Here are all the paintings of GRECO, El 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
43783		A Lady in a Fur Wrap	Oil on canvas, 62 x 59 cm
43767		A Prelate	Oil on canvas, 107 x 90 cm
62344		A Prelate 1600s Oil on canvas	107 x 90 cm Kimbell Art Museum, Forth Worth The identity of the sitter was only established in 1988, despite the fact that the portrait must record a prominent figure. He was identified with Francisco de Pisa (c. 1537-1616), Professor of Holy Scripture at Toledo University, the author of a major history of Toledo and a prominent figure in ecclesiastical affairs in the city. The identification rests on the striking resemblance between his features and those of a documented miniature of Francisco de Pisa in a private collection, that was, at one time, ascribed to El Greco himself. The open book displayed on the table is identified by lettering on its pages as BOSIUS CANONICI, presumably an edition or commentary on the corpus of canon law. The author of the text is probably Francesco Bossi or Bosio (1500/10-1584), who specialized in law. In Rome Bossi was closely associated with Carlo Borromeo, one of the key figures of the Catholic reform. Author: GRECO, El Title: A Prelate , 1551-1600 , Spanish Form: painting , portrait
43743		A View of Toledo	Oil on canvas, 121,3 x 108,6 cm
7064		Adoration of the Name of Jesus (Dream of Philip II) dfh	1578-79 Oil on canvas, 190 x 140 cm Chapter House, Monasterio de San Lorenzo, El Escorial
62331		Adoration of the Shepherds	11 x 47 cm Galleria Nazionale d'Arte Antica, Rome The two paintings in the Galleria Nazionale d'Arte Antica in Rome (Adoration of the Shepherds, Baptism of Christ) were considered workshop pieces or autograph replicas of two of the three pictures that El Greco executed for the Colegio di Do?a Mar?a de Arag?n in Madrid (now dispersed and housed in the Muzeul de Arta, Bucharest and the Museo del Prado, Madrid). However, a recent radiographic analysis (1997) has proven that they are original oil sketches by the hand of El Greco himself. The presence of pentimenti, compositional emendations beneath the paint surface, reveals the creative process of the artist and leads to the conclusion that these are not copies but preparatory bozzetti for the Madrid cycle. The important commission, probably designed as a triptych to decorate the high altar of the chapel, was given to El Greco in 1596: work continued until the Holy Year of 1600. The third oil sketch, depicting the Annunciation, is preserved at the museum in Bilbao. The silvery light, the coloristic range based on cold tones, the quick, almost impressionistic brushwork and the use of strong contrasts of light and shadow in this picture are all typical characteristics of El Greco's Spanish manner (1576-1614). Author: GRECO, El Title: Adoration of the Shepherds , 1551-1600 , Spanish Form: painting , religious
62335		Adoration of the Shepherds	1596-1600 Oil on canvas National Museum of Art of Romania, Bucharest The detail shows the lower part of the painting which was probably on the left of the retable of the Colegio de Do?a Maria. Author: GRECO, El Title: Adoration of the Shepherds (detail) , 1551-1600 , Spanish Form: painting , religious
43744		Allegory of the Camaldolese	Oil on canvas, 124 x 90 cm
62337		Altarpiece	1597-99 - Capilla de San Jos? Toledo On 9 November 1597, El Greco signed a contract to execute a series of paintings for the newly built Capilla de San Jose (Chapel of Saint Joseph), Toledo. The contract specified that El Greco was to paint the altarpieces himself and design and gild the frames. The centrepiece of the decorative scheme was to be a painting of Saint Joseph and the Infant Christ with The Coronation of the Virgin above it. These two paintings, set in an altarpiece in a Palladian style designed by El Greco, though its surroundings were altered by Baroque additions around 1665, are still in situ; recent cleaning has revealed their masterly quality. In addition, El Greco was commissioned to paint two side altarpieces, Saint Martin and the Beggar hung on the left-hand side of the main altar, while The Virgin and Child with Saints Martina and Agnes was placed directly opposite, on the right-hand side of the altar, where they remained until they were sold in 1906 to the American collector Peter A. B. Widener, from