The Burial of the Count of Orgaz

This is one of my favourite paintings. When I was in Spain, I remember that my tour guide was very enthusiastic in explaining it to me. I have good memories of Spain because of my guide, so I truly think they make all the difference between a good and bad trip. In this instance, I grew to love a painting I did not think I would... so there was also a lesson for me not to be so narrow-minded about Spanish artists! ;-)

Anyway, my tour guide gave a very good explanation of this painting which I hope will also inspire you... this one I took off Wikipedia!

Do you like this painting? If you do, why? If you do not, please tell me also! :-)

The painting is very clearly divided into two zones; above, heaven is evoked by swirling icy clouds, semiabstract in their shape, and the saints are tall and phantomlike; below, all is normal in the scale and proportions of the figures.[5] The upper and lower zones are brought together compositionally (e.g., by the standing figures, by their varied participation in the earthly and heavenly event, by the torches, cross etc.).[2]

The scene of the miracle is depicted in the lower part of the composition, in the terrestrial section. In the upper part, the heavenly one, the clouds have parted to receive this just man in Paradise. Christ clad in white and in glory, is the crowning point of the triangle formed by the figures of the Madonna and Saint John the Baptist in the traditional orthodox composition of the Deesis. These three central figures of heavenly glory are surrounded by apostles, martyrs, Biblical kings and the just (among whom was Philip II of Spain, though he was still alive.[6]

Saints Augustine and Stephen, in golden and red vestments respectively, bend reverently over the body of the count, who is clad in magnificent armour that reflects the yellow and reds of the other figures. The young boy at the left is El Greco's son, Jorge Manuel; on a handkerchief in his pocket is inscribed the artist's signature and the date 1578, the year of the boy's birth. The artist himself can be recognised with a raised hand immediately above the head of Saint Stephen.[2][7] The men in contemporary 16th-century dress who attend the funeral are unmistakably prominent members of Toledan society.[5]

The painting has a chromatic harmony that is incredibly rich, expressive and radiant. On the black mourning garments of the nobles are projected the gold-embroidered vestments, thus creating an intense ceremonial character. In the heavenly space there is a predominance of transparent harmonies of iridescence and ivoried greys, which harmonize with the gilded ochres, while in the maforium of Madonna deep blue is closely combined with bright red. The rhetoric of the expressions, the glances and the gestural translation make the scene very moving.[8]

http://en.wikipedia.org/wiki/The_Burial_of_the_Count_of_Orgaz