The Burial of the Count of Orgaz
Encyclopedia
The Burial of the Count of Orgaz is a painting by El Greco
, a painter
, sculptor
, and architect
of the Spanish Renaissance
. Widely considered among his finest works, it illustrates a popular local legend of his time. An exceptionally large painting, it is very clearly divided into two sections, heavenly above and terrestrial below, but it gives little impression of duality. The upper and lower sections are brought together compositionally.
, and Señor of the town of Orgaz
, died (his family later received the title of Count, by which he is generally and posthumously known). The Count of Orgaz was a pious man who, among other charitable acts, left a sum of money for the enlargement and adornment of the church of Santo Tomé (El Greco's parish church). He was also a philanthropist
and a right-thinking Knight
. According to the legend, at the time he was buried, Saint Stephen
and Saint Augustine descended in person from the heavens and buried him by their own hands in front of the dazzled eyes of those present.
Already in 1588, people were flocking to Orgaz to see the painting. This immediate popular reception depended, however, on the life-like portrayal of the notable men of Toledo of the time. It was the custom for the eminent and noble men of the town to assist the burial of the noble-born, and it was stipulated in the contract that the scene should be represented in this manner.
El Greco would pay homage to the aristocracy of the spirit, the clergy, the jurists, the poets and the scholars, who honored him and his art with their esteem, by immortalizing them in the painting. The Burial of the Count of Orgaz has been admired not only for its art, but also because it was a gallery of portraits of the most eminent social figures of that time in Toledo. Indeed, this painting is sufficient to rank El Greco among the few great portrait painters.
The painting is very clearly divided into two zones; above, heaven is evoked by swirling icy clouds, semiabstract in their shape, and the saints are tall and phantomlike; below, all is normal in the scale and proportions of the figures. The upper and lower zones are brought together compositionally (e.g., by the standing figures, by their varied participation in the earthly and heavenly event, by the torches, cross etc.).
The scene of the miracle is depicted in the lower part of the composition, in the terrestrial section. In the upper part, the heavenly one, the clouds have parted to receive this just man in Paradise
. Christ clad in white and in glory, is the crowning point of the triangle formed by the figures of the Madonna and Saint John the Baptist in the traditional orthodox
composition of the Deesis
. These three central figures of heavenly glory are surrounded by apostles, martyrs, Biblical kings and the just (among whom was Philip II of Spain
, though he was still alive.
Saints Augustine and Stephen, in golden and red vestments respectively, bend reverently over the body of the count, who is clad in magnificent armour that reflects the yellow and reds of the other figures. The young boy at the left is El Greco's son, Jorge Manuel; on a handkerchief in his pocket is inscribed the artist's signature and the date 1578, the year of the boy's birth. The artist himself can be recognised with a raised hand immediately above the head of Saint Stephen. The men in contemporary 16th-century dress who attend the funeral are unmistakably prominent members of Toledan society.
The painting has a chromatic harmony that is incredibly rich, expressive and radiant. On the black mourning garments of the nobles are projected the gold-embroidered vestments, thus creating an intense ceremonial character. In the heavenly space there is a predominance of transparent harmonies of iridescence and ivoried greys, which harmonize with the gilded ochres, while in the maforium of Madonna deep blue is closely combined with bright red. The rhetoric of the expressions, the glances and the gestural translation make the scene very moving.
, the supernatural vision of Gloria (“Heaven”) above and the impressive array of portraits represent all aspects of this extraordinary genius's art. Wethey also asserts that "El Greco's Mannerist
method of composition is nowhere more clearly expressed than here, where all of the action takes place in the frontal plane".
