Spanish school, ca. 1600. Workshop of "EL GRECO"; DOMÉNIKOS THEOTOKÓPOULOS (Candía, Greece, 1541 - Toledo, 1614). "Prayer in the Garden". Oil on canva

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OLD MASTERS & SCULPTURE - Day 2

By Setdart Auction House

Jun 1, 2021

Set Reminder 2021-06-01 09:45:00 2021-06-01 09:45:00 America/New_York Bidsquare Bidsquare : OLD MASTERS & SCULPTURE - Day 2 https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-sculpture---day-2-6999
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• Lot Description
  Spanish school, ca. 1600. Workshop of "EL GRECO"; DOMÉNIKOS THEOTOKÓPOULOS (Candía, Greece, 1541 - Toledo, 1614). "Prayer in the Garden". Oil on canvas. Re-framed. Frame of the XIX century in carved wood. Size: 63 x 43,5 cm; 94 x 64 cm (frame). The work in question, made by the workshop of El Greco, faithfully follows the original work "Prayer in the Garden", made by the Greek master around 1589 and 1590 (during his second period in Toledo), now exhibited in the collection of the National Gallery in London. Numerous copies of this work were made at the same time as Greco himself, as it was a notable commercial success. The Passion of Christ was one of the most special subjects for El Greco. In "Prayer in the Garden" a deeply spiritual scene is revealed, where Jesus is immersed in a powerful ecstasy, raising his gaze towards heaven. In front of him, an angel holds a chalice in his left hand. In the cloud it seems that the three disciples -Peter, John and James the Greater- are asleep. In the present work we can appreciate several of the identifying aspects of El Greco's style, those that endowed his work with a totally personal character. At first glance, the treatment of color stands out above all. El Greco acquired his personal palette during his stay in Venice, between 1567 and 1570. From then on, he would acquire a lively and protagonist color, as well as a loose and agile brushstroke. It is an artificial color, totally anti-classical and mannerist, purely conceptual. His tones are intensely lightened by the light, especially emphasizing his metallic grays and very worked, changing, as we see here in the background and on the face of the character. El Greco's style was fully mannerist, and hence also the lengthening of the canon, which reaches twelve heads, and the twisting of the anatomies, very expressive, which can even verge on deformity, although based on the knowledge of classical statuary.
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