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Create a 6 pages page paper that discusses el greco and mytaras face to face. Doménikos Theotokópoulos, known as El Greco, and his later works, mystified observers of his time: it was the early 1600s,
Create a 6 pages page paper that discusses el greco and mytaras face to face. Doménikos Theotokópoulos, known as El Greco, and his later works, mystified observers of his time: it was the early 1600s, and non-natural illustrations of the human form were viewed as deranged. The way he described his inspiration was strange: he called it the mystical inner construction of life (Davies 2005). The word construction makes one choose this artist from thousands available: he had a sense of building something of his own in pictorial space under pictorial illumination (Davies et al Ibid.) His brushwork was considered so unusual it was miraculous: a flickering that, coupled with anthropomorphic distortions, gave his paintings captivating quality.
Dimitris Mytaras lives and paints almost 1400 years after El Greco wrought his magic in the Mediterranean. Just as inspired by the human figure, his sojourns in Italy and France have brought about unique expressionism that has gained him renown even in his own Greece. His quasi-surreal and realistic mixtures create difficult conversation or discourse with the viewer. Known to incorporate political as well as classical themes, and having a body of sacred art to enable this discussion, this artist also proves an excellent candidate.
From the earliest works of both artists to important mid-career expressions and on to final pictures for El Greco and most recent offerings from Mytaras, keen observers find wildly contrasting notions, but certainly salient features that point to similarities. Without deconstructing each piece completely, we can find that sense of self was established through the making of a discourse (Rose 2006). Certainly, the controversial use of distortion and unusual placement of objects, the enormous size of some of their works, and the tendency to place importance on aerial objects do two things. It gives the artists something in common and indicates in both the desire to rouse an active response from the viewer. .