his estate they entered the National Gallery of Art in Washington in 1942. The chapel was consecrated on 24 December 1594. At a later date, two sarcophagi were placed on either side of the main altar. Possibly designed by El Greco or his son Jorge Manuel, they are similar in design to the ark and the obelisk with a ball on top that appear in the background of El Greco's late Purification of the Temple from San Gin?s. Mart?n Ram?rez was buried to the left of the altar while Diego Ort?z and his wife were placed to the right, in each case with a plaque above stating that they were co-founders of the chapel. The two sculptures of David and Salomon, situated on either side of the main altar was possibly also designed by El Greco. Author: GRECO, El Title: Altarpiece , 1551-1600 , Spanish Form: painting , religious
62353		An Allegory with	1577-79 Oil on canvas, 65 x 90 cm Private collection The central figure is closely based on El Greco's earlier painting of a Boy Blowing on an Ember in Naples but the scene has been enlarged to include another male figure, wearing a yellow jacket and red cap, and a chained monkey, who emerges from the darkness on the left to look over the boy's shoulder. The composition, known in two other autograph versions (one of similar size in Edinburgh from around 1590, and another smaller and later in the Prado from around 1600), has usually been interpreted as an allegory with some sort of moralising intent; it is unlikely that it was conceived simply as a genre scene. It bears the traditional title 'F?bula', meaning fable or story. Author: GRECO, El Title: An Allegory with a Boy Lighting a Candle in the Company of an Ape and a Fool (F?bula) , 1551-1600 , Spanish Form: painting , genre
43717		Angelic Concert	c. 1610 Oil on canvas, 115 x 217 cm
62348		Annunciation	24 x 18 cm Galleria Estense, Modena Probably soon after his arrival in Venice El Greco painted the Modena Triptych. Here he adapts Renaissance principles of representation to a small-scale triptych of a post-Byzantine design common in the Venetian empire. As the wings of the triptych are opened in succession, the sequence of images reveals the state of Man before the Fall to his restoration to a state of Grace through Christ. The scene of The Annunciation is the left panel on the back of the triptych. The Modena Triptych strikingly illustrates El Greco's transition from post-Byzantine icon painter to European artist of the Latin variety. The portable altarpiece, whose unknown patron perhaps stemmed from a Creto-Venetian family, in its open state shows a total of six scenes: on the front, the central panel bears a rare depiction of the Coronation of the Christian Knight, and on the wings we find the Adoration of the Shepherds on the left and the Baptism of Christ on the right. On the reverse, a View of Mount Sinai with its famous convent of St Catherine is flanked by an Annunciation and an Admonition of Adam and Eve by God the Father. This type of object with its gilded frame elements was common in Cretan workshops of the 16th century, as is its use of wood as a painting support. Author: GRECO, El Title: Annunciation , 1551-1600 , Spanish Form: painting , religious
43708		Apostle St Andrew	c. 1610 Oil on canvas, 70 x 53,5 cm
62345		Apostle St Andrew	97 x 77 cm Museo de El Greco, Toledo Apostle, was brother of Peter, a Galilean fisherman, and the first to follow Christ (John 1:40-41). The gospels contribute little to his iconography; the chief source is the apocryphal book of the 'Acts of Andrew' (3rd century), retold in the Golden Legend. According to this he made missionary journeys to Scythian Russia, Asia Minor and Greece, preaching and performing many acts of healing. At Nicaea he delivered the inhabitants from seven demons who plagued them in the shape of dogs. At Thessalonica the parents of a young man whom he had converted to Christianity set fire to his house, with Andrew and their son in it. When the young man miraculously extinguished the fire by sprinkling a small bottle of water over the flames, his parents, still seeking vengeance, tried to enter the house by climbing ladders, but were immediately struck blind. The Golden Legend tells of a bishop dining with the devil, disguised as a courtesan. Just as he was about to yield to Satan, Andrew entered in the garb of a pilgrim, and drove the devil away. Andrew was executed by Egeas, the Roman governor of Patras in the Peloponnese. The governor's wife, Maximilla, being cured of a fatal sickness by the apostle, adopted Christianity and was persuaded by him to deny her husband his marital rights ever again. This, and not his preaching, seems to have been the cause of Andrew's imprisonment and subsequent crucifixion. Andrew is the patron saint of Greece and Scotland. Among differing accounts of his relics, one tells of their being carried to the town of St Andrews in Scotland in the 4th century. Apostle St Andrew in Art He is usually portrayed as an old man, white-haired and bearded. His chief attribute is a cross in the shape of an X, or saltire, though in earlier Renaissance painting he may have the more familiar Latin cross. He sometimes has a net containing fish, or a length of rope (he was bound, not nailed, to the cross). His inscription from the Apostles' Creed is: 'Et in Jesum Christum, filium ejus unicum Dominum nostrum'. All these episodes from the legends are depicted, also the stages of his martyrdom: scourging; led by soldiers to his execution; being tied to the cross; crucifixion; burial, assisted by Maximilla. Author: GRECO, El Title: Apostle St Andrew , 1551-1600 , Spanish Form: painting , religious
43771		Apostle St Bartholomew	1610-14 Oil on canvas, 97 x 77 cm
43768		Apostle St James the Greater	1610-14 Oil on canvas, 97 x 77 cm
43769		Apostle St John the Evangelist	1610-14 Oil on canvas, 97 x 77 cm
43772		Apostle St Matthew	1610-14 Oil on canvas, 97 x 77 cm
43776		Apostle St Paul	Oil on canvas, 97 x 77 cm
43770		Apostle St Philip	Oil on canvas, 97 x 77 cm
43775		Apostle St Simon	Oil on canvas, 97 x 77 cm
43774		Apostle St Thaddeus	Oil on canvas, 97 x 77 cm
43773		Apostle St Thomas	Oil on canvas, 97 x 77 cm
43786		Apparition of the Virgin to St Lawrence	1578-80 Oil on canvas, 119 x 102 cm
7055		Assumption of the Virgin dfg	1577 Oil on canvas, 401 x 229 cm Art Institute of Chicago, Chicago
62347		Baptism of Christ	24 x 18 cm Galleria Estense, Modena The Baptism of Christ is the right panel on the front of the Modena Triptych. The Modena Triptych strikingly illustrates El Greco's transition from post-Byzantine icon painter to European artist of the Latin variety. The portable altarpiece, whose unknown patron perhaps stemmed from a Creto-Venetian family, in its open state shows a total of six scenes: on the front, the central panel bears a rare depiction of the Coronation of the Christian Knight, and on the wings we find the Adoration of the Shepherds on the left and the Baptism of Christ on the right. On the reverse, a View of Mount Sinai with its famous convent of St Catherine is flanked by an Annunciation and an Admonition of Adam and Eve by God the Father. This type of object with its gilded frame elements was common in Cretan workshops of the 16th century, as is its use of wood as a painting support. Author: GRECO, El Title: Baptism of Christ , 1551-1600 , Spanish Form: painting , religious
62355		Christ	61 x 46 cm National Gallery, Prague Author: GRECO, El Title: Christ , 1551-1600 , Spanish Form: painting , religious
43753		Christ as Saviour	c. 1600 Oil on canvas, 73 x 56,5 cm
62341		Christ c	98 x 78 cm Cathedral, Toledo This painting belongs to the series of Apostles (Apostolodos) in the Toledo Cathedral. Author: GRECO, El Title: Christ , 1551-1600 , Spanish Form: painting , religious
7054		Christ Driving the Traders from the Temple dfh	1571-76 Oil on canvas, 117 x 150 cm Institute of Arts, Minneapolis
43781		Christ Healing the Blind	Oil on canvas, 119 x 146 cm
7057		Christ Healing the Blind df	1577-78 Oil on canvas, 120 x 146 cm Metropolitan Museum of Art, New York
7050		Christ Healing the Blind dfh	c. 1570 Oil on canvas, 50 x 61 cm Pinacoteca, Parma
7051		Christ Healing the Blind fg	c. 1570 Oil on wood, 66 x 84 cm Gemäldegalerie, Dresden
43706		Christ in Agony on the Cross	1600s Oil on canvas, 104 x 62 cm
86551		Christ on the Cross	Oil on canvas Dimensions 95.5 x 61 cm (37.6 x 24 in) cyf
