Jackson Pollock Oil on canvas, 68.58 x 53.66 cm c. 1934 - 1938 New York, Courtesy Washburn Gallery and The Pollock-Krasner Foundation, Inc. Jackson Pollock Oil on canvas mounted on fiberboard, 51.1 x 76.2 cm c. 1934 - 1938 New York, The Museum of Modern Art. 1577 - 1579? Outstanding among these is The Annunciation from the “Altarpiece of Doña María de Aragón”, the only commission that the artist secured in Madrid and the focus of the second room in the exhibition.The fourth room is devoted to the various bequests and donations received by the Prado between 1915 and 1962. Later on in 1906, during the Gósol period, he developed an interest in the plasticity of his figures. The Museo de la Trinidad is inaugurated in Madrid, with religious works from expropriated convents and monasteries, among them several by El Greco. In his late period, when addressing the musketeer theme, he returned to El Greco’s A Gentleman with his Hand on his Chest interpreting it very freely and employing a note of humour that is both sarcastic and melancholic. Donation Mme Geneviève Gallibert en 1970, Emil Filla Oil on canvas, 136.5 x 80 cm 1911 - 1912 Prague, Národní Galerie v Praze. It has come to light that the Prado Museum in Madrid denied a loan request made by the Louvre of three works by El Greco. Julius-Meier-Graefe’s Spanische Reise (Journey around Spain) is published. Purchase: Oscar and Regina Gruss Charitable Foundation Fund, 1995-33, Francis Bacon Oil on canvas, 198.8 x 141.6 cm 1961 Tate. Writer and critic Théophile Gautier travels to Spain, where he sees works by El Greco. Other Spanish artists, such as Santiago Rusiñol and Joaquín Sorolla, also appreciated El Greco, influencing some of their portraits. He must not have been as successful as expected, however, as he decided to emigrate. 28014. Such donations were exceptionally generous given that the artist’s work was fully appreciated by that period. Following the fascination Velázquez held for the realist painters, El Greco – who was then little known – attracted the most innovative artists, such as Manet and Cézanne. Oil on canvas, 60 x 50 cm ¿c. He left a body of work praised by culteranist poets Luis de Góngora and Friar Hortensio Félix Paravicino and collected by art lovers. 208 x 148 mm (print); 347 x 281 mm (sheet) 25 June 1968 Colección Fundación Bancaja, Pablo Picasso Etching, sugar lift aquatint and scraper, 281 x 389 mm (print); 455 x 543 mm (sheet) 30 June 1968 Colección Fundación Bancaja, Pablo Picasso Oil on plywood, 96.5 x 57.5 cm 1970 Private Collection. From this point onwards his works are frequently acquired by North American collectors and museums. Enid A. Haupt Fund, 1980, Jackson Pollock Oil on canvas, 127 x 91.4 cm c. 1938 - 1940 Tate, Presented by Frank Lloyd 1981, José Clemente Orozco Oil on canvas, 73.5 x 93 cm 1944 Mexico, D. F. Colección Museo de Arte Carrillo Gil Conaculta/Inba México, Cossío, Manuel Bartolomé 15.5 x 11 x 0.5 cm Madrid, Museo Nacional del Prado. The Assumption of the Virgin in the church of Santo Domingo el Antiguo is acquired by the Infante Sebastián Gabriel de Borbón, with positive reports from court painters Juan Antonio de Ribera and José de Madrazo, whose collection includes three works by the artist. Commissioned by Pomona College in Claremont (California), José Clemente Orozco executes the mural Prometheus, influenced by El Greco’s Saint Sebastian. Together with these portraits visitors will see The Trinity, painted as part of the altarpiece for the church of Santo Domingo el Antiguo in Toledo. This questioning focuses on his interest in its formal and beautifying function as a means of knowing Nature. 28014. Until 1872 he was primarily viewed as a portraitist due to the predominance of this genre within his oeuvre in the Museum, but the arrival in 1872 of fifteen paintings from the Museo del la Trinidad enabled El Greco to be increasingly appreciated for his religious compositions. The Laocoön made an impact on Dutch artist Korteweg, but El Greco’s Toledan landscapes, like the one in the background of this painting, also provided a reference point for the interpretations of many artists who travelled there. Like Franz Marc and Paul Klee, Macke was strongly attracted to El Greco and this attraction continued in subsequent Rhenish painting. El Greco had an impact on Henry Moore, who was inspired by The Vision of Saint John.