The composition of the painting has been closely related to the Byzantine iconography
of the Assumption of the Virgin. The examples that have been used to support this point of view have a close relationship with the icon of the Dormition
by El Greco that was discovered in 1983 in the church of the same name in Syros
. Marina Lambraki-Plaka believes that such a connection exists. Robert Byron, according to whom the iconographic type of the Dormition was the compositional model for The Burial of the Count of Orgaz, asserts that El Greco as a genuine Byzantine painter worked throughout his life with a repertoire of components and motifs at will, depending on the narrative and expressive requirements of the art. Wethey rejects as "unconvincing" the view that the composition of the Burial is derived from the Dormition, "since the work is more immediately related to Italian Renaissance prototypes". In connection with its negation of spatial depth by compressing figures into the foreground, the early Florentine Mannerists—Rosso Fiorentino
, Pontormo
and Parmigianino
—are mentioned, as well two paintings by Tintoretto
: the Crucifixion and the Resurrection of Lazarus, the latter because of the horizontal row of spectators behind the miracle. The elliptical grouping of the two saints, as they lower the dead body, is said to be closer to Titian's early Entombment than to any other work.
According to Lambraki-Plaka, The Burial of the Count of Orgaz is a landmark in the artist's career. "This is where El Greco sets before us, in a highly compressed form the wisdom he has brought to his art, his knowledge, his expertise, his composite imagination and his expressive power. It is the living encyclopedia of his art without ceasing to be a masterpiece with organic continuity and entelechy".
El Greco
El Greco was a painter, sculptor and architect of the Spanish Renaissance. "El Greco" was a nickname, a reference to his ethnic Greek origin, and the artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος .El Greco was born on Crete, which was at...
, a painter
Painting
Painting is the practice of applying paint, pigment, color or other medium to a surface . The application of the medium is commonly applied to the base with a brush but other objects can be used. In art, the term painting describes both the act and the result of the action. However, painting is...
, sculptor
Sculpture
Sculpture is three-dimensional artwork created by shaping or combining hard materials—typically stone such as marble—or metal, glass, or wood. Softer materials can also be used, such as clay, textiles, plastics, polymers and softer metals...
, and architect
Architecture
Architecture is both the process and product of planning, designing and construction. Architectural works, in the material form of buildings, are often perceived as cultural and political symbols and as works of art...
of the Spanish Renaissance
Spanish Renaissance
The Spanish Renaissance refers to a movement in Spain, emerging from the Italian Renaissance in Italy during the 14th century, that spread to Spain during the 15th and 16th centuries...
. Widely considered among his finest works, it illustrates a popular local legend of his time. An exceptionally large painting, it is very clearly divided into two sections, heavenly above and terrestrial below, but it gives little impression of duality. The upper and lower sections are brought together compositionally.
Theme
The theme of the painting is inspired from a legend of the beginning of the 14th century. In 1312, a certain Don Gonzalo Ruíz, native of ToledoToledo, Spain
Toledo's Alcázar became renowned in the 19th and 20th centuries as a military academy. At the outbreak of the Spanish Civil War in 1936 its garrison was famously besieged by Republican forces.-Economy:...
, and Señor of the town of Orgaz
Orgaz
Orgaz is a municipality located in the province of Toledo, Castile-La Mancha, Spain. According to the 2006 census , the municipality has a population of 2732 inhabitants. El Greco's painting "The Burial of the Count of Orgaz" features Don Gonzalo Ruíz, native of Toledo and Señor of the town of...
, died (his family later received the title of Count, by which he is generally and posthumously known). The Count of Orgaz was a pious man who, among other charitable acts, left a sum of money for the enlargement and adornment of the church of Santo Tomé (El Greco's parish church). He was also a philanthropist
Philanthropist
A philanthropist is someone who engages in philanthropy; that is, someone who donates his or her time, money, and/or reputation to charitable causes...
and a right-thinking Knight
Knight
A knight was a member of a class of lower nobility in the High Middle Ages.By the Late Middle Ages, the rank had become associated with the ideals of chivalry, a code of conduct for the perfect courtly Christian warrior....
