Overview

No overview.

Inscription

null

Marks and Labels

null

Provenance

Probably in El Greco's studio at the time of his death;[1] probably his son, Jorge Manuel Theotocópuli, Toledo.[2] Carlos Beistegui, Paris and Venice.[3] Michael Dreicer [1868-1921], New York;[4] bequeathed by him in 1921 to The Metropolitan Museum of Art, New York, where it was displayed 1922-1933;[5] returned 1933 to Dreicer's heirs, who had challenged his will.[6] private collection, London.[7] private collector, New York, by whom consigned to (Paul Drey Gallery, New York), in the 1940's.[8] Baroness de Kerchove; sold or consigned 24 February 1948 to (French & Co., New York);[9] sold 7 December 1949 to the Samuel H. Kress Foundation, New York;[10] gift 1959 to NGA.

Exhibition History

1941
Spanish Painting, The Toledo [Ohio] Museum of Art, 1941, no. 43.
1950
The Samuel H. Kress Collection, Philadelphia Museum of Art, 1950, no. 17.
1956
Paintings and Sculpture from the Samuel H. Kress Collection, National Gallery of Art, Washington, 1956, no. 35.
1982
El Greco of Toledo, The Toledo [Ohio] Museum of Art; Prado, Madrid; National Gallery of Art, Washington; Dallas Museum of Fine Arts, 1982-1983, 116, 234, 239, no. 26, pl. 45.
1990
El Greco of Crete: Exhibition on the occasion of the 450th anniversary of his birth, Iraklion, Crete, Greece, 1990, no. 16, 234, color repro. 235, 370-371.
1996
Obras Maestras de la National Gallery of Art de Washington, Museo Nacional de Antropología, Mexico City, 1996-1997, unnumbered catalogue, 38-39, color repro.
1999
Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 80, repro.

Bibliography

1922
Wehle, Harry B. "The Michael Dreicer Collection." Bulletin of The Metropolitan Museum of Art 17 (1922): 103-106.
1926
Mayer, August L. Dominico Theotocopuli, El Greco. Munich, 1926: 8, no. 31, pl. 32.
1931
Burroughs, Bryson. Catalogue of Paintings: The Metropolitan Museum of Art. New York, 1931: 145, no. G791-2.
1931
Mayer, August L. El Greco. Berlin, 1931: 83.
1937
Legendre, Maurice, and Alfred Hartmann. Domenikos Theotokopoulos Called El Greco. Paris, 1937: 144, repro.
1941
Gudiol y Ricart, José. "Span of Spanish Painting: 1150-1828." Art News 40 (1 April, 1941): 17.
1950
Camón Aznar, José. Dominico Greco. 2 vols. Madrid, 1950: 1:581; 2:1370, no. 242 (also 1970 rev. ed., 1:588, fig. 477; 2:1352, no. 254).
1956
Walker, John. "The Nation's Newest Old Masters." The National Geographic Magazine 110, no. 5 (November 1956): 634.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 270, repro., as The Holy Family.
1959
Richardson, E. P., ed. "Accessions of American and Canadian Museums, April-June 1959." The Art Quarterly 22, no. 3 (Autumn 1959): 277.
1962
Wethey, Harold E. El Greco and His School. 2 vols. Princeton, 1962: 1:46, fig. 102; 2:59-60, no. 88 (also Spanish ed. Madrid, 1967: 1:62-63, pl. 87; 2:74-75, no. 88).
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 63, as The Holy Family.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 54, repro., as The Holy Family.
1969
Manzini, Gianna, and Tiziana Frati. L'opera completa del Greco. Milan, 1969: no. 99b.
1972
Cossío, Manuel B. El Greco. Edited by Natalia Cossío de Jiménez. Barcelona, 1972: 358, no. 30.
1973
Gudiol y Ricart, José. Domenikos Theotokopoulos, El Greco. Translated by Kenneth Lyons. New York, 1973: 197, 349, no. 147, color fig. 175 (also 1983 ed.: 197, 349, no. 147, color fig. 175).
1974
Harris Frankfort, Enriqueta. "El Greco's Holy Family with the Child ...: An Image of Silence ...." In Hortus Imaginum, Essays in Western Art. Edited by R. Enggass and M. Stockard. Lawrence, Kansas, 1974: 103-111, fig. 69.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 164, repro., as The Holy Family.
1975
Lafuente Ferrari, Enrique, and José Manuel Pita Andrade. El Greco: The Expressionism of His Final Years. Translated by Robert E. Wolf. New York, 1975: 156, no. 26.
1977
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 201-220, fig. 196, attributed to the studio of El Greco.
1982
Garrido, María del Carmen, and José María Cabrera. "Estudio técnico comparativo de dos Sagradas Familias del Greco." Boletín del Museo del Prado 3 (1982): 98.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 237, no. 305, color repro., as The Holy Family.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 189, repro.
1986
McKim-Smith, Gridley, María del Carmen Garrido, and Sarah L. Fisher. "A Note on Reading El Greco's Revisions: A Group of Paintings of the Holy Family." Studies in the History of Art 18 (1986): 67-77, figs. 1, 5.
1990
Brown, Jonathan, and Richard G. Mann. Spanish Paintings of the Fifteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1990: 72-77, color repro. 75.
1990
El Greco of Crete: Exhibition on the Occasion of the 450th Anniversary of his Birth. Exh. cat. Iraklion, 1990: 234, 370-371, color repro. 235.
2000
Kirsh, Andrea, and Levenson, Rustin S. Seeing Through Paintings: Physical Examination in Art Historical Studies. Physical Examination in Art Historical Studies, vol. 1. New Haven, 2000: 197-199, fig. 211-216.

Conservation Notes

The support is a plain-weave fabric, lined to a slightly coarser fabric of the same type. The tacking edges have been cropped, but the original format has presumably been retained. The reddish-brown imprimatura applied above the thin ground was left exposed in several places, notably in the sky and in the unfinished area at the bottom. Oil colors were applied thinly in a wet-on-wet technique and with a semitransparent layering of colors. In areas of moderate relief, oil colors with a more pastelike consistency were applied over already dried layers. X-radiographs reveal no significant pentimenