The Burial of the Count of Orgaz by El Greco

Mannerism

Apr 24

El Greco’s The Burial of the Count of Orgaz is a Christian and visionary masterpiece that transcends Mannerism, influencing generations of artists from the Baroque to Picasso.

140 inches wide and 190 inches tall, located in its home of the Church of Santo Tomé in Toledo, Spain
Definitions to Vocab found below article

The Burial of the Count of Orgaz is a large oil painting by Greek-born artist Doménikos Theotokópoulos, famously known as El Greco (“the Greek”). Measuring at 140 inches wide and 190 inches tall with a rounded top that enhances its grandeur and vertical composition. It was commissioned for the Church of Santo Tomé in Toledo, Spain, where it remains placed above the tomb of the Count of Orgaz. Created in 1586, the painting is divided into two distinct realms: The lower half captures the burial of a nobleman who passed away nearly 300 years earlier, in 1323, with religious officials and a chorus of contemporary figures gathered around him. The upper half presents a celestial vision where the Virgin Mary, Saint John the Baptist, and Jesus Christ stand at the apex, surrounded by other figures rendered in El Greco’s signature elongated, flamelike forms. The painting’s luminous colors and dynamic techniques reflect the influence of the Venetian School. El Greco’s The Burial of the Count of Orgaz is a prime demonstration of his ability to transcend a single artistic category, and merge elements of Mannerism, Venetian techniques, and Byzantine influence, creating a work that not only captivated the Spanish Catholic Church, but also inspired future generations of artist and artistic movements, marking him as a visionary ahead of his time.

El Greco was born on the Island of Crete, then under Venetian control. He received his early training at the Cretan School, where he mastered Greek Iconography painting in the Post-Byzantine style. While still in Crete, he observed Byzantine frescoes and mosaics, establishing a strong artistic foundation that he would later expand upon. As a Venetian citizen by birth, he moved to Venice at the age of 26 and worked in Titian’s workshop, where he was deeply influenced by the Venetian masters. Among them, Tintoretto left the greatest impact on him, particularly for his bold color palette and loose brushwork–both of which El Greco would adopt into his own style. His artistic journey continued through Rome and Florence, where he admired Renaissance greats such as Raphael and Michelangelo, as well as studying Italian Mannerism. In 1577, he finally settled in Toledo, Spain, aspiring to become a court painter for King Philip II, a staunchly Catholic and ambitious monarch. Unfortunately, after completing two commissions, El Greco would be dismissed by King Philip for being too unconventional. However, his art soon garnered the attention of Spanish locals, particularly Andrés Núñez, the Parish priest of the Church of Santo Tomé in Toledo, the man who played a role in the organization and restoration of the tomb of the Count of Orgaz.

At the time, Spain was a dominant power in Europe and the Americas, as well as a leading force in Catholicism. Artistic exchanges between Spain and Italy were common, with Spanish artists traveling to Italy for training and Italian artists seeking patronage in Spain.

Don Gonzalo Ruiz de Toledo, widely known as The Count of Orgaz, was a great benefactor of the Church of Santo Tomé, renowned locally known for his generous financial contributions to the church. His philanthropy extended beyond the church, supporting monasteries, local clergy, and even helping the poor. Upon his death in 1323, a remarkable event occurred: according to legend, during his funeral, Saint Stephen and Saint Augustine miraculously appeared from Heaven and personally laid his body to rest. This divine intervention, witnessed by those in attendance, was seen as a testimony of the Counts Piety. His miraculous burial remains as one of Toledo’s most admired legends, illustrating the power of faith and good works.

El Greco’s The Burial of the Count of Orgaz is divided into two distinct spheres: the terrestrial realm, where the funeral service and the heavenly realm, where ethereal figures, including Jesus Christ at the apex, preside over the scene. At the very center of the lower half, one of the focal points is the corpse of Don Gonzalo Ruiz de Toledo, being lowered into his tomb by Saint Augustine and Saint Stephen, both depicted with remarkable detail. The composition of these figures echoes traditional Pieta imagery, where the Virgin Mary cradles the body of Christ, particularly Pontormo’s Pieta. Both of the saints’ vestments, adorned with luminous gold and intricate drapery, exemplify the rich aesthetics that came from Venetian school. Especially striking is Saint Stephen’s garments, adorned with such strong detail on it that one can see a scene of his martyrdom on the lower edge. Similarly, Saint Augustine's garments are embellished with religious iconography, showcasing not only El Greco’s meticulous attention to detail, but his mastery across various artistic styles. Don Gonzalo, who appears to be enveloped between the two golden figures, is also highly detailed with color and reflective texture that highlights the metal armor, once again reflecting on El Greco’s venetian training.

Behind the central figures, a group of religious officials with red crosses on their black attire, represent an elite medieval military-religious order known as the Order of Santiago. Behind them, a solemn chorus of figures dressed in black fill up the entire background, featuring many contemporary noblemen of El Greco’s time. In the painting’s 1856 contract, it permitted that portraits of others could be included to suggest they also witnessed the miraculous event. Among them is the parish priest who commissioned this, Andrés Nuñez, positioned on the far right as the reading man. On the far left, behind Saint Augustine, stands a young child said to be El Greco’s son, Jorge Manuel Theotokópoulos. Additionally, El Greco inserts himself into the crowd as a self-portrait, subtly demonstrating his ability to create portraits in addition to the scene. The man to the right of Saint Augustine, gazing upward, along with other figures directing their eyes towards the heavens, serves as a visual bridge, guiding the viewer’s gaze toward El Greco’s vision of the afterlife.

