The Disrobing of Christ
Encyclopedia
The Disrobing of Christ or El Expolio (Latin: Exspolĭum) is a painting begun in the summer of 1577 and completed in the spring of 1579 for the High Altar of the sacristy
of the Cathedral of Toledo
, where it still hangs. It is one of El Greco
's most famous works. A document dated July 2, 1577 which refers to this painting is the earliest record of El Greco's presence in Spain
. The commission for the painting was secured thanks to El Greco's friendship from Rome with Luis, the son of Diego de Castilla, the dean
of the Cathedral of Toledo. De Castilla senior also arranged El Greco's other major commission, on which he worked simultaneously, the paintings for the Toledan church of Santo Domingo el Antiguo.
. At the lower right, a man in yellow bends over the cross and drills a hole to facilitate the insertion of a nail to be driven through Christ's feet. The radiant face of the Savior is violently juxtaposed to the coarse figures of the executioners, who are amassed around him creating an impression of disturbance with their movements, their gestures and lances.
Christ is clad in a bright red robe; it is on this red tunic that El Greco concentrated the full expressive force of his art. The purple garment (a metonymic symbol of the divine passion) is spread out in a light fold; only the chromatic couple of yellow and blue in the foreground raises a separate note which approaches, in power, the glorifying hymn of the red.
In the left foreground, the three Marys
contemplate the scene with distress. Their presence was objected to by the Cathedral authorities, since they are not mentioned as present at this point in the Gospels. Greco probably took this detail, with some others like the rope around Christ's wrists, from the account in the Meditations on the Passion of Jesus Christ by Saint Bonaventure. The placement of the tormentors higher than the head of Christ also was cited by the commissioners of the Cathedral in the arbitration process over the price.
In designing the composition vertically and compactly in the foreground El Greco seems to have been motivated by the desire to show the oppression of Christ by his cruel tormentors. The figure of Christ, robust, tall and tranquil, dominates the center of the composition which is built vertically like a wall. El Greco chose a method of space elimination that is common to middle and late 16th-century Mannerists
. According to Wethey, El Greco "probably recalled late Byzantine paintings in which the superposition of heads row upon row is employed to suggest a crowd".
regards the painting as a "masterpiece of extraordinary originality". The powerful effect of the painting especially depends upon his original and forceful use of colour. Something of the effect of the grand images of the Saviour
in Byzantine art
is recalled; by this date the disrobing was a rare subject in Western art. The motif of the crowding round Christ
suggests an acquaintance with the works of Northern artists, like Bosch (the best collection of whose works belonged to Philip II); the figure preparing the Cross
could be derived from the similar figure bending forward in Raphael
's tapestry and cartoon
of the Miraculous Draught of Fishes, which he would have known from Rome. This is, however, the last time that there are any hints of specific borrowings. The original altar
of gilded wood that El Greco designed for the painting has been destroyed, but his small sculptured group of the Miracle of St. Ildefonso still survives on the lower center of the frame.
study, or, more likely, a studio record of the composition. Other replica versions may also be in whole or part by the master himself.
Sacristy
A sacristy is a room for keeping vestments and other church furnishings, sacred vessels, and parish records.The sacristy is usually located inside the church, but in some cases it is an annex or separate building...
of the Cathedral of Toledo
Cathedral of Toledo
The Primate Cathedral of Saint Mary of Toledo is a Roman Catholic cathedral in Toledo, Spain, seat of the Metropolitan Archdiocese of Toledo....
, where it still hangs. It is one of El Greco
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...
's most famous works. A document dated July 2, 1577 which refers to this painting is the earliest record of El Greco's presence in Spain
Spain
Spain , officially the Kingdom of Spain languages]] under the European Charter for Regional or Minority Languages. In each of these, Spain's official name is as follows:;;;;;;), is a country and member state of the European Union located in southwestern Europe on the Iberian Peninsula...
. The commission for the painting was secured thanks to El Greco's friendship from Rome with Luis, the son of Diego de Castilla, the dean
Dean (religion)
A dean, in a church context, is a cleric holding certain positions of authority within a religious hierarchy. The title is used mainly in the Anglican Communion and the Roman Catholic Church.-Anglican Communion:...
of the Cathedral of Toledo. De Castilla senior also arranged El Greco's other major commission, on which he worked simultaneously, the paintings for the Toledan church of Santo Domingo el Antiguo.
Description
The painting shows Christ looking up to Heaven with an expression of serenity; his idealized figure seems segregated from the other people and the violence surrounding him. A figure dressed in black in the background points at Christ accusingly, while two others argue over who will have his garments. A man in green to Christ's left holds him firmly with a rope and is about to rip off his robe in preparation for his crucifixionCrucifixion of Jesus
The crucifixion of Jesus and his ensuing death is an event that occurred during the 1st century AD. Jesus, who Christians believe is the Son of God as well as the Messiah, was arrested, tried, and sentenced by Pontius Pilate to be scourged, and finally executed on a cross...
