Greco.
NMR| N° d'inventaire | 22110 |
| Format | 23 x 31.5 |
| Détails | 240 p., 200 illustrations, hardcover. |
| Publication | Paris, 2019 |
| Etat | Nine |
| ISBN | 9782711871599 |
Born in 1541 in Crete, Domenico Theotokopoulos, known as Greco, received his first apprenticeship in the Byzantine tradition before completing his training in Venice and then in Rome. However, it was in Spain that his art flourished and took root permanently from the 1570s onwards. Attracted by the magnificent promise of the Escorial construction site, the artist imported to the peninsula the color of Titian, the audacity of Tintoretto, and the plastic force of Michelangelo. This synthesis, original but consistent with his trajectory, gives Greco, who died four years after Caravaggio, a special place in the history of painting: that of the last great master of the Renaissance and the first great painter of the Golden Age. Rediscovered at the end of the 19th century, recognized and adopted by the avant-gardes of the early 20th, the artist thus enjoys the dual prestige of tradition and modernity, linking Titian to the Fauves, Mannerism to Cubism and Vorticism. Greco is also a prolific inventor, profoundly renewing and sometimes inventing iconographies, whether Christian or mythological, always demonstrating a great independence of spirit that finds an echo in the freedom of his touch as in the audacity of his palette. It is thus this rich face that this Greco retrospective in Paris presents, the first, at a time when France played a major role in the rehabilitation and international celebrity of the artist.
Born in 1541 in Crete, Domenico Theotokopoulos, known as Greco, received his first apprenticeship in the Byzantine tradition before completing his training in Venice and then in Rome. However, it was in Spain that his art flourished and took root permanently from the 1570s onwards. Attracted by the magnificent promise of the Escorial construction site, the artist imported to the peninsula the color of Titian, the audacity of Tintoretto, and the plastic force of Michelangelo. This synthesis, original but consistent with his trajectory, gives Greco, who died four years after Caravaggio, a special place in the history of painting: that of the last great master of the Renaissance and the first great painter of the Golden Age. Rediscovered at the end of the 19th century, recognized and adopted by the avant-gardes of the early 20th, the artist thus enjoys the dual prestige of tradition and modernity, linking Titian to the Fauves, Mannerism to Cubism and Vorticism. Greco is also a prolific inventor, profoundly renewing and sometimes inventing iconographies, whether Christian or mythological, always demonstrating a great independence of spirit that finds an echo in the freedom of his touch as in the audacity of his palette. It is thus this rich face that this Greco retrospective in Paris presents, the first, at a time when France played a major role in the rehabilitation and international celebrity of the artist.