62354		Christ on the Cross Adored by Two Donors	1580 Oil on canvas Mus?e du Louvre, Paris On the painting a priest and a nobleman, probably the patrons who commissioned the painting, are shown praying before Christ on the cross. This detail shows the priest whose white surplice is similar to that worn by the priest in El Greco's Burial of the Count of Orgaz. He contemplates Christ's sacrifice with compassion and sobriety, his gaze leading our eyes upwards to Christ. Author: GRECO, El Title: Christ on the Cross Adored by Two Donors (detail) , 1551-1600 , Spanish Form: painting , religious
43793		Christ on the Cross with the Two Maries and St John	c. 1588 Oil on canvas, 120 x 80 cm
62350		Escutcheon	90 x 130 cm Private collection The sudarium (the cloth with which Veronica wiped Christ's face on the way to Calvary) is shown like a precious object, surrounded by a carved frame that is held by two cherubs or putti. (The cherubs were carved by Juan Bautista Monegro (c. 1545-1621). The ensemble formed part of the elaborate frame of the main altarpiece for the Cistercian convent of Santo Domingo el Antiguo in Toledo. Probably this was the last part of the altarpiece El Greco painted. In the painting, El Greco created a hauntingly disembodied likeness, with Christ staring at the viewer in the fashion of a Byzantine icon. Author: GRECO, El Title: Escutcheon with St Veronica's Veil , 1551-1600 , Spanish Form: painting , religious
43742		Female Portrait	c. 1595 Oil on canvas, 40 x 33 cm
64058		holy family	painted 1594-1604 42x27 the prado museum, madrid
62339		Holy Family with	138 x 103,5 cm Museum of Fine Arts, Budapest A repetition painted after the original made for the Hospital de Tavera in Toledo in 1595. Author: GRECO, El Title: Holy Family with St Anne , 1551-1600 , Spanish Form: painting , religious
7065		Lady with a Fur sfhg	1577-80 Oil on canvas, 62 x 51 cm Private collection, Glasgow
43784		Mary Magdalen in Penitence	1576-78 Oil on canvas, 157 x 121 cm
43785		Mary Magdalen in Penitence	1578-80 Oil on canvas, 108 x 101 cm
43797		Mary Magdalen in Penitence	1585-90 Oil on canvas, 109 x 96 cm
43778		Mount Sinai	1568 Tempera on panel, 37 x 23,8 cm
43780		Mount Sinai	Oil and tempera on panel, 41 x 47,5 cm
43789		Nobleman with his Hand on his Chest	1583-85 Oil on canvas, 81 x 66 cm
62342		Penitent Magdalen	118 x 105 cm Private collection Autograph version, signed 'dom?nikos theot?kopoulos epoiei'. It is a late composition of the artist, recalling the iconography of Titian. Author: GRECO, El Title: Penitent Magdalen , 1551-1600 , Spanish Form: painting , religious
43740		Poet Ercilla y Zuniga	Oil on canvas, 44 x 41,5 cm
7068		Portrait of a Doctor dfh	1577-84 Oil on canvas, 93 x 82 cm Museo del Prado, Madrid
43787		Portrait of a Gentleman from the Casa de Leiva	1580 Oil on canvas, 88 x 69 cm
62338		Portrait of a Man	53 x 47 cm Metropolitan Museum of Art, New York This painting was identified for long time as a self-portrait and as such it became one of El Greco's most famous portraits. However, lacking certified portraits of the artist, the identification is only a plausible hypothesis based on the resemblance of the sitter to other figures in El Greco's paintings that have also been thought to record the artist's features. There are several assumed self-portraits of the artist included in his compositions from the early Healing of the Blind to the Burial of Count Orgaz, then to the Pentecost, Marriage of the Virgin and the Adoration of the Shepherds. Regardless of the identification of the sitter, this is a fine and particularly compelling portrait by the artist, with the features painted with great sensitivity. The canvas has been trimmed on all sides. The signature on the painting proved to be false and was removed in 1947. Author: GRECO, El Title: Portrait of a Man , 1551-1600 , Spanish Form: painting , portrait
43716		Portrait of Cardinal Tavera	1608-14 Oil on canvas, 103 x 83 cm
7052		Portrait of Giulio Clovio dfy	c. 1571 Oil on canvas, 63 x 88,5 cm Museo Nazionale di Capodimonte, Naples
43759		Portrait of the Artist's Son Jorge Manuel Theotokopoulos	c. 1603 Oil on canvas, 74 x 51,5 cm
7058		Resurrection hhd	1577-79 Oil on canvas, 210 x 128 cm Church of Santo Domingo el Antiguo, Toledo
43758		Saint Bernardino	1603 Oil on canvas, 269 x 144 cm
43795		Saint Francis Receiving the Stigmata	1585-90 Oil on canvas, 105 x 80 cm
43715		Saint Jerome Penitent	1610-14 Oil on canvas, 166 x 110 cm
43709		Saint Peter	1610-13 Oil on canvas, 209 x 106 cm
43764		Saints Peter and Paul	Oil on canvas, 124 x 93,5 cm
