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focussed on the personal meaning that El Greco evoked, albeit non-explicitly or “veiled”, when representing a semi-nude male figure in a religious work, such as the Crucifixion with Donors. The exalted body of Christ and its ideal beauty
El Greco preferred the dynamism of Correggio and the elegance of Parmigianino, and he considered the colour and light of the Venetians as the only possible means of portraying and imitating nature, thereby reinforcing the beauty of reality through art.
Request artworks available in our catalogue in digital format. A night view of Calvary with a markedly Eucharistic character. Mary Magdalene, at Christ´s feet, and three angels collecting the blood of the slain Savior, appear framed by the figures of the Virgin and Saint John the Evangelist.
The canvas of the Crucifixion that El Greco painted for the College of Doña Maria of Aragon in Madrid, shows the evolution of the iconographic theme of the Blood of Christ.
The Disrobing of Christ, El Greco. 1577-79. Oil on canvas. Toledo Cathedral. El Greco sets the scene on Golgotha, where Mary and Mary Magdalene in the lower left corner watch a workman drill a starter hole in the cross. The artist has reimagined the scene somewhat.
Notwithstanding the fact that crucifixion meant fatal torture, El Greco’s representation of Christ’s body, elegantly posed on the cross, omits references to violence, suffering and death, except for the shedding of a few drops of blood.
Moreover, in the only Crucifixion with soldiers in his ceuvre, the (attributed) Ferrara Triptych (fig. 8), a difference between the two persons is made.31 This figure has an important potential of expression which is occasionally used within iconographic tradition.
