EL GRECO (DER GRIECHE), HEILIGE FAMILIE MIT ANNA UND JOACHIM, UM 1585. - photo 1
EL GRECO (DER GRIECHE), HEILIGE FAMILIE MIT ANNA UND JOACHIM, UM 1585. - photo 2
EL GRECO (DER GRIECHE), HEILIGE FAMILIE MIT ANNA UND JOACHIM, UM 1585. - photo 1

EL GRECO (DER GRIECHE), HEILIGE FAMILIE MIT ANNA UND JOACHIM, UM 1585.

Lot 2613
11.09.2021 10:00UTC +01:00
Classic
Sold
€ 120 000
AuctioneerHargesheimer Kunstauktionen Düsseldorf
Event locationGermany, Düsseldorf
Buyer Premium28.56%
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ID 601597
Lot 2613 | EL GRECO (DER GRIECHE), HEILIGE FAMILIE MIT ANNA UND JOACHIM, UM 1585.
Estimate value
€ 28 000
EL GRECO (THE GREEK) ('ACTUALLY: DOMINIKOS THEOTOKÓPOULOS') 1541 Candia in Crete - 7 April 1614 Toledo HOLY FAMILY WITH ANNA AND JOACHIM, C. 1585 Oil on canvas (old relined). 102,5 x 67 cm (F. 120,5 x 84,5 cm). Verso: stretcher with old wax seal. Part. min. old restauriert Frame. Some artists are granted to receive approval and praise for their work within their own lifetime. Others never experience it and still others are reborn with the reception of their art centuries later. Thus the originally Greek-Byzantine icon painter Domínikos Theotokópoulos - El Greco - who actually sought to turn away from the classical norms of modern times through his art in the style of Spanish Mannerism, experienced his own renaissance at the beginning of the 20th century. His newfound public celebrated him as a pioneer of modern art, as he had had a decisive influence on the work of numerous artists of that era. Malweise spiegelt sich auch in dem Gemälde der heiligen Familie mit Anna und Joachim His modern painting style is also reflected in the painting of the Holy Family with Anna and Joachim. In this depiction, El Greco positions the group of five people in front of an effervescent black and grey background. Contrary to the rhythmic, gentle figure composition of the Renaissance masters, he presents the Holy Family in a peaceful intimacy, closely united with each other. Mary sits in the centre, flanked by Anna and Joachim, and carries the sleeping baby Jesus on her lap. Gently supporting the naked boy from below with one hand, she lovingly places her right hand around her mother's shoulders, her graceful lips drawn into a gentle smile. Anna seems to be carefully covering the boy with a white cloth. Like Mary's gaze, Anna's eyes fall on the infant Jesus in admiration and emotional tenderness. Joachim also gazes at the boy in silent adoration over Mary's shoulder. To Mary's right stands St John in boy's form, looking down and commanding silence with his finger. He seems to be offering a bowl of fruit to the group with his right hand. komplementär. Dies könnte für die Individualität der beiden Frauen stehen, besonders in El Greco uses broken colours for the colour scheme of the clothes: Saint Anne's red cloak contrasts Mary's greenish-blue robe in a complementary way. This could stand for the individuality of the two women, especially in relation to the separation through the generations. Mary's reddish tunic, however, once again links mother and daughter in their maternal role. Joachim wears an off-white yellow. This depiction of the Holy Family is a prime example of El Greco's religious works. The absence of any glorification through halos or comparable attributes lends the painting an intimacy and normality that allows identification with the holy family. Gesichter und Gliedmaßen. Ganz im Sinne des spanischen Manierismus übernimmt er das With his expressive, affect-laden compositions, El Greco balances the compositionally gentle waves of the old Renaissance masters and gives his oeuvre a contemporary, unique character through his elongated bodies, faces and limbs. In the spirit of Spanish Mannerism, he adopts the figural ideal of the figura serpentinata with its screwed turning movements and sets them in interaction with the vibration of his colouring. Sulfurous yellows, pale blues and cold reds contrast the vivid colours typical of the Renaissance, while his figures - sometimes almost pale as corpses - oscillate in shades of grey and pink. 'El Greco shook up the ashlar construction of the Renaissance with its one-sided formalism. The Renaissance no longer knew what soul meant, no longer knew the longing for the infinite, the metaphysical.' (Hugo Kehler, 'The Art of Greco', 1920, third edition, preface). Malmaterialien durch Prof. Dr. Elisabeth Jägers, Dipl. Chem. und Dr. Erhardt Jägers, Dipl. In a way, he breathed his spirit and soul into modernity. Provenienz: Sammlung Marques de Villalonga Sevilla; Weltausstellung Ibero Americana 1928, We are grateful to Ms Anne Haußmann for providing this beautiful catalogue contribution. Söhner); Privatsammlung Madrid (Camon Aznar 1950); Sammlung J. Bernhardt, Buenos Aires Literature: J. Camon Aznar, Dominico Greco, Madrid 1950 p. 579 fig. 431 and fig. 437; J. Camon Aznar, Dominico Greco, Madrid 1970, second edition, two volumes, p. 584 and fig. 473. K. Ipser, El Greco p. 375. Scientific examination of the painting materials by Prof. Dr. Elisabeth Jägers, Dipl. Chem. and Dr. Erhardt Jägers, Dipl. Chem. On loan between August 2012 and July 2013 at the Museum Kunstpalast, Düsseldorf. Provenance: Collection Marques de Villalonga Sevilla; World Exhibition Ibero Americana 1928, No. 34, Collection Vda. De Alvares de Toledo; Marques de Lianes Collection, Madrid (H. Söhner); Private Collection Madrid (Camon Aznar 1950); J. Bernhardt Collection, Buenos Aires (Camon Aznar 1970); Bernhardt Collection (Karl Ipser, p. 375); Private Collection Brussels. Important Rhenish private collection.
