Las Santas Faces y las Verónicas del Greco
The theme of the Holy Face and Veronica, even if they were of particular interest to Greco during the first years of his stay in Toledo, were already very present when he learned to paint icons in Candia. And this interest returns towards the end of his life. These images will mark a lifetime, as if...
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| Format: | article |
| Language: | ES FR LA PT |
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Civilisations et Littératures d’Espagne et d’Amérique du Moyen Âge aux Lumières (CLEA) - Paris Sorbonne
2021
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| Online Access: | https://doaj.org/article/32516f1b621848a0a199f28aab6a3ea5 |
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| Summary: | The theme of the Holy Face and Veronica, even if they were of particular interest to Greco during the first years of his stay in Toledo, were already very present when he learned to paint icons in Candia. And this interest returns towards the end of his life. These images will mark a lifetime, as if they were the common thread. Working on such a theme obviously means asking a great many questions, both theological, aesthetic and political, in a Spain that lives under the dogmas enacted at the Council of Trent. This study focuses on the trompe l'oeil technique in five works: Santa Faz in Santo Domingo el Antiguo, 1577-1579; La Santa Faz (El velo de la Verónica) of New York, 1577-1579; La Santa Faz, 1586-1595 from the Prado Museum; Santa Verónica, 1556-1579 (c. 1580) from the Santa Cruz Museum; La Santa Faz or El velo de Verónica, 1608-1614, from Buenos Aires. |
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