In his later portraits El Greco increasingly reduces the role of the body of his sitters, omitting all the props and attributes of their rank, and he attempts to reveal the whole being of them. He painted around 1600 the Portrait of a Man (an assumed self-portrait), a fine and particularly compelling portrait, the moving portrait of his friend Antonio de Covarrubias, and the awesome portrait of the Grand Inquisitor, a celebrated picture which has become synonymous not only with El Greco but with Spain and the Spanish Inquisition.
Suggested listening (streaming mp3, 6 minutes): Johann Sebastian Bach: Toccata and Fugue in D minor, BWV 565 |
Summary of paintings by El Greco |
Crete: before 1567 | Venice: 1567-70 | Rome: 1570-75 |
Spain |
1576-80 (page 1) (page 2) | 1581-85 | 1586-90 | 1591-95 | 1596-1600 |
Santo Domingo: 1577-79 | Count Orgaz: 1586-88 | Colegio: 1596-1600 |
Capilla San José: 1597-99 | Illescas: 1603-05 | Apostolado: 1610-14 |
c. 1600 | 1601-05 | 1606-10 | c. 1610 | after 1610 |
Oballe Chapel: 1608-13 | Hospital Tavera: 1608-14 | Drawings | Sculptures |
Subjects |
| Apostles | Saints | Christ | Portraits | |