At the center of the composition there is an angel, depicted in human form with wings and a flowing golden robe, that ascends toward the celestial realm while carrying the Count’s soul. The soul is represented as a luminous blue specter in the form of an infant, reaching toward the Virgin Mary and Saint John the Baptist. This moment serves as the most explicit example of upward movement in the painting, ultimately leading the viewer’s gaze to the apex, where Christ reigns above the compressed composition. Jesus Christ is carefully painted with a radiant golden aura, a deliberate technique that emphasises his divinity and significance within the scene. Surrounding him are various religious figures, including King David with his harp on the far left, Saint Peter in a flowing yellow robe, and even King Philip II, defender of the Catholic Faith. The celestial realm is characterized by weightless, elongated figures, whose garments float as if suspended in the air, reinforcing the sense of divine transcendence. This fluidity stands in stark contrast to the concrete terrestrial realm, where the rigid, portrait-like figures evoke a sense of grounded realism.

The rhythmic arrangement of the heavenly figures on the right, elevated by clouds, creates a dynamic sense of ascension, a striking contrast from the static composition of the mourners below. This visual movement is particularly important given the painting’s placement above the actual tomb of the Count of Orgaz, inviting the viewers to engage with the miraculous event it depicts. The positioning of the painting compels the viewer to look upward, physically and metaphorically toward Christ as an act of reverence, supporting the spiritual experience of the artwork. El Greco’s division of the terrestrial and celestial realm, as well as his treatment of form and space, resembles closely and perhaps inspired by Titian’s Assumption of the Virgin. His deliberate change in style between the two levels also gives viewers the opportunity to examine his artistic evolution, integrating both naturalistic influences of his early Venetian training and the exaggerated, expressive mannerism that defined his later work. in the same work. Here, this work of art serves not only as a masterpiece of religious art with its own purpose, but also as a visual testament to El Greco’s stylistic development and technical mastery.

Although El Greco employed mannerist devices in The Burial of the Count of Orgaz, his primary objective was to convey profound emotion and immerse the viewer in the painting’s religious intensity. Unlike many of his contemporaries, he did not adhere strictly to a single movement, making his work unique and difficult to categorize. His expressive and visionary style not only foreshadowed preceding periods like the Baroque in Spain and Italy, but also influenced future artistic movements such as Post-impressionism and Expressionism. Future artists like Paul Cézanne, Jackson Pollock, Édouard Manet, Vincent van Gogh, and notably Pablo Picasso–whose Les Demoiselles d'Avignon shares close similarity to the Opening of the Fifth Seal–drew inspirations from his work.

While figures like King Philip dismissed El Greco’s avant-garde artistic approach, others recognized his genius, not only in his lifetime but for centuries afterward. His most avid supporters were devout Catholics in Toledo, where his work resonated deeply with the city’s religious passion. More than a mere commemoration to a charitable nobleman, this painting serves as a reminder to the viewer that judgement awaits them too. Additionally, this work reinforces a core tenet of Roman Catholicism during the Counter-Reformation: the role of saints as intercessors and necessity of good works for salvation.

Vocab

Mannerism-An art movement that emerged in Florence and Rome during the 1520s as a reaction to the ideals of the High Renaissance. It is characterized by exaggerated poses, elongated figures, and complex compositions, often featuring dramatic lighting, dissonant colors and heightened sense of theatrical tension. Derived from the Italian word maniera, meaning ‘style’ or ‘manner’.

Commission- an act where the client hires the artist to create a work of art, customized to the clients preferences. Often involving deadlines, content, size, and payment

Venetian Color Palette- A Mannerist and Venetian pictorial technique characterized by warm, rich, luminous colors, often derived from expensive pigments imported from the east.

Post-Byzantine Iconography- A transitional period of iconography that is influenced by the west, distinguishing itself from traditional Byzantine art, and predates Modern Greek. -Archaelogy.wiki

Titian- Born as Tiziano Vecellio (1488-1576), was a Venetian Italian Renaissance well known for his international clientele, mastery of color, and dynamic composition. Many of his art works consisted of religious scenes, mythological works, and portraits, influencing a generation of future artists. Well known artworks include Venus of Urbino, Assumption of the Virgin, Bacchus and Ariadne.

Tintoretto- Also known as Jacopo Robusti (1518-1594), was an Italian Renaissance artist of the Venetian School and once an apprentice of Titian who expelled him for personal reasons. His use of artistic devices like mannerism, a distinct Venetian color palette, and tenebrism defines his paintings like Last Supper, Paradise, and Miracle of the Slave.

Source

Einstein called this the Most Profound Painting He Ever Saw…, Art-Facts Videos, YouTube

https://www.youtube.com/watch?v=aLAHDgHrHtg

El Greco, Burial of Count Orgaz, by Dr Lauren Kilroy-Ewbank, Smarthistory

https://smarthistory.org/el-greco-burial-of-the-count-orgaz/

The Burial of the Count of Orgaz, Britannica
https://www.britannica.com/topic/The-Burial-of-the-Count-of-Orgaz

El Greco’s The Burial of the Count of Orgaz explained, Britannica
https://www.britannica.com/video/The-Burial-of-the-Count-of-Orgaz-El-Greco/-293954

El Greco and The Burial of the Count of Orgaz, Toledo Monumental

https://toledomonumental.com/en/el-greco-and-the-burial-of-the-count-of-orgaz/

The Post-Byzantine iconography of Crete and the Ionian Islands, Archaeology Wiki

https://www.archaeology.wiki/blog/2015/03/09/post-byzantine-iconography-crete-ionian-islands/#:~:text=The%20Post%2DByzantine%20art%20of,way%20for%20Modern%20Greek%20art.

Gardner’s Art Through the Ages, 15th edition, by Fred S. Kleiner

Pages 697-698