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Lelu [443]
3 years ago
15

How do you think EL Greco's work reflects him as a Humanist?

Arts
2 answers:
Juli2301 [7.4K]3 years ago
4 0

Answer: In his work we can see humanistic values ​​of ancient Greece and Rome.

 

Explanation:

El Greco's work was the work of the past. In his work, we can see his humanistic viewing of the renaissance. He was painting Christ and portraits of the humanist people.

He was pointing on two worlds,  the physical world (Earth) and the spiritual world (Heaven)  blended with imagination and expressions of feelings and tension.  He was the most influenced by Italy where humanism has flourished at that time.  

ELEN [110]3 years ago
4 0

Answer:

El Greco revealed him as an intellectually curious spirit, strongly inclined to history, enthusiastic about literature, politics, philosophy and even medicine, characteristic of a Renaissance humanist.

Painter of Cretan origin based in Spain, Domenikos Theotokopoulos, born in 1541 and deceased in 1614, received a humanist education, which justifies the interest he has always shown in the most varied fields of thought and art. After a formation in Venice and Rome, he finally settled in Toledo in 1577. Surrounded by an excellent artistic reputation, he was entrusted with various works for the churches and convents of Toledo: The Estate (1579), The Baptism Christ (1595-1600), The Christ in the Garden of Olives (1605-10), The Resurrection (1608-10), which did not prevent the untraditional treatment of the issues from causing controversy among the ecclesiastical authorities. In addition to religious themes, he painted portraits of important personalities of Spanish life and city landscapes, presenting it in a dramatic light. In his work can be found the Byzantine mysticism, Titian's sensitivity to color and play of light, Tintoretto's conception of space, the distortions and distorted positions of Mannerism, and the mix of realism and fantasticness present in the Spanish religious atmosphere.  In his latest works, notably in Vision of Revelation (circa 1610), the environment of spiritual fervor creates a pictorial force that reaches an expressionist dimension.

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