Spanish Renaissance Architecture and El Greco's Legacy

Renaissance Architecture in Spain

Italian Renaissance architecture became known in Spain through books, pictures, and the travels of artists who struggled to integrate this new art with existing Gothic and Moorish traditions. Since the 1530s, architecture and style began favoring purist classical principles, evolving into a style that culminated in the unornamented architecture of the Escorial and the art of Juan de Herrera.

The Monastery of San Lorenzo de El Escorial

Following Philip II's ascension to the throne in 1556, decorative architecture was abandoned in favor of architectural triumph, sober simplicity, and the nakedness of form. These ideals of austerity and monumentalism resulted in the masterpiece of the Monastery of San Lorenzo de El Real de El Escorial, founded in 1563. This great building commemorates the victory of St. Quentin.

Architectural Design and Layout

The architectural style of El Escorial was promoted and distributed by King Philip II, Juan Bautista de Toledo, and his disciple Juan de Herrera. The floor plan of the building is square, divided into two rectangles. The front center is occupied by a rectangular patio known as the Patio de los Reyes (Kings' Patio), while the sides house the convent buildings and the library.

The Succession of Juan de Herrera

Upon the death of Juan Bautista de Toledo, who had completed only the Court of the Evangelists, he was succeeded by his best disciple, Juan de Herrera. The church features an elongated Greek cross floor plan covered with a dome over the crossing. At the head of the main altar, one can find family portraits of Charles V and Philip II.

The Life and Artistic Evolution of El Greco

El Greco was born in Crete and formed in Byzantine and Italian traditions, but he matured as an artist in Spain. The work of El Greco shows distinct differences across the various stages of his training; his exposure to Greek and Italian culture transformed him into a true humanist.

Training in Italy and Arrival in Spain

He learned the trade of a painter in Crete, creating sacred icons and stories for monks. Later, he perfected his art in Venice within the workshop of Titian, which determined his technical style—loose, free, and focused on color. In Rome, he met the greatest artists of the Renaissance and adopted Michelangelo's treatment of the nude.

Masterpieces and Portraits in Spain

His arrival in Spain was driven by a desire to work at the Escorial. His early Spanish works include the altarpiece of Santo Domingo el Antiguo and The Disrobing (El Expolio). For the monastery of El Escorial, he conducted the work Martyrdom of Saint Maurice, though it was never placed on their altars. Color and light remained the basic elements of his art.

The Toledo Period

Upon moving to Toledo, where he eventually settled, his work took a new turn. He worked for local patrons on religious commissions and portraits. Between 1586 and 1588, he painted one of his most famous works, The Burial of the Count of Orgaz. The austere and stark portraits of El Greco are consistent with European portraiture of the time. His most important portraits include Lady with an Ermine and The Knight with His Hand on His Chest.