EL GRECO (DER GRIECHE) ('EIGENTLICH: DOMINIKOS THEOTOKÓPOULOS') 1541 Candia auf Kreta - 7. April 1614 Toledo HEILIGE FAMILIE MIT ANNA UND JOACHIM, UM 1585. Öl auf Leinwand (altdoubl.). 102,5 x 67 cm (R. 120,5 x 84,5 cm). Verso: Keilrahmen mit altem Wachssiegel. Part. min. altrest. Rahmen. Manchen Künstlern ist es vergönnt, Zuspruch und Lob für ihr Werk innerhalb ihrer eigenen Lebenszeit zu erlangen. Andere erfahren es nie und wieder andere werden mit der Rezeption ihrer Kunst Jahrhunderte später wieder geboren. So erfuhr auch der ursprünglich griechisch-byzantinische Ikonenmaler Domínikos Theotokópoulos - El Greco - der sich durch seine Kunst im Stil des spanischen Manierismus eigentlich von den klassischen Normen der Neuzeit abzuwenden suchte, seine eigene Renaissance Anfang des 20. Jahrhunderts. Sein neu gewonnenes Publikum feiert ihn als Vorreiter der modernen Kunst, hatte er doch das Schaffen zahlreicher Künstler dieser Epoche maßgeblich beeinflusst. Seine moderne Malweise spiegelt sich auch in dem Gemälde der heiligen Familie mit Anna und Joachim wieder. Die Abwesenheit jeglicher Glorifizierung durch Heiligenscheine oder vergleichbare Attribute verleiht dem Gemälde eine Intimität und Normalität, die die Identifikation mit der heiligen Familie zulässt. 'El Greco rüttelte am Quaderbau der Renaissance mit ihrem einseitigen Formalismus. Die Renaissance wusste nicht mehr, was Seele heißt, kannte nicht mehr die Sehnsucht nach dem Unendlichen, das Metaphysische.'' (Hugo Kehler, ''Die Kunst des Grecos'', 1920, dritte Auflage, Vorwort). Gewissermaßen hat er der Moderne seinen Geist und seine Seele eingehaucht. Herzlich bedanken wir uns bei Frau Anne Haußmann für die Bereitstellung dieses schönen Katalogbeitrages. Literatur: J. Camon Aznar, Dominico Greco, Madrid 1950 S. 579 fig. 431 und fig. 437; J. Camon Aznar, Dominico Greco, Madrid 1970, zweite Ausgabe, zwei Bände, S. 584 und fig. 473 K. Ipser, El Greco S. 375 Naturwissenschaftliche Untersuchung der Malmaterialien durch Prof. Dr. Elisabeth Jägers, Dipl. Chem. und Dr. Erhardt Jägers, Dipl. Chem. Leihgabe zwischen August 2012 und Juli 2013 im Museum Kunstpalast, Düsseldorf. Provenienz: Sammlung Marques de Villalonga Sevilla; Weltausstellung Ibero Americana 1928, Nr. 34, Sammlung Vda. De Alvares de Toledo; Sammlung Marques de Lianes, Madrid (H. Söhner); Privatsammlung Madrid (Camon Aznar 1950); Sammlung J. Bernhardt, Buenos Aires (Camon Aznar 1970); Sammlung Bernhardt (Karl Ipser, S. 375); Privatsammlung Brüssel. Provenienz: Bedeutende Rheinische Privatsammlung.
Auction house category:Old Master Paintings
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