43802		St Andrew and St Francis	1595 Oil on canvas, 167 x 113 cm
43798		St Dominic in Prayer	1586-90 Oil on canvas, 118 x 86 cm
62300		St Francis and Brother	230 x 148 mm Biblioteca Nacional, Madrid This engraving was made after a painting by El Greco (now in the National Gallery of Canada, Ottawa). Prints played a key role in religious propaganda. In the Hispanic world, it was Dutch artists who performed this task. As a result, Spain lacked skilled engravers who might have reproduced El Greco's work for a larger audience
43754		St Francis and Brother Leo Meditating on Death	1600-02 Oil on canvas, 168,5 x 103,2 cm
43757		St Francis and Brother Rufus	1600-06 Oil on canvas, 102 x 65 cm
43796		St Francis in Prayer before the Crucifix	1585-90 Oil on canvas, 105,5 x 86,5 cm
43738		St Francis Meditating	c. 1595 Oil on canvas, 147,3 x 105,4 cm
43791		St Francis Praying	Oil on canvas, 116 x 102 cm
43779		St Francis Receiving the Stigmata	Tempera on panel, 28,8 x 20,6 cm
43794		St Francis Receiving the Stigmata	1585-90 Oil on canvas, 102 x 97 cm
43756		St Francis's Vision of the Flaming Torch	1600-05 Oil on canvas, 203 x 148 cm
43755		St Francis-s Vision of the Flaming Torch	1600-05 Oil on canvas, 203 x 148 cm
43710		St Ildefonso	1610-13 Oil on canvas, 219 x 105 cm
43762		St Ildefonso	Oil on canvas, 187 x 102 cm
62340		St Ildefonso	112 x 65 cm National Gallery of Art, Washington This is a smaller replica of the picture in the Hospital de la Caridad in Illescas. It belonged once to the painter Jean Francois Millet, and later to Edgar Degas. The original painting is in the side altar on the left of the main chapel of the church, balancing the Virgin of Charity. Its original place in the church is not known. The painting is not mentioned in the incomplete documentation for the decoration of the chapel, and if, as is probable, it was not painted at the same time, it cannot date much before June 1603, the date of the contract, and was more likely painted soon after the conclusion of litigation in August 1607. In its present position, it makes a grand pair to the Virgin of Charity, and is one of the most splendid of his 'portraits' of Saints. It is difficult, and perhaps not proper, to separate his portraits of Saints from his actual portraits. In both he employs all his means of spiritual or psychological expression. The legend is that Saint Ildefonso, the first Bishop of Toledo, presented an image of the Virgin of the Mantle to a foundation of his in Illescas. The Saint is portrayed before the same image, as he wrote his dissertation on the Purity of the Virgin. The state of inspiration is brilliantly expressed. There is an infinite distinction in expression between the hand poised with the pen in this 'portrait' and the similar motif in the portrait of his son. Author: GRECO, El Title: St Ildefonso , 1551-1600 , Spanish Form: painting , religious
43714		St Jerome as a Scholar	1600-14 Oil on canvas, 108 x 89 cm
62330		St John the Evangelist	90 x 77 cm Museo del Prado, Madrid There is an analogous version in the Cathedral of Toledo which is part of a series of the twelve Apostles, called Apostolados. It is assumed by some scholars that this painting also belonged to a similar series. Author: GRECO, El Title: St John the Evangelist , 1551-1600 , Spanish Form: painting , religious
43765		St John the Evangelist and St Francis	c. 1608 Oil on canvas, 64 x 50
43747		St Joseph and the Christ Child	Oil on canvas, 289 x 147 cm
43801		St Louis, King of France, with a Page	1592-95 Oil on canvas, 120 x 96 cm
43763		St Luke	Oil on canvas, 98 x 72 cm
43777		St Luke Painting the Virgin and Child	41,6 x 33 cm
43748		St Martin and the Beggar	1597-99 Oil on canvas, 193 x 103 cm
43760		St Peter in Penitence	c. 1605 Oil on canvas, 102 x 84 cm
43792		St Peter in Penitence	1580s Oil on canvas, 109 x 90 cm
7069		St Sebastian ghj	c. 1580 Oil on canvas, 192 x 148 cm Sacristy of the Cathedral, Palencia
43788		St Veronica Holding the Veil	c. 1580 Oil on canvas, 84 x 91 cm
7063		St. Francis Receiving the Stigmata dfh	1577-79 Oil on canvas Walters Art Gallery, Baltimore
43749		St. Martin and the Beggar	c. 1604 Oil on canvas, 104 x 60 cm
43741		Study of a Man	c. 1595 Oil on canvas, 49,5 x 42,5 cm
62328		The Adoration of the Shepherds	1614 Oil on canvas Museo del Prado, Madrid The picture shows the head of one of the shepherds.
