Trained first in the Byzantine school of icon painting, in 1567 he went to Venice, where he is known to have studied under Titian; thereafter (1570-77) he painted in Rome. By late 1577, El Greco was established in Toledo and at work on the altar of the Church of Santo Domingo el Antiguo. The center painting of this group, the Assumption, now in the Art Institute of Chicago, shows marked Italian influence. His next great works, El espolio de las vestiduras (cathedral, Toledo) and San Mauricio (Escorial) indicate a rapid development. The second was commissioned by Philip II, but he rejected it.
El Greco remained in Toledo, then an abandoned and rapidly dwindling capital whose proud and recalcitrant nobility were driven wholesale into the church as their only remaining vocation. He has left superb portraits of their ascetic faces, and in the foreground of his famous Burial of the Count Orgaz (Church of San Tomé, Toledo) it is they who are assembled at the funeral of the count, whose soul is seen ascending to Christ in the upper part of the painting. This masterpiece, painted in 1586, was followed by many others in which the artist, then mature, brought into play every resource of his dynamic art to express religious ecstasy. Flamelike lines, accentuated by vivid highlights, elongated and distorted figures, and full vibrant color contrasted with subtle grays all combine to produce a unique art.
Among his many great works of this period are the Baptism, Crucifixion, and Resurrection (Prado); a portrait of the inquisitor Cardinal Don Fernando Niño de Guevara (Metropolitan Mus.); two similar versions of St. Jerome (one in the National Gall., London; one in the Frick Coll., New York City); and a long series of paintings of St. Francis. Indeed, many of El Greco's paintings exist in multiple interpretations of the same subject, each with variations that range from the profound to the subtle. To his last period, a time of deepening mysticism, belong such works as the Assumption (Mus. of San Vicente Anejo, Toledo); Adoration and View of Toledo (Metropolitan Mus.); the Pentecost (Prado); a portrait of Hortensio Felix Paravicino (Mus. of Fine Arts, Boston); and the Laocoön (National Gall. of Art, Washington, D.C.).
In his own day his admirers seem to have been intellectuals, such as Fulvio Orsini, the lawyer Lancilotti, and Giulio Clovio. Paravicino, the court preacher, was his friend and apologist. Overshadowed by the more popular masterpieces of Velázquez and Murillo, his work became less and less known, especially outside Spain. At the end of the 19th cent. his paintings started to come under art critical scrutiny, and in the mid-20th cent. El Greco became widely celebrated, largely because his idiosyncratic and intensely expressionistic style (see expressionism), his flickering light and indeterminate space, and his bold and almost abstract use of paint appealed strongly to contemporary tastes. Splendid examples of his vast production exist in many European and American galleries and collections. He is best seen in Toledo, Madrid, and the Escorial. A museum has been devoted to his work in what is said to have been his home in Toledo.
See studies by L. Goldscheider (3d ed. 1954), P. Kelemen (1961), H. E. Wethey (1962), L. Bronstein (1967), J. Gudiol (tr. 1973), and D. Davies, ed. (2003).
See biography by his wife, S. Lissitzky-Küppers (tr. 1968, repr. 1980); studies by V. Margolin (1997), M. Tuppitsyn (1999), and N. Perloff and B. Reed, ed. (2003).
See studies by M. Carver (1962) and J. Latimer (2002).
Largest New World cat. Once found in wooded regions from the U.S.-Mexican border south to Patagonia, the jaguar (Panthera onca) survives, in reduced numbers, only in remote areas of Central and South America; the largest known population is in the Amazon rain forest. The male is 5.5–9 ft (1.7–2.7 m) long, including the 23–35-in. (60–90-cm) tail, and weighs 220–350 lbs (100–160 kg). The coat is typically orange-tan with black spots arranged in rosettes having a black spot in the centre. A solitary predator, the jaguar usually hunts rodents, deer, birds, and fish; it will also take cattle, horses, and dogs.
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Ancient city, Egypt. Located midway between Thebes and Memphis on the Nile River, it was built in the 14th century BC by the Egyptian king (pharaoh) Akhenaton, who moved his subjects there in order to found a new monotheistic religion. Artifacts discovered there in the 19th century included hundreds of cuneiform tablets. Archaeological finds of the late 20th century included sculptures and paintings.
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Volcano, Andes Mountains, southern Peru. It is flanked by Chachani and Pichupichu volcanoes and rises to 19,098 ft (5,821 m) above sea level, towering over the city of Arequipa. Its pristine snowcapped cone is thought to have had religious significance for the Incas, and it has inspired legends and poetry. Now dormant, it last erupted during an earthquake in 1600.
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(born Nov. 10, 1890, Pochinok, near Smolensk, Russia—died Dec. 30, 1941, Moscow) Russian painter, typographer, and designer. As a teacher at Marc Chagall's revolutionary art school in Vitebsk, he met Kazimir Malevich, whose influence is seen in a series of abstract paintings that were Lissitzky's major contribution to Constructivism. In 1922, after the Soviet government turned against modern art, he went to Germany. There Theo van Doesburg and László Moholy-Nagy transmitted his ideas to the West through their teaching at the Bauhaus. In 1925 he returned to Russia and devoted himself to devising new techniques of printing, photomontage, and architecture.