. According to the legend, at the time he was buried, Saint Stephen
Saint Stephen
Saint Stephen The Protomartyr , the protomartyr of Christianity, is venerated as a saint in the Roman Catholic, Anglican, Lutheran, Oriental Orthodox and Eastern Orthodox Churches....
and Saint Augustine descended in person from the heavens and buried him by their own hands in front of the dazzled eyes of those present.
History
The painting was commissioned by Andrés Núñez, the parish priest of Santo Tomé, for the side-chapel of the Virgin of the church of Santo Tomé, and was executed by El Greco between 1586–1588. Núñez, who had initiated a project to refurbish the Count's burial chapel, is portrayed in the painting reading.Already in 1588, people were flocking to Orgaz to see the painting. This immediate popular reception depended, however, on the life-like portrayal of the notable men of Toledo of the time. It was the custom for the eminent and noble men of the town to assist the burial of the noble-born, and it was stipulated in the contract that the scene should be represented in this manner.
El Greco would pay homage to the aristocracy of the spirit, the clergy, the jurists, the poets and the scholars, who honored him and his art with their esteem, by immortalizing them in the painting. The Burial of the Count of Orgaz has been admired not only for its art, but also because it was a gallery of portraits of the most eminent social figures of that time in Toledo. Indeed, this painting is sufficient to rank El Greco among the few great portrait painters.
Analysis of the painting
The scene of the miracle is depicted in the lower part of the composition, in the terrestrial section. In the upper part, the heavenly one, the clouds have parted to receive this just man in Paradise
Paradise
Paradise is a place in which existence is positive, harmonious and timeless. It is conceptually a counter-image of the miseries of human civilization, and in paradise there is only peace, prosperity, and happiness. Paradise is a place of contentment, but it is not necessarily a land of luxury and...
. Christ clad in white and in glory, is the crowning point of the triangle formed by the figures of the Madonna and Saint John the Baptist in the traditional orthodox
Eastern Orthodox Church
The Orthodox Church, officially called the Orthodox Catholic Church and commonly referred to as the Eastern Orthodox Church, is the second largest Christian denomination in the world, with an estimated 300 million adherents mainly in the countries of Belarus, Bulgaria, Cyprus, Georgia, Greece,...
composition of the Deesis
Deesis
In Byzantine art, and later Eastern Orthodox art generally, the Deësis or Deisis , is a traditional iconic representation of Christ in Majesty or Christ Pantocrator: enthroned, carrying a book, and flanked by the Virgin Mary and St. John the Baptist, and sometimes other saints and angels...
. These three central figures of heavenly glory are surrounded by apostles, martyrs, Biblical kings and the just (among whom was Philip II of Spain
Philip II of Spain
Philip II was King of Spain, Portugal, Naples, Sicily, and, while married to Mary I, King of England and Ireland. He was lord of the Seventeen Provinces from 1556 until 1581, holding various titles for the individual territories such as duke or count....
, though he was still alive.
Saints Augustine and Stephen, in golden and red vestments respectively, bend reverently over the body of the count, who is clad in magnificent armour that reflects the yellow and reds of the other figures. The young boy at the left is El Greco's son, Jorge Manuel; on a handkerchief in his pocket is inscribed the artist's signature and the date 1578, the year of the boy's birth. The artist himself can be recognised with a raised hand immediately above the head of Saint Stephen. The men in contemporary 16th-century dress who attend the funeral are unmistakably prominent members of Toledan society.
Assessments
The Burial of the Count of Orgaz is regarded as the first completely personal work by the artist. There are no longer any references to Roman or Venetian formulas or motifs. He has succeeded in eliminating any description of space. There is no ground, no horizon, no sky and no perspective. Accordingly, there is no conflict, and a convincing expression of a supernatural space is achieved. According to Harold WetheyHarold Wethey
Harold Edwin Wethey was a prominent art historian. Wethey received a bachelor's degree from Cornell University and his doctorate from Harvard. He taught at Bryn Mawr College and Washington University in St...
