El Greco The Assumption of the Virgin (4K)

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When his big break failed to materialize in Madrid, El Greco hit the road once again, this time settling in Toledo, where he lived for the remainder of his life. At the time, Toledo was Spain’s religious center, a cultural hub that was home to a number of prominent intellectuals, important churchmen and artists. El Greco came to know many of these figures, among them the dean of Toledo Cathedral, Diego de Castilla. Through Castilla, he was awarded many prestigious commissions to produce art for some of the city’s most impressive churches.Within just a few years of relocating, El Greco had produced numerous paintings for the churches and citizens of Toledo, including some of his best-known masterpieces, such as The Assumption of the Virgin. It was during this time that his art reached its peak, and his reputation was finally established. A contemporary even described El Greco as ‘one of the greatest men in both this kingdom and outside it’.
This painting was the central element of the altarpiece that was El Greco’s first major Spanish commission and first large public work. After living in Venice and Rome, where he absorbed the late Mannerist style, the Greek-born artist settled in the Spanish city of Toledo in 1577 to work on the high altar of the convent church of Santo Domingo el Antiguo. The church of this ancient Cistercian convent was being rebuilt as the funerary chapel of a pious widow, Doña Maria de Silva. In El Greco’s grand de-sign, the Assumption was surmounted by a representation of the Trinity and was flanked by two side altars decorated with paintings of the Adoration of the Shepherds and the Resurrection. The visionary imagery of the Assumption and the Trinity aptly expressed the patron’s hope of salvation. Here the Virgin floats upward, supported on the crescent moon that is symbolic of her purity, while the boldly modeled heads of the crowd of apostles gathered around her empty tomb express amazement and concern. The vigor of El Greco’s broad brushstrokes proclaims the confident achievement of this early work, as does this artist’s large signature in Greek, painted as though affixed to the surface of the picture at the lower right.
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