An abstract doodle of lines and whorls, almost absentmindedly penned, an example of the avant-garde art world of the 40s and 50s, well-known as Abstract Expressionism.
The figure presented seems to emerge as series of images from certain perspectives, viewing it in another angle presents to view a woman seemingly hugging a child to her bosom. But of the title a seated woman, I couldn’t discern.
New to this kind of genre, my perception is not quite apt to be able to grasp the insinuations of the painter. This is the exquisiteness and spitefulness of abstract, one viewer may grasp one idea vastly different from the other viewers.
Random doodling by the painter possessing some thoughts in his head that he wanted to convey but would like to titillate a little, the abstract fanatics would greatly love this.
A picture so challenging, entertaining with its ambiguity, but with perception so honed one can glean from it a pot of gold.
El Greco – the name means “The Greek” – was born in Crete and named Doménikos Theotokópoulos. He was a restless fellow, a travelling artist if you like. After spending time in Italy, he ended up in Toledo in Spain where he painted this picture. Presumably, the locals called him “The Greek” because they could not pronounce his name.
I find this painting quite amazing. Much of El Greco’s other work was in the classic idiom and comprised large canvases filled with historic figures. Only two of his landscapes survive, and this is one of them. At first, our eyes fall in the silvery buildings that follow the city’s defences up and down the hills and valleys. Only later do we focus on the magnificent clouds above, and the peaceful stream below.
I think El Greco painted this picture for himself or as a personal gift – although it did end up in the Metropolitan Museum of Art centuries later. He must have missed his island birthplace, and often felt he did not quite belong among new friends. Perhaps the valley with the stream running through it was where he went to be alone. Possibly, it was a place for romantic interludes. Maybe the painting was a gift for a lover. We will never know. Let your imagination roam free.
A woman’s image reflected by a rear view mirror, depicting a mien that is thoughtful with no other emotion sensed or recognized from it. A bland feature or the façade of a heart is so troubled wanting no more further indignity, because she couldn’t take any added injury.
The painter so used of presenting different features displaying varied emotions in their eyes, the way their lips are set and the poise of their heads. Playing with the viewers’ sensitivities he allows enough leniencies with subtle and light cues.
The images were presented with every set emotion etched in detail yet hidden from perspective. The viewer is allowed his own perception of the images’ sentiments and permitted his own insight. One viewer could read loneliness while another one could read hidden mirth and enjoyment.
The portrait is presented and exhibited for all to view and judge; you can be a critic or a collaborator.