A Hard Act To Follow.
The pinnacle had been reached; perfection obtained. Giorgio Vasari, the great chronicler of the lives of Renaissance artists, remarked on viewing the statue of David “After seeing this no one need wish to look at any other sculpture or the work of any other artist”. In sixteenth century Italy as today, Michelangelo’s reputation loomed as large as his seventeen foot tall sculpture of the slayer of Goliath. Gazing upon his hulking figures peering down from his ceiling like Olympians, one can only imagine the Titan from which they emerged. This is work that all achievements of human creation will be compared. When confronted by such enormous genius, where is there to go? How can anyone ever gaze upon the giant that is Michelangelo and hope to marshal a brush as the proverbial sling?
Michelangelo was dead. The island of Crete was on the outskirts of the art-world at the time. The civilization that emerged from this Island - Hellenism - was millennia in the past. Yet this was the center of post-Byzantine art. A young man named Doménikos Theotokópoulos living there who had trained in the old tradition of icon painting, set his eyes on Italy. This young man (in his early 20s) had become a master of icon painting and probably was in charge of his own workshop. However, this was insufficient to the ambitious young man.
Dormition of the Virgin, Doménikos Theotokópoulos. C1565
Since Crete was a territory of Venice, the young Greek used the opportunity to hop on over to the city of canals and Titian. While there he picked up much of the style that would characterize the Venetian Renaissance. And, there is some evidence that he worked with the elderly yet still productive Painter. There is little doubt that Titian, as well as other Venetians such as Tintoretto, had much impact on the artistic output of the young man. Soon Venice too became inadequate. So it was on to Rome.
It is clear that this young Greek saw great things for himself, and was confident in his abilities. So upon visiting the papal chapel, what would be expected of such a character? Well, he suggested that he should have the opportunity to repaint it. The idea that such hubris could exist is surprising. Who could see the Sistine Chapel and think I can top that? To be fair it was only the back wall-the Final Judgment portion of the chapel that he suggested be repainted.
The painting being insufficiently religious was probably one of his main criticisms. Which was a prevalent opinion at the time. One of the Pope’s highest advisers suggested that it was “better suited for a tavern or public bath than a church chapel.” In fact it was seen as so profane (too much nudity) that just before Michelangelo’s death, Daniele da Volterra (the so-called the painter of breeches) was hired to clothe the naked and the damned.
The Final Judgment/ Sistine Chapel, Michelangelo Buonarroti.1536-1541
It was not just the lack of piety that the Greek took issue with. He was later quoted remarking on Michelangelo as, "he was a good man, but he did not know how to paint.” This bit of insolence as well as suggesting that he could do better could have been responsible for his move from Rome; as it would seem he did a good job alienating himself in Rome in general. The Greek was referred to by the architect Pirro Ligorio as a “foolish foreigner.” And although he gained membership in the guild of miniature painters of Rome, he saw a bigger, brighter future-or perhaps, a lucrative gig and convenient exit in the court of Philip II of Spain. So he set sail for Spain, Toledo to be precise. It was here where he would be dubbed by the moniker we are familiar with: El Greco (the Greek). It was here where he produced the mature work we know and love.
The character of El Greco as he is thought of today is somewhat a modern invention. Isolated in an artistic backwater the genius developed a wholly unique style, unappreciated in its time, it took centuries for the world to catch up. But we know he was familiar with many of the most illustrious artistic luminaries of his day, and this style, far from being sui generis, was influenced by all those around him, including the genius he wished to dethrone.
Crucifixion of Saint Peter, Michelangelo Buonarroti. 1546-1550
In his book, Life and Works of Michelangelo Buonarroti (1876), Charles Heath Wilson criticizes Michelangelo’s late work: “The lack of the study of nature is even more evident than in the Judgment.” As it is disparaged in the lines of the nineteenth century biographer, Michelangelo continued to evolve away from strict naturalism. The Young El Greco might have seen this disregard for strict proportions in Michelangelo’s later work (including the Final Judgment) and found himself perplexed…even angered; he could paint better. But it was impossible for him to forget. Michelangelo created emotional resonance in the distortion of bodies, and the abatement of gravity and perspective. This might have sowed a latent seed in the mind of the ambitious young artist, only to flower in the sun of Toledo. Distortions and general psychedelia employed in the service of pathos would become El Greco’s trademark.
The Burial of the Count of Orgaz, El Greco. 1586
The engine of creation didn’t cease with the perfection of the work of Michelangelo, even for the artist himself, the Sistine Chapel wasn’t some crystalized apex. He continued to evolve, he continued to work. In the course of what we consider perfection Michelangelo seemed unsure of himself even despondent. He wrote to his friend:
“…My brush, above me all the time, dribbles paint so my face makes a fine floor for droppings! My haunches are grinding into my guts, my poor ass strains to work as a counterweight, every gesture I make is blind and aimless. My skin hangs loose below me, my spine's all knotted from folding over itself. I'm bent taut as a Syrian bow. Because I'm stuck like this, my thoughts are crazy, perfidious tripe: anyone shoots badly through a crooked blowpipe. My painting is dead. Defend it for me, Giovanni, protect my honor. I am not in the right place—I am not a painter.”
When confronted with the unimaginable feats of humanity, El Greco had the same choice as all of us: give up-saying this can never be topped, go home and make some more icons, or be guided and be inspired. The young man from Crete had to diminish the colossus in order to contend with it. The battle with the giant left its mark. It was audacious to take up the struggle, but in doing so Doménikos Theotokópoulos became El Greco.