Michael Scholz-Hänsel

Nadja Horsch

Marta Oliveira Sonius

In garden research, Spanish and Portuguese green spaces are scarcely visible. This is a striking contrast not only to their diversity and quality but also to the global network of both countries, especially during the Early Modern period. To counterbalance this, specialists from Spain, Portugal and Germany gathered in 2021 on an international and interdisciplinary conference. In the Portuguese Palace of Queluz they discussed the fundamental issues of garden art on the Iberian Peninsula. Their contributions are collected in this book. They are proof of a cross-border transcultural approach, which has freed itself from ­national stereotypes. Also, it addresses insights which have been derived from the cultural interaction across the centuries and the different epochs of garden art.

New perspectives on an entangled history

Gardens of the Iberian Peninsula

Beat Wismer

Michael Scholz-Hansel

The sensational oeuvre of El Greco (1541-1614) was first introduced to a broader German audience in 1910 through Julius Meier-Graefe's journal, "The Spanish Journey". Numerous artists subsequently caught "Greco fever" when they first saw larger groups of his works in exhibitions in Munich in 1911 and Düsseldorf in 1912. Max Beckmann, Oskar Kokoschka, Max Oppenheimer, Ludwig Meidner, and especially members of the Blaue Reiter-August Macke, Franz Marc, Albert Bloch, and others-recognized in El Greco a father figure for the Modernist movement, mentioning him in the same breath as Paul Cézanne. This volume presents a general selection of over forty paintings by El Greco from the most famous museums around the world. At the same time, the young artists' exploration of the paintings and visual spheres of the exceptional Spanish painter are discussed, opening up a fascinating view of the battle for Modernism. 0Exhibition: Museum Kunstpalast, Düsseldorf, Germany (28.4.-12.8.2012).

El Greco and Modernism

Greco

Cretan-born painter Domenicos Theotocopoulos, better known by his Spanish nickname, El Greco (c.1545-1614), studied under Titian in Venice before settling down in Toldeo. Commissioned by the church and local nobility, El Greco produced dramatic paintings marked by distorted figures and vibrant color contrasted with subtle grays. Though his work was appreciated by his contemporaries, especially intellectuals, it wasn't until the 20th century that it was widely embraced and admired, influencing in particular the Expressionist movement.

Domenikos Theotokopoulos, 1541-1614

El Greco

Convivencia in Zeiten der Intoleranz

Inquisition und Kunst

David Sánchez Cano

In den vergangenen Jahren hat die Spanienforschung eine ganze Reihe von Entdeckungen und Neubewertungen hervorgebracht. Im deutschen Sprachraum sind diese aber bisher kaum wahrgenommen worden. Die Gründe dafür liegen in den im Norden Europas verbreiteten Stereotypen über den katholischen Süden, die teilweise noch immer auf die anti-spanische „Schwarze Legende“ zurückgreifen. Die Autoren dieses Bandes wollen solche Stereotype nicht nur dekonstruieren, sondern versuchen zugleich, mit dem aktuellen Konzept von Ambiguität – der kalkulierten Mehrdeutigkeit – eine alternative Sichtweise aufzuzeigen. Zwischen den chronologischen Polen von El Greco und Salvador Dalí behandeln sie in interdisziplinären Beiträgen diverse Gattungen der Malerei sowie Strategien der (Selbst-)Inszenierung und soziale Hintergründe künstlerischer Produktion.

Ambiguitäten statt Stereotype / Ambigüedades en lugar de estereotipos

Spanische Kunst von El Greco bis Dalí / Arte Español del Greco hasta Dalí

A prophet of modernism. Strong colours and sinuous figures El Greco (1541-1614) was born Domenikos Theotokopoulos in Crete in 1541. He arrived in Venice in 1566, where his work was greatly influenced by Titian and Tintoretto. Later he made an offer to the Pope to paint over Michelangelo's Last Judgement in the spirit of the Counter Reformation, which so incurred the wrath of Roman artists that a career in Italy was no longer conceivable. El Greco then settled in Spain, in Toledo, where he received numerous commissions from the Church and the nobility. Between 1586 and 1588 he created a major work of European painting, the monumental Burial of the Count of Orgaz for a chapel altar in the parish church of Santo Tomé in Toledo. El Greco confined his range of colours to a small number of very expressively used shades, with an evident preference for pale purple, pink, and yellow and greyish tones. He located the iconographical events in a space that he dramatized by means of light and atmospheric phenomena. His œuvre had a wide-ranging impact on art up to and including modern 20th century painting. Paul Cézanne and later Picasso and the Expressionists regarded El Greco as a prophet of modernism. About the Series: Each book in TASCHEN's Basic Art Series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 colour illustrations with explanatory captions

Michael Scholz-Hänsel

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