In this artwork, how is the Analysis discussed?
The work is noticeably painted with the artist's intent for the viewer's gaze to concentrate on the Virgin. Painted for the high altar of the Chapel of Oballe, San Vicente, Toledo, it was the schematic centerpiece and was accompanied by the Visitation. Two other probable companions are the renditions of Saint Peter and Saint Ildefonso. As in the earlier version, El Greco includes several elements attributed to the Virgin Mary: such as flowers like roses and lilies, a fountain of clear water, and an enclosed garden. Here we see an added view of Toledo on the bottom left of the painting. For an atmosphere of divinity, El Greco has depicted the supernatural simultaneous glowing of the sun and the moon. When comparing the two paintings to one another, the time gap in their production is visible in how El Greco's stylistic preferences become exaggerated. Towards the later years of his career, his style progresses into one that overlooks proportion, scale, atmospheric perspective, realistic anatomy, and color blending. His figures become radically elongated and possess an ethereal, ghostly skin tone. These details act in contrast to the lifelike floral still life they are set against to communicate the metamorphosis from the earthly and the divine.
still life El Greco left painting Toledo Visitation