. At the lower right, a man in yellow bends over the cross and drills a hole to facilitate the insertion of a nail to be driven through Christ's feet. The radiant face of the Savior is violently juxtaposed to the coarse figures of the executioners, who are amassed around him creating an impression of disturbance with their movements, their gestures and lances.
Christ is clad in a bright red robe; it is on this red tunic that El Greco concentrated the full expressive force of his art. The purple garment (a metonymic symbol of the divine passion) is spread out in a light fold; only the chromatic couple of yellow and blue in the foreground raises a separate note which approaches, in power, the glorifying hymn of the red.
In the left foreground, the three Marys
The Three Marys
The Three Marys are the three biblical Marys who came to the sepulchre of Jesus in the Gospels and were companions of Mary, the mother of Jesus. In Eastern Orthodoxy they are among the Myrrhbearers, traditionally including a larger number of people. All four gospels mention the women going to the...
contemplate the scene with distress. Their presence was objected to by the Cathedral authorities, since they are not mentioned as present at this point in the Gospels. Greco probably took this detail, with some others like the rope around Christ's wrists, from the account in the Meditations on the Passion of Jesus Christ by Saint Bonaventure. The placement of the tormentors higher than the head of Christ also was cited by the commissioners of the Cathedral in the arbitration process over the price.
In designing the composition vertically and compactly in the foreground El Greco seems to have been motivated by the desire to show the oppression of Christ by his cruel tormentors. The figure of Christ, robust, tall and tranquil, dominates the center of the composition which is built vertically like a wall. El Greco chose a method of space elimination that is common to middle and late 16th-century Mannerists
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...
. According to Wethey, El Greco "probably recalled late Byzantine paintings in which the superposition of heads row upon row is employed to suggest a crowd".
Critical analysis
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...
regards the painting as a "masterpiece of extraordinary originality". The powerful effect of the painting especially depends upon his original and forceful use of colour. Something of the effect of the grand images of the Saviour
Jesus
Jesus of Nazareth , commonly referred to as Jesus Christ or simply as Jesus or Christ, is the central figure of Christianity...
in Byzantine art
Byzantine art
Byzantine art is the term commonly used to describe the artistic products of the Byzantine Empire from about the 5th century until the Fall of Constantinople in 1453....
is recalled; by this date the disrobing was a rare subject in Western art. The motif of the crowding round Christ
Christ
Christ is the English term for the Greek meaning "the anointed one". It is a translation of the Hebrew , usually transliterated into English as Messiah or Mashiach...
suggests an acquaintance with the works of Northern artists, like Bosch (the best collection of whose works belonged to Philip II); the figure preparing the Cross
Christian cross
The Christian cross, seen as a representation of the instrument of the crucifixion of Jesus Christ, is the best-known religious symbol of Christianity...
could be derived from the similar figure bending forward in Raphael
Raphael
Raffaello Sanzio da Urbino , better known simply as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur...
's tapestry and cartoon
Raphael Cartoons
The Raphael Cartoons are seven large cartoons for tapestries, now in the Victoria and Albert Museum, London, painted by the High Renaissance painter Raphael in 1515-16 and showing scenes from the Gospels and Acts of the Apostles...
of the Miraculous Draught of Fishes, which he would have known from Rome. This is, however, the last time that there are any hints of specific borrowings. The original altar
Altar
An altar is any structure upon which offerings such as sacrifices are made for religious purposes. Altars are usually found at shrines, and they can be located in temples, churches and other places of worship...
of gilded wood that El Greco designed for the painting has been destroyed, but his small sculptured group of the Miracle of St. Ildefonso still survives on the lower center of the frame.
Arbitration
The Disrobing of Christ was a subject of a dispute between the painter and the representatives of the Cathedral regarding the price of the work; El Greco was forced to have recourse to legal arbitration and eventually received only 350 ducats, when his own appraiser had valued it at 950. He was also supposed to remove some of the figures objected to, which he never did. Despite the complaints of the commissioners of the Cathedral it had a huge success; currently, more than 17 versions of the painting are known. Two greatly reduced versions are generally accepted as from the hand of El Greco himself; possibly one may have been an oil sketchOil sketch
An Oil sketch or oil study is an artwork made primarily in oil paints that is more abbreviated in handling than a fully finished painting. Originally these were created as preparatory studies or modelli, especially so as to gain approval for the design of a larger commissioned painting...
study, or, more likely, a studio record of the composition. Other replica versions may also be in whole or part by the master himself.
Sources
- Brown, Jonathan (ed.) (1982). "El Greco and Toledo", El Greco of Toledo (catalogue). Little Brown. ISBN 08121506X
- Clark, Kenneth. Looking at Pictures. New York: Holt Rinehart and Winston, 1960