62349		The Adoration of the Shepherds	114 x 105 cm Private collection In the eighteenth century this painting was attributed to Giovanni Lanfranco, and later to a member of the Bassano family. Since 1951 the authorship of El Greco is universally accepted. However, this picture owes a great deal to the nocturnal paintings of the Bassano. According to the X-radiograph the upper part of the canvas was completely repainted, and the canvas has been cropped at the top. Author: GRECO, El Title: The Adoration of the Shepherds , 1551-1600 , Spanish Form: painting , religious
62343		The Agony in the Garden	1608 Oil on canvas Museum of Fine Arts, Budapest Author: GRECO, El Title: The Agony in the Garden (detail) , 1551-1600 , Spanish Form: painting , religious
62332		The Annunciation	315 x 174 cm Museo del Prado, Madrid The "expressionist" stylistic traits, characteristic of El Greco's paintings at the end of the 1590s, are also found in the paintings of a retable El Greco created for the Augustinian college of Nuestra Se?ora de la Encarnacion in Madrid between 1596 and 1600. The patroness of the college, the lady-in-waiting Do?a Mar?a de Cordoba y Arag?n, had died back in 1593, implying that the commission likely came from her executor. The retable, like many other works in possession of the Church, was disassembled into its component parts during the French occupation of Spain. All we know from the surviving written sources is that El Greco supplied a total of seven paintings. This Annunciation in the Prado is one of these paintings, and it is an especially good example of the daring palette that characterizes the entire series. At the bottom of the canvas, the terrestrial world is barely indicated by the steps, sewing basket and rose-bush in flame. The flames are rendered so naturalistically that they probably have appeared to mirror the real candle flames burning on the altar during the celebration of the Mass. But above and beyond El Greco has distorted light, colour and form. Indeed,all the form are in a state of flux. the grand rhythm of the wings of Gabriel and the Holy Spirit quicken the drama. Garments of crystalline blue, crimson and yellow-green vibrate against the blue-grey void. Incandescent light is reflected off the figures with such intensity that each seems to be its own source of light
62333		The Annunciation	1596-1600 Oil on canvas Museo del Prado, Madrid Author: GRECO, El Title: The Annunciation (detail) , 1551-1600 , Spanish Form: painting , religious
62334		The Annunciation	114 x 67 cm Thyssen-Bornemisza Collection, Madrid This painting is a remarkably fine reduced replica of one of El Greco's most haunting images, the Annunciation in the Prado, Madrid, that is almost three times as large. The Prado Annunciation formed the centre of the elaborate altarpiece commissioned from the artist in 1596 for the Colegio de Do?a Mar?a de Arag?n. El Greco's habit of making reduced replicas is amply documented. It is common knowledge that El Greco kept smaller, preliminary versions of almost all his works at home to show to his customers, and that he considered them finished, definitive works in themselves. Author: GRECO, El Title: The Annunciation , 1551-1600 , Spanish Form: painting , religious
7049		The Annunciation sdgm	1569-70 Tempera on panel, 26,5 x 19,5 cm Museo del Prado, Madrid