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(born 1541, Candia, Crete—died April 7, 1614, Toledo, Spain) Cretan-born Spanish painter, the first great master of Spanish painting. Documentation on his early life is limited, but it is known that he was in Venice circa 1566–70 and may have studied in Titian's workshop. In 1572 he was a member of the guild of St. Luke in Rome. His first commission in Spain (1577) was for altarpieces for the church of Santo Domingo el Antiguo in Toledo (1577–79); the paintings for the high altar show the influence of Titian and Michelangelo. In these works he developed his signature style: he chose a method of space elimination that is common to middle and late 16th-century Italian painters known as Mannerists. The elogonated figures in these works were also characteristic of his oeuvre. El Greco's Mannerist method of composition is nowhere more clearly expressed than in his masterpiece, The Burial of the Count de Orgaz (1586–88), where all of the action takes place in the frontal plane. From 1590 until his death his output was prodigious. His major commissions included the complete altar composition for the Hospital de la Caridad at Illescas (1603–05), for which he also worked as architect and sculptor. He excelled as a portraitist. His workshop produced many replicas of his works, but his style was so individual that his only followers were his son and a few forgotten imitators.
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City (pop., 2000: 563,662), western Texas, U.S. Located on the Rio Grande opposite Ciudad Juárez, Mex., it is the largest of the U.S.-Mexican border cities. The area was the site of several missions from the 17th century; the first village was built on the site of El Paso in 1827. It became U.S. territory in 1848, when an army post was erected; the town was laid out in 1859. It grew slowly until 1881, when four railways arrived; in a decade El Paso's population increased more than tenfold. Spanish language and culture distinguish the modern city. The commercial and financial centre for an extensive trade territory, it is the site of the University of Texas at El Paso (1913) and Fort Bliss (home of the U.S. Army Air Defense Center); the White Sands Missile Range is nearby.
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Rock formation and archaeological site, west-central New Mexico, U.S. Established in 1906, it has an area of 2 sq mi (5 sq km). El Morro, or Inscription Rock, is a soft sandstone mesa rising 200 ft (60 m) above the valley floor and covering several acres. Spaniards and Americans left their inscriptions (1605–1906) on the cliff sides of the mesa. El Morro also has a number of pre-Columbian petroglyphs, and on its top lie ruins of Indian pueblos.
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Natural area, west-central New Mexico, U.S. Located at an elevation of 6,400–8,400 ft (1,950–2,560 m), it covers 179 sq mi (464 sq km), including a lava flow area of 133 sq mi (344 sq km). Features include a 17-mi (27-km) lava tube system, a number of ice caves, volcanic cinder cones, one of New Mexico's largest natural arches, and more than 20 gas and lava spatter cones. Designated a national natural landmark with the name McCarty Lava Flow in 1969, it became a national monument in 1987.
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(born Nov. 10, 1890, Pochinok, near Smolensk, Russia—died Dec. 30, 1941, Moscow) Russian painter, typographer, and designer. As a teacher at Marc Chagall's revolutionary art school in Vitebsk, he met Kazimir Malevich, whose influence is seen in a series of abstract paintings that were Lissitzky's major contribution to Constructivism. In 1922, after the Soviet government turned against modern art, he went to Germany. There Theo van Doesburg and László Moholy-Nagy transmitted his ideas to the West through their teaching at the Bauhaus. In 1925 he returned to Russia and devoted himself to devising new techniques of printing, photomontage, and architecture.
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Ancient city, Egypt. Located midway between Thebes and Memphis on the Nile River, it was built in the 14th century BC by the Egyptian king (pharaoh) Akhenaton, who moved his subjects there in order to found a new monotheistic religion. Artifacts discovered there in the 19th century included hundreds of cuneiform tablets. Archaeological finds of the late 20th century included sculptures and paintings.
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(born 1882, Ajdir, Mor.—died Feb. 6, 1963, Cairo, Egypt) Berber resistance leader against Spanish and French rule in northern Morocco. He was chief Muslim judge for Morocco's Melilla district. He became disillusioned with Spanish policies and eventually led a resistance movement with his brother. He set up the Republic of the Rif in 1921 and became its president. In 1926 he was forced to surrender when faced by a combined French and Spanish army. Exiled to the island of Réunion, in 1947 he received permission to live in France but took asylum in Egypt while en route. When Morocco became independent (1956), Muhammad V invited him to return, but he refused because of the continued presence of French troops in North Africa.
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After attaining to great proficiency in that kind of learning, Abdallatif applied himself to natural philosophy and medicine. To enjoy the society of the learned, he went first to Mosul (1189), and afterwards to Damascus. With letters of recommendation from Saladin's vizier, he visited Egypt, where he realized his wish to converse with Maimonides, the Eagle of the Doctors.
He afterwards formed one of the circles of learned men whom Saladin gathered around him at Jerusalem. He taught medicine and philosophy at Cairo and at Damascus for a number of years, and afterwards, for a shorter period, at Aleppo.
His love of travel led him to visit different parts of Armenia and Asia Minor in his old age. Also, he was in the process of setting out on a pilgrimage to Mecca when he died at Baghdad.
Abdallatif was undoubtedly a man of great knowledge and of an inquisitive and penetrating mind. Of the numerous works (mostly on medicine) which Osaiba ascribes to him, one only, his graphic and detailed Account of Egypt (in two parts), appears to be known in Europe.
While discussing the profession of treasure hunting, he notes that poorer treasure hunters were often sponsored by rich businessmen to go on archeological expeditions. In some cases, an expedition could turn out to be fraud, with the treasure hunter dissappearing with large amounts of money extracted from sponsors. This fraudulent practice continues to the present day, with rich businessmen in Egypt still being deceived by local treasure hunters.