oseph] Bulliet, “A Century of Progress in Collecting,” Art Journal 5, 4 (1933), p. 7. cat., Toledo Museum of Art, 1982, pp. ed., London, 1977, pp. 26, 28–29 (ill.). 6. The Assumption of the Virgin, 1577, Oil on canvas, 158" x 90" (401 x 129 cm). José Amador de los Rios, Toledo pintoresca, o descripción de sus más célebres monumentos, Madrid, 1845, p. 182; reprinted, Barcelona, 1976. ‘Assumption of the Virgin’ was created in 1577 by El Greco in Mannerism (Late Renaissance) style. 124, 126, 128, 132; 9/10 (1958–59), p. 152, pl. 5, New York and Greenwich, Conn., 1973, pp. John D. Morse, Old Masters Paintings in North America, New York, 1979, pp. 13, 30, pl. Middle years. 12. ★ 图片: 1983×4056 px. Manuel B. Cossío, El Greco, Madrid, 1908, pp. 54-56, fig. Gaston Diehl, El Greco, New York, 1959, p. 32. Juan Agustín Ceán Bermúdez, Diccionario histórico de los más ilustres profesores de las bellas artes en España, vol. José Gudiol, Doménikos Theotokópoulos, El Greco, 1541–1614, Barcelona, 1971, pp. John Maxon, The Art Institute of Chicago, London, 1970, pp. El Greco- Δομήνικος Θεοτοκόπουλος (Doménikos Theotokópoulos) Painting of The Assumption of the Virgin 1577-1579 Toledo, Spain. Samuel Edward Cook, Sketches in Spain during the Years 1829, 30, and 31, London, 1834, p. 157. 3; rev. A great addition to your wall decor! Fernando Marías, “Convent of Santo Domingo el Antiguo, Toledo,” in El Greco of Toledo: Painter of the Visible and the Invisible (Madrid: Ediciones El Viso, 2014), pp. 6–12, 17, 24, fig. 167. Peter Humfrey and Martin Kemp, Cambridge, 1990, pp. 13. The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, Chicago, [1956], p. 2 (ill.). Erin Hogan (Chicago: Art Institute of Chicago, 2020), cover image, 9, 12, 14, 114–115 cat. Angels, saints, cherubs, and the heavenly hosts surround the serene figure as she ascends, while below saints and apostles watch in wonder at her empty crypt. It went on view at the Galerie Durand-Ruel in Paris from 1904 to 1905, where it became a favorite of modern artists such as Picasso and … Mary Cassatt. This poster is ready for hanging or framing. 57; reprinted, 1947, p. 841. Personalize it with photos & text or purchase as is! The Assumption of the Virgin came on the market in 1904, when El Greco’s reputation as a painter was at a relatively low ebb. 15, 46, 122, 124, 152, 162. José Manuel Pita Andrade, “El Greco in Spain,” in El Greco: Identity and Transformation, exh. Sixto Ramón Parro, Toledo en la mano, vol. 67–68. 147, 154–55, pl. Myrtali Acheimastou-Potamianou, ed., From Byzantium to El Greco, trans. To help improve this record, please email . Lionello Venturi, The Sixteenth Century: From Leonardo to El Greco, New York, 1956, pp. So the Art Institute now had the Assumption, where it quickly became a signature work. Rebecca J. Suzanne Stratton, The Immaculate Conception in Spanish Art, Cambridge, 1994, pp. He would later claim that the painting inspired him to write as boldly as El Greco had painted. 33. 13. 249-253. Jane Brenton, London, 1973, pp. André-Absinthe Lavice, Revue des musées d’Espagne: Catalogue raisonné, Paris, 1864, p. 225. 54–56. 35, 139, 141–42 fig. Oskar Frank Leonard Hagen, Patterns and Principles of Spanish Art, Madison, Wis., 1936, p. 117; rev. 11c; 11 (1960), p. 176. 13. 27. June 4, 2010. Rebecca J. 3. Michel Florisoone, “La Mystique plastique du Greco et les antécédents de son style,” Gazette des Beaux-Arts 6th ser., 49 (1957), p. 36, fig. Havemeyer then offered the Assumption to the Metropolitan Museum of Art. Nicos Hadjinicolaou, Rethymno, Crete, 1999, pp. ($17,000), October 1904, with funds provided by Henry O. Havemeyer, New York [see Havemeyer 1961, p. 155]; sold to the Art Institute, July 17, 1906. M[aurice] Legendre and A[lbert] Hartmann, Domenikos Theotokopoulos, Called El Greco, Paris, 1937, p. 236 (ill.). Jonathan Brown and Richard George Mann, Spanish Paintings of the Fifteenth through Nineteenth Centuries, Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 1990, p. 42. 41, figs. El Greco – Assumption of the Virgin El Greco (1541-1614/Greek) Museum of Santa Cruz Toledo Poster Drucken (45, 72 x 60, 96 cm) günstig auf Amazon.de: Kostenlose Lieferung an den Aufstellort sowie kostenlose Rückgabe für qualifizierte Artikel Fernando Marías, El Greco: Life and Work—A New History (London: Thames & Hudson, 2013), pp.132-145, pp. M[anuel] B. Cossío, “Más documentos inéditos para la histora del arte español,” La lectura: Revista de ciencias y de artes 5, 53 (1905), p. 2. The Philadelphia Academy of the Fine Arts said no. 18, 20, pl. El Greco's signature on the base of the central candelabrum was discovered in 1983. 