Greco Quotes
![My work may be balanced on the second side [the Romantic tendency].. ..- but I believe it has some elements of order & unity, some design, even balance & abstract qualities, some tenseness. When its all classical, its too obvious & cold & deadly perfect - when its all romantic, its too loose uncontrolled wildly chaotic & shapeless – But in my opinion – Gothic sculpture – Mexican, all primitive sculpture, Shakespeare, Beethoven, Tintoretto, El Greco, Rubens, Michelangelo, Masaccio, are all more romantic than classic [Moore is reacting here on Stanley Casson's critic in 'The Listener' 25 Aug. 1937. (Henry Moore)](https://static.quotesdtb.com/img/quotes_images/92/henry-moore-abstract-balance-428192.jpg)
[El Greco 'confined to his bed'].. holding, believing and confessing the Faith of the Holy Church of Rome.... in whose Faith I have lived and die, as a faithful and Catholic Christian.... because of the gravity of my sickness I was unable to make a will and gives power to Jorge Manuel Teotocopuli my son, and of Doña Jerónima de las Cuevas [his wife he never married], who is a person of honesty and virtue [to make his testament, arrange his burial, and pay his debts, and the] remainder of my possessions to go to Jorge Manuel, as universal heir..
El Greco
However, mass expulsion and even genocide began to make their appearance on the southern margins of Europe during and after World War I, as the Turks set about the mass extirpation of the Armenians in 1915 and, after the Greco Turkish war of 1911, expelled between 1.3 and 1.5 millions of Greeks from Asia Minor, where they had lived since the days of Homer.1 Subsequently Adolph Hitler, who was in this respect a logical Wilsonian nationalist, arranged to transfer Germans not living on the territory of the fatherland, such as those of Italian South Tyrol, to Germany itself, as he also arranged for the permanent elimination of the Jews.
Eric Hobsbawm
The private ownership of great art, its seclusion from the general view of men and women, let alone from that of interested amateurs and scholars, is a curious business. The literal disappearance of a Turner or a Van Gogh into some Middle Eastern or Latin-American bank vault to be kept as investment and collateral, the sardonic decision of a Greek shipping tycoon to put an incomparable El Greco on his yacht, where it hangs at persistent risk - these are phenomena that verge on vandalism.
George Steiner
Every painter must traverse for himself that distance from Paris to Aix (Aix-en-Provence where Paul Cézanne frequently painted in open air] or from Venice to Toledo [where w:El Greco lived and painted for many years]. Expression is for one knowing its own pivot. Every expressor relates solely to himself – that is the concern of the individualist.
Marsden Hartley
I am a great enemy of critical writing as all I see in these interpretations and comparisons with Kafka and others is just an opportunity to open up the floodgates of words which, overall, amounts to Carrouges or at times a translation of Carrouges – very free to makes his ideas look good. Obviously any work of art or literature, in the public domain, is automatically the subject of the victim of such transformations – and this is not just confined to the case of Carrouges. Every fifty years, El Greco is revised and adapted to the taste of the day, either overrated or underrated. The same goes for all surviving works of art. And this leads me to say that a work of art is made entirely by those who look at it or read it and make it survive by their acclaim or even their condemnation.
Marcel Duchamp
Two or three o'clock in the morning. The sky is blue. Dawn is breaking. Down there, a little way off, they slaughtered cattle, cows bellowed, and I painted them. I used to sit up like that all night long. It's already a week since the studio was cleaned out. Frames, eggshells, empty two-sou soup tins lie about higgledy-piggledy... On the shelves, reproductions of El Greco and Cézanne lay next tot the remains of a herring I had cut in two, the head for the first day, the tail for the next, and Thank God, a few crusts of bread.
Marc Chagall
If you could see what these flowers are. [Morandi's remark, circa 1917 - to the writer Raimondi from Bologna, indicating flowers in the corner of a reproduction of a painting by w:El Greco – beneath the feet of angels and saints]). No modern painter has painted flowers like these. Perhaps only Renoir.
Giorgio Morandi
..by a Dominico Greco.. ..who paints excellent things in Toledo, is a painting of Saint Maurice and his soldiers, which he made for the altar of the Saints, and is now in the Chapter House; it did not please His Majesty, but that is not surprising, for it pleased few, although it is said it is of much art and that there are many excellent things by his hand.
El Greco
Who will believe me if I say that Dominico Greco set his hand to his canvases many and many times over, that he worked upon them again and again.. ..but to leave the colours crude and unblent in great blots, as a boastful display of his dexterity. I call this working in order to accomplish little.
El Greco
Our painter's very name [El Greco] is uncertain. To his contemporaries he was known as the Greco, the difficult Theotocopuli, barbarous to the Spaniards, being disregarded; and up to the end of the eighteenth century no one writes of him except as Dominico Greco. Pacheco, Palomino, Giuseppe Martinez and other native writers, who mention his work, use this name. It is also the name found in the Inventories of the palace, the registers of Toledo, and the indices of public writings.
El Greco
I disagree with those who assert that Titian and El Greco painted on a tempera underpainting. ...In contrast to Titian, El Greco very frequently employed glazings ...In El Greco we find a curious combination of tempera school ideas associated with a freedom of the brush stroke surpassing that of his master, Titian. Like the tempera painters, El Greco often underpainted in grisaille and glazed upon such a monotone underpainting the fiery hues of madder lake, verdigris, azurite blue and yellow (probably Indian yellow). This... largely accounts for the brilliance and extraordinary luminosity... But El Greco's grisaille... was brushed on roughly and the texture of the superimposed color often does not correspond with that of the grisaille. This... is an entirely unorthodox method. Entirely unconventional also was his use of the madder, which, at times, he applied with an extreme impasto defying the nature of this glazing color.
El Greco
