Cassie S.
This painting depicting one of the scenes of the final judgment day is a fragment to a larger altarpiece that commissioned to the church in the hospital of Saint John the Baptist in Toledo, Spain. El Greco paints his image of Revelation 6:9-11 where the fifth seal is broken and the Christian martyrs are given white robes and told to wait [1]. During the early 15th century when the painting was completed, hospitals worked to help the destitute die in a blessed way. When the painting was found later on, it was in very poor quality and is missing part of the top that was cut away due to the destruction [2]. Some experts estimate that 70 inches are missing from the top and 10 inches from the left side [3]. By designing an image connected with the final judgment, El Greco highlighted the way one can find before absolution before facing God’s judgment [4]. This Vision of Saint John helps bridge the separate worlds of heaven and earth through the body language and characters presented.
A two-level drama unfolds within the painting showing humans and angels interacting within the same dimension. Rowland describes these characters developing a synergy between the martyrs and heaven allowing the divine to permeate the earth [5]. In doing so, El Greco has constructed a piece where the figures really bring meaning to the painting. The covers coming down from heaven signify God’s covering and protection through the nakedness and vulnerability of the people on earth. Additionally, the figure of Saint John emphasizes the need for redemption that Christians on earth wanted from God displaying the verse where the people cry out “… how long will it be before you judge and avenge our blood n the inhabitants of the earth?”[6].
Interesting themes that correlate to patterns found within the book of Revelation. For example, the theme of seven comes up in the depiction of seven martyrs waiting on the Lord’s judgment. El Greco’s work is known to stay close to the scriptural texts and orthodox interpretations of the works her created [7]. The spectacle of the work moves from the focus of Saint John to the focus on heaven with all earthly characters looking up towards the heavens. I believe El Greco was using the piece to help bring the dying souls within the hospital to acceptance of God before their impending final judgment. The use of color and shading as well as proportions of bodies show that El Greco uses the human body to explore and exchange radical ideas (for that time) of how earthly humans should turn to God before the final judgment day.
This painting depicting one of the scenes of the final judgment day is a fragment to a larger altarpiece that commissioned to the church in the hospital of Saint John the Baptist in Toledo, Spain. El Greco paints his image of Revelation 6:9-11 where the fifth seal is broken and the Christian martyrs are given white robes and told to wait [1]. During the early 15th century when the painting was completed, hospitals worked to help the destitute die in a blessed way. When the painting was found later on, it was in very poor quality and is missing part of the top that was cut away due to the destruction [2]. Some experts estimate that 70 inches are missing from the top and 10 inches from the left side [3]. By designing an image connected with the final judgment, El Greco highlighted the way one can find before absolution before facing God’s judgment [4]. This Vision of Saint John helps bridge the separate worlds of heaven and earth through the body language and characters presented.
A two-level drama unfolds within the painting showing humans and angels interacting within the same dimension. Rowland describes these characters developing a synergy between the martyrs and heaven allowing the divine to permeate the earth [5]. In doing so, El Greco has constructed a piece where the figures really bring meaning to the painting. The covers coming down from heaven signify God’s covering and protection through the nakedness and vulnerability of the people on earth. Additionally, the figure of Saint John emphasizes the need for redemption that Christians on earth wanted from God displaying the verse where the people cry out “… how long will it be before you judge and avenge our blood n the inhabitants of the earth?”[6].
Interesting themes that correlate to patterns found within the book of Revelation. For example, the theme of seven comes up in the depiction of seven martyrs waiting on the Lord’s judgment. El Greco’s work is known to stay close to the scriptural texts and orthodox interpretations of the works her created [7]. The spectacle of the work moves from the focus of Saint John to the focus on heaven with all earthly characters looking up towards the heavens. I believe El Greco was using the piece to help bring the dying souls within the hospital to acceptance of God before their impending final judgment. The use of color and shading as well as proportions of bodies show that El Greco uses the human body to explore and exchange radical ideas (for that time) of how earthly humans should turn to God before the final judgment day.
[1]: New York. The Metropolitan Museum of Art. "El Greco," http://www.metmuseum.org/collections/search-the-collections/436576
[2]: Artehistoria - http://www.historyandarts.com/fichas/obras/1743.htm
[3] http://www.telegraph.co.uk/culture/art/art-features/8428737/El-Greco-Masterpiece-a-month-Dulwich-Picture-Gallery.html
[4] Artehistoria - http://www.historyandarts.com/fichas/obras/1743.htm
[5] Christopher Rowland. "Imagining the Apocalypse," New Testament Studies 51 (3) (2005): 311.
[6] Revelation 6:9-11
[7] Sarah Schroth. “Apocalypse When?,” ARTnews (2008): 101-102.
[2]: Artehistoria - http://www.historyandarts.com/fichas/obras/1743.htm
[3] http://www.telegraph.co.uk/culture/art/art-features/8428737/El-Greco-Masterpiece-a-month-Dulwich-Picture-Gallery.html
[4] Artehistoria - http://www.historyandarts.com/fichas/obras/1743.htm
[5] Christopher Rowland. "Imagining the Apocalypse," New Testament Studies 51 (3) (2005): 311.
[6] Revelation 6:9-11
[7] Sarah Schroth. “Apocalypse When?,” ARTnews (2008): 101-102.