Art of El Greco

El Greco (1541–1614) was a prominent painter, sculptor and architect active during the Spanish Renaissance. He developed into an artist so unique that he belongs to no conventional school. His dramatic and expressionistic style was met with puzzlement by his contemporaries but gained new found appreciation in the 20th century.

He is best known for tortuously elongated bodies and chests on the figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western civilization. Of El Greco, Hortensio Félix Paravicino, a seventeenth-century Spanish preacher and poet, "Crete gave him life and the painter's craft, Toledo a better homeland, where through Death he began to achieve eternal life." According to author Liisa Berg, Paravacino revealed in a few words two main factors that define when a great artist gains the appraisal he deserves: no one is a prophet in his homeland and often it is in retrospect that one's work gains its true appreciation and value.

El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. The painter was deemed incomprehensible and had no important followers Only his son and a few unknown painters produced weak copies of El Greco's works. Later 17th- and early 18th-century Spanish commentators praised his skill but criticized his anti-naturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Céan Bermúdez described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time became his "madness".

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