El Greco citáty

Doménikos Theotokópoulos známý jako El Greco byl malíř řeckého původu, známý jako hlavní představitel španělského pozdního manýrismu a počínajícího baroka. Jako významný inovátor byl objeven uměleckou veřejností až koncem 19. století. Jeho dílo bylo jednou z inspirací pro malíře 20. století, zejména Pabla Picassa. Wikipedia  

✵ 1541 – 7. duben 1614
El Greco foto
El Greco: 10   citátů 0   lajků

El Greco citáty a výroky

„Mám na mysli Francesca Parmigianina, který podle všeho přišel na svět jen proto, aby nám svými skicami a obrazy ukázal, co znamená štíhlost a grácie postav.“

Zdroj: Scholz-Hänsel, Michael, El Greco: Domenikos Theotokopoulos 1541–1614, A Prophet of Modernism, Taschen, Köln 2016, s. 62, ISBN 978-3-8365-3453-6

El Greco: Citáty anglicky

“I am neither bound to say why I came to this city nor to answer the other questions put to me.”

Quote from a report of the municipal of Toledo, c. September 1579; as cited by Albert F. Calvert, and Catherine Gasquoine-Hartley in: The Spanish Series - El Greco; an account of his life and works; publisher, London: J. Lane; New York: J. Lane Co, 1909, p. 76
this answer El Greco gave to the Mayor of Toledo, when asked - in connection with the writ served on him for the commissioned painting 'The Disrobing of Christ / The Expolio' - whether he had been brought to Toledo to paint the retablo of Santo Domingo (containing 15 paintings of El Greco https://en.wikipedia.org/wiki/El_Greco#/media/File:Domenikos_Theotok%C3%B3poulos,_called_El_Greco_-_The_Assumption_of_the_Virgin_-_Google_Art_Project.jpg)

“I hold the imitation of colour to be the greatest difficulty of art.”

Quote from notes of El Greco, in one of his commentaries; as cited by Fernando Marías and Agustín Bustamante García in Las Ideas Artísticas de el Greco (Cátedra, 1981), p. 80; taken from Wikipedia/El Greco: in 'Technique and Style'
Originál: una es la imitación de los <span class="plainlinks"> colores https://es.wikiquote.org/wiki/Colores</span> que yo tengo por la mayor <span class="plainlinks"> dificultad https://es.wikiquote.org/wiki/Dificultad</span>

“.. he [= Michelangelo] was a good man, but he did not know how to paint.”

Marina Lambraki-Plaka, El Greco - The Greek, p. 47–49; as cited on Wikipedia/El Greco
Quote of El Greco's response, when he was later asked what he thought about the Italian artist Michelangelo

“If Vasari really knew the nature of the Greek style of which he speaks, he would deal with it differently in what he says. He compares it with Giotto, but what Giotto did is simple in comparison, because the Greek style is full of ingenious difficulties.”

full of ingenious difficulties [= translation of Greek art historian Nicos Hadjinicolau] /
full of deceptive difficulties [= translation of Spanish art historians Xavier de Salas and Fernando María]

Quote of El Greco, as cited in 'Hand-written Note Shows El Greco Defending Byzantine Style In Face Of Western Art', Dec. 2008 https://www.sciencedaily.com/releases/2008/12/081218132252.htm
the different translation by Nicos Hadjinicolau leads him to the conclusion that El Greco was defending Byzantine art; which is rejected by Fernando María

“.. because in this way the form will be perfect and not reduced, which is the worst thing that can happen to a figure.”

Quote of El Greco, 1582-84; as cited by Marina Lambraki-Plaka, in El Greco, p. 57-59; as quoted in Wikipedia/El Greco: 'Technique and Style'
on making his painting 'The Virgin of the Immaculate Conception' https://upload.wikimedia.org/wikipedia/commons/4/49/El_Greco_-_The_Virgin_of_the_Immaculate_Conception_-_WGA10585.jpg El Greco asked permission to lengthen the altarpiece itself by another 1.5 feet (0.46 m) - the human body became even more otherworldly in his later works

“Anyway, I would not be happy to see a beautiful, well-proportioned woman, no matter from which point of view, however extravagant, not only lose her beauty in order to, I would say, increase in size according to the law of vision, but no longer appear beautiful, and, in fact, become monstrous.”

Quote from the marginalia, which El Greco inscribed in his copy of Daniele Barbaro's translation of Vitruvius' De architectura; as quoted by Liane Lefaivre and Alexander Tzonis, The Emergence of Modern Architecture: A Documentary History from 1000 to 1810 https://books.google.com/books?id=4xB9k7-Neb8C&pg=PT184; Routledge, New York, 2004) p. 165

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