El Greco, Adoration of the Shepherds

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El Greco, Adoration of the Shepherds발음듣기

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[music] We're in the Prado, looking at El Greco's "Adoration of the Shepherds."발음듣기

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This is a painting that he did very late in his career; it was about 1612, 1614.발음듣기

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And one that had personal significance for him, since it was for his family chapel.발음듣기

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It's a wild painting!발음듣기

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Well, all El Greco's are wild, but he clearly gets wilder later in his career.발음듣기

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And maybe felt freer because it was personally related.발음듣기

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The figures are incredibly elongated; their positions of their bodies make no sense;발음듣기

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I mean, there's just enormous license with naturalism here.발음듣기

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Naturalism, in fact, doesn't even seem to be a requirement, even though we're just coming really out of the Renaissance here. I mean, even by Mannerist standards (right? Because we're basically in the period of Mannerism, but moving into the Baroque), this is extreme.발음듣기

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Well, El Greco was Greek, and he was trained actually as a Greek icon painter.발음듣기

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And of course, the Byzantine tradition was a tradition that was concerned with distorting the body for symbolic purpose.발음듣기

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And so, I think there is a kind of license that comes from that tradition.발음듣기

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Now, El Greco gets to Spain, and he does these paintings in Toledo, for the most part, by way of Italy, where he really does train in the Renaissance style; so, he understands contemporary art at this point.발음듣기

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I mean, he really understands what people are doing.발음듣기

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But he's also willing to let go.발음듣기

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Look what he's done.발음듣기

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He's removed virtually any reference to actual space.발음듣기

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We have almost no sense of real depth.발음듣기

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We have a little bit of a, what, a barrel vault right behind the Virgin Mary. But besides that, it's all clouds and light.발음듣기

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And movement.발음듣기

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If you look at the structure of the painting, the composition, the Christ Child, who occupies the center of about five or six figures, almost provides the light source, almost as though it was a fire in the center of those figures that they were all warming their hands by.발음듣기

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I think actually that idea of fire is perfect.발음듣기

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The figures feel like flames.발음듣기

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In fact, the light seems to be flickering.발음듣기

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There seems to be - everything seems to be transient, and nothing seems to be fixed.발음듣기

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Even the human bodies themselves, as you mentioned before, seem completely mutable.발음듣기

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I think that this pictorial language that we're describing represents the spiritual, the transcendent, the otherworldly.발음듣기

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Well, the Church was really trying to combat the threat of the Reformation - Right!발음듣기

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and I think that, especially in Toledo, you have a very severe reaction, a Counter-Reformation, taking the Council of Trent's doctrine very seriously.발음듣기

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So the Church is really looking to reform itself, to inspire faith in believers in a new and powerful way, and I think El Greco's paintings were able to achieve that.발음듣기

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One of the things that he's doing is using color in a way that's - really, I think, unprecedented.발음듣기

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We have neon oranges, and greens, and blues, and golds, that I don't think I've ever seen before.발음듣기

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It really won't be until Delacroix, in the 19th century, that somebody is as bold with color; and even Delacroix, I think, is muted in comparison to this.발음듣기

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We also have these very stark contrasts of light and dark, and figures that are very close to us, and this amazing foreshortening. I mean, look at those angels up in the sky.발음듣기

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I mean, we're seeing them from these remarkable angles.발음듣기

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There is a sense in El Greco's work, and especially in "The Adoration of the Shepherds," that the Divine is with us.발음듣기

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In the most complete way; that is, it completely infuses the physical world, in a way that more traditional, more representational Renaissance painting, and even Mannerist painting, doesn't quite achieve.발음듣기

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There is a sense that the Divine actually is a physical force, that runs as a current through the space that El Greco defines. [music]발음듣기

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