, the supernatural vision of Gloria (“Heaven”) above and the impressive array of portraits represent all aspects of this extraordinary genius's art. Wethey also asserts that "El Greco's Mannerist
Mannerism
Mannerism is a period of European art that emerged from the later years of the Italian High Renaissance around 1520. It lasted until about 1580 in Italy, when a more Baroque style began to replace it, but Northern Mannerism continued into the early 17th century throughout much of Europe...
method of composition is nowhere more clearly expressed than here, where all of the action takes place in the frontal plane".
The composition of the painting has been closely related to the Byzantine iconography
Iconography
Iconography is the branch of art history which studies the identification, description, and the interpretation of the content of images. The word iconography literally means "image writing", and comes from the Greek "image" and "to write". A secondary meaning is the painting of icons in the...
of the Assumption of the Virgin. The examples that have been used to support this point of view have a close relationship with the icon of the Dormition
Dormition of the Virgin (El Greco)
El Greco painted his Dormition of the Virgin near the end of his Cretan period, probably before 1567. El Greco' signature on the base of the central candelabrum was discovered in 1983. The discovery of the Dormition led to the attribution of three other signed works of "Doménicos" to El Greco El...
by El Greco that was discovered in 1983 in the church of the same name in Syros
Syros
Syros , or Siros or Syra is a Greek island in the Cyclades, in the Aegean Sea. It is located south-east of Athens. The area of the island is . The largest towns are Ermoupoli, Ano Syros, and Vari. Ermoupoli is the capital of the island and the Cyclades...
. Marina Lambraki-Plaka believes that such a connection exists. Robert Byron, according to whom the iconographic type of the Dormition was the compositional model for The Burial of the Count of Orgaz, asserts that El Greco as a genuine Byzantine painter worked throughout his life with a repertoire of components and motifs at will, depending on the narrative and expressive requirements of the art. Wethey rejects as "unconvincing" the view that the composition of the Burial is derived from the Dormition, "since the work is more immediately related to Italian Renaissance prototypes". In connection with its negation of spatial depth by compressing figures into the foreground, the early Florentine Mannerists—Rosso Fiorentino
Rosso Fiorentino
Giovanni Battista di Jacopo , known as Rosso Fiorentino , or Il Rosso, was an Italian Mannerist painter, in oil and fresco, belonging to the Florentine school.-Biography:...
, Pontormo
Pontormo
Jacopo Carucci , usually known as Jacopo da Pontormo, Jacopo Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine school. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine...
and Parmigianino
Parmigianino
Girolamo Francesco Maria Mazzola , also known as Francesco Mazzola or more commonly as Parmigianino or sometimes "Parmigiano", was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma...
—are mentioned, as well two paintings by Tintoretto
Tintoretto
Tintoretto , real name Jacopo Comin, was a Venetian painter and a notable exponent of the Renaissance school. For his phenomenal energy in painting he was termed Il Furioso...
: the Crucifixion and the Resurrection of Lazarus, the latter because of the horizontal row of spectators behind the miracle. The elliptical grouping of the two saints, as they lower the dead body, is said to be closer to Titian's early Entombment than to any other work.
According to Lambraki-Plaka, The Burial of the Count of Orgaz is a landmark in the artist's career. "This is where El Greco sets before us, in a highly compressed form the wisdom he has brought to his art, his knowledge, his expertise, his composite imagination and his expressive power. It is the living encyclopedia of his art without ceasing to be a masterpiece with organic continuity and entelechy".
External links
- 'Two Paintings and a Sceptic', lecture by Stewart Sutherland linking this painting to 'Guernica' by Picasso through the question of religious faith, given at Gresham CollegeGresham CollegeGresham College is an institution of higher learning located at Barnard's Inn Hall off Holborn in central London, England. It was founded in 1597 under the will of Sir Thomas Gresham and today it hosts over 140 free public lectures every year within the City of London.-History:Sir Thomas Gresham,...
, 26 February 2008 (available in text, audio and video formats).