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    Vorherig  33  34  35  36  37  38  39  40  41  42   Nächst
Vorheriger Künstler      Nächster Künstler    

El Greco
 
El Greco The Opening of the Fifth Seal oil


    The Opening of the Fifth Seal
   new21/El Greco-669296.jpg
  Gemälde IDENTIFIZIERUNG::  59162
  The Opening of the Fifth Seal (1608?C1614, oil, 225 ?? 193 cm., New York, Metropolitan Museum) has been suggested to be the prime source of inspiration for Picasso's Les Demoiselles d' Avignon.
   
 
 
 
 
   

El Greco Picasso Les Demoiselles d Avignon oil


    Picasso Les Demoiselles d Avignon
   new21/El Greco-697242.jpg
  Gemälde IDENTIFIZIERUNG::  59163
  Picasso's Les Demoiselles d' Avignon (1907, oil on canvas, 243.9 ?? 233.7 cm., New York, Museum of Modern Art) appears to have certain morphological and stylistic similarities with The Opening of the Fifth Seal.
   
 
 
 
 
   

El Greco Portrait of Jorge Manuel Theotocopoulos oil


    Portrait of Jorge Manuel Theotocopoulos
   new21/El Greco-625987.jpg
  Gemälde IDENTIFIZIERUNG::  59164
  Portrait of Jorge Manuel Theotocopoulos (1600?C1605, oil on canvas, 81 ?? 56 cm, Museo Provincial de Bellas Artes, Seville)
   
 
 
 
 
   

El Greco The Modena Triptych oil


    The Modena Triptych
   new21/El Greco-439289.jpg
  Gemälde IDENTIFIZIERUNG::  59165
  The Modena Triptych (1568, tempera on panel, 37 ?? 23,8 cm (central, ', ', ', ', ', ', ', '), 24 ?? 18 cm (side panels, ', ', ', ', ', ', ', '), Galleria Estense, Modena) is a small-scale composition attributed to El Greco.
   
 
 
 
 
   

El Greco The Purification of the Temple oil


    The Purification of the Temple
   new21/El Greco-722957.jpg
  Gemälde IDENTIFIZIERUNG::  62290
  1571-76 Oil on canvas Institute of Arts, Minneapolis The most significant iconographic feature of this version is the introduction in the lower right-hand corner four portraits of artists. They are, from left to right, Titian, Michelangelo, Giulio Clovio and Raphael (although it has also been suggested that this figure is El Greco himself, Giulio Romano or even Correggio). Their presence can be interpreted as a straightforward homage by El Greco to those artists to whom he felt indebted (and some of whose works he was quoting in the picture).
   
 
 
 
 
   

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