Art Critique: The Assumption of the Virgin 1577–1579, by El Greco
The Assumption of the Virgin 1577–79, El Greco
The assumption of the Virgin Mary is a notable aspect of catholic dogma. She is assumed to have been raised to heave in body and soul by God.
Created and completed from 1577–1579, this is the first work of El Greco’s period of painting in Toledo, which is considered by many a high phase in his career.
Notably, the painting is considered to be similar to a work of the same subject matter and title by Titian in the early sixteenth century for the Basilica di Santa Maria Gloriosa dei Frari in Venice, Italy.
The painting is oil on canvas and measures 403 cm by 211 cm. It is part of an altarpiece created for the church of Santo Domingo el Antiguo in Toledo, Spain and is meant to accompany other paintings by El Greco for the alter. Interestingly, the painting found its way to the Art Institute of Chicago. Later on, a replica was created to sit in its original intended place at the church in Spain.
In this painting El Greco depicts Mary rising upwards. At its bottom half her tomb is open; surrounded by apostles witnessing the miraculous moment. Angels flank her ascension on the upper half, attending her upwards movement.
The style of the work is Spanish Renaissance and emblematic of El Greco’s notable etheric style. There’s a satisfying chalkiness to the painting, as if to subtly nod to the dust and ash life ushers from and returns to. The colors all seem to convey a neutrality that I think support the places of light on the painting nicely, giving them a sheen that is visually pleasing.
The symmetrical aspects of the work are softly positioned in nice angles. Mary’s placement at the top of a triangle with the saints below on the left and right is well done. I love how her torso and legs are angled forwardly; giving her positioning the feeling that she may step out of the painting, were it not for the spiritual pull of ascension escorting her to heaven.
The groups of angels and saints form a square, granting a sense of support to Mary’s ascension, figuratively and symmetrically. El Greco’s positioning of them closer or farther to the viewer’s eye adds dimension and makes their individual movements feel lifelike.
Mary seems to be partially balanced on a sickle shaped object at the painting’s center. A soft glowing light at the top of the work looks to suggest not only divine providence but also Mary’s coronation as Queen of Heaven.
Personally, I like this work by El Greco. While maybe not his masterpiece, it has a lot of aspects to it that are satisfying to look at. It is also interesting as a chronological testament to El Greco’s body of work composed in Toledo Spain. In summation, this is classic El Greco.