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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Autor principal: Philippe Merlo-Morat
Formato: article
Lenguaje:ES
FR
LA
PT
Publicado: Civilisations et Littératures d’Espagne et d’Amérique du Moyen Âge aux Lumières (CLEA) - Paris Sorbonne 2021
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Acceso en línea:https://doaj.org/article/32516f1b621848a0a199f28aab6a3ea5
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spelling oai:doaj.org-article:32516f1b621848a0a199f28aab6a3ea52021-12-02T09:52:57ZLas Santas Faces y las Verónicas del Greco1951-616910.4000/e-spania.41683https://doaj.org/article/32516f1b621848a0a199f28aab6a3ea52021-10-01T00:00:00Zhttp://journals.openedition.org/e-spania/41683https://doaj.org/toc/1951-6169The 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.Philippe Merlo-MoratCivilisations et Littératures d’Espagne et d’Amérique du Moyen Âge aux Lumières (CLEA) - Paris SorbonnearticleGrecoHoly FaceVeronicaChristtrompe l’œilHistory (General) and history of EuropeDHistory of SpainDP1-402ESFRLAPTE-Spania, Vol 40 (2021)
institution DOAJ
collection DOAJ
language ES
FR
LA
PT
topic Greco
Holy Face
Veronica
Christ
trompe l’œil
History (General) and history of Europe
D
History of Spain
DP1-402
spellingShingle Greco
Holy Face
Veronica
Christ
trompe l’œil
History (General) and history of Europe
D
History of Spain
DP1-402
Philippe Merlo-Morat
Las Santas Faces y las Verónicas del Greco
description 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.
format article
author Philippe Merlo-Morat
author_facet Philippe Merlo-Morat
author_sort Philippe Merlo-Morat
title Las Santas Faces y las Verónicas del Greco
title_short Las Santas Faces y las Verónicas del Greco
title_full Las Santas Faces y las Verónicas del Greco
title_fullStr Las Santas Faces y las Verónicas del Greco
title_full_unstemmed Las Santas Faces y las Verónicas del Greco
title_sort las santas faces y las verónicas del greco
publisher Civilisations et Littératures d’Espagne et d’Amérique du Moyen Âge aux Lumières (CLEA) - Paris Sorbonne
publishDate 2021
url https://doaj.org/article/32516f1b621848a0a199f28aab6a3ea5
work_keys_str_mv AT philippemerlomorat lassantasfacesylasveronicasdelgreco
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