228–30 (ill.). cat., Athens, National Gallery, 1995, p. 400. 95–96, 286–88, pl. Aureliano de Beruete y Moret, Velázquez, Paris, 1898, pp. Everett Fahy and Sir Francis Watson, The Wrightsman Collection, vol. 234 (ill.), 257 n. 8. Jigsaw puzzle. cat., Guillaune Kientz, ed., (Paris: RMN Editions, 2019), 42. The Assumption of the Virgin by El Greco, c. 1577, is an arched oil on canvas altarpiece painting of the Virgin Mary leaving her intended tomb and rising to Heaven. 105. 831–32. 3, Madrid, 1717, chap. José Milicua, ed., El Greco: La seva revaloració pel Modernisme català, exh. 438–39. (#724073) Working her way west, Cassatt was able to interest the Art Institute of Chicago in the painting, though it took the president of the Board of Trustees nineteen months to raise the necessary funds from trustees skeptical of El Greco’s place in history. 21f (ill.). 10, 51–52, 70, 84–85, 171, pl. Francisco de B[orja] San Román [y Fernández], “Documentos del Greco, referentes a los cuadros de Santo Domingo el Antiguo,” Archivo español del arte y arqueología 10 (1934), p. 8. Paul Lafond, “Domenikos Theotokopuli, dit Le Greco,” Les Arts 58 (Oct. 1906), pp. From career-launching triumph to a risky purchase for a young American museum to the centerpiece of an international exhibition, El Greco’s The Assumption of the Virgin has had a long and fascinating life. Anne Hawley, Boston, 1998, pp. Long, “El Greco’s Altarpieces: Artistic Ambition and Legal Frustration,” in El Greco: Ambition and Defiance, Rebecca J. All products are produced on-demand and shipped worldwide within 2 - 3 business days. Sylvia Ferino-Pagden and Fernando Checa Cremades, eds., El Greco, exh. Frank Zuccari, who oversaw 2-year El Greco restoration at the Art Institute, has died. The church of this ancient Cistercian convent was being rebuilt as the funerary chapel of a pious widow, Doña Maria de Silva. Pál Kelemen, El Greco Revisited: Candia, Venice, Toledo, New York, 1961, pp. Juan de la Encina, Domenico Greco, Mexico City, 1944, pp. Richard L. Kagan, “Urbs sacra: The Demand for Art in El Greco’s Toledo,” in El Greco: Ambition and Defiance, Rebecca J. My favorite painting was The Assumption of the Virgin. 48–49, fig. 1. August L. Mayer, El Greco, Berlin, 1931, pp. 39. 105–11. David A. Hardy, exh. 138. The Art Institute of Chicago, 100 Masterpieces, Chicago, 1978, pp. El Greco – Assumption of the Virgin (Detail) El Greco (1541-1614/Greek) Iglesia Santa Cruz Toledo Artistica di Stampa (45,72 x 60,96 cm): Amazon.es: Hogar This, the first work executed in Spain, is the only painting by El Greco bearing the date of its execution. 20–21 (ill.). 490–92 (ill.). Richard George Mann, “La ‘Asunción de la Virgen’: Creación y recepción de una obra maestra,” in El Greco, pp. 396x202 . El Greco – Assumption of the Virgin 1577 El Greco (1541-1614/Greek) Oil on Canvas Art Institute of Chicago Poster Drucken (45,72 x 60,96 cm) We offer original oil painting, stretched canvas and large framed art, but do not offer poster, print or giclee for this El Greco Assumption of the Virgin. 152 (ill.), 154. F[rancisco] J[avier] Sánchez Cantón, El Greco, Milan, 1961, p. 3. Kenneth S. Lynn, Hemingway, Cambridge, Mass., 1987, pp. “Gift of Mr. and Mrs. Sprague,” Bulletin of the Art Institute of Chicago 9 (1915), pp. 15. Fernando Marías, “The Greek, Between Invention and History,” in El Greco of Toledo: Painter of the Visible and the Invisible (Madrid: Ediciones El Viso, 2014), pp. 81, 83, pls. 26. In El Greco’s grand de-sign, the Assumption was surmounted by a representation of the Trinity and was flanked by two side altars decorated with paintings of the Adoration of the Shepherds and the Resurrection. Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America, New York, 1986, pp. Long, ed., El Greco: Ambition and Defiance, exh. 197, 207. Crete, pp Technique Oil Support canvas Dimension Height: 140 cm Spanish! ” Seminario pintoresco español 2 ( ill. ), p. 94, no Capital, London, National of! 42 ( replica ill. ) the altar of Santo Domingo, Toledo, 1880, pp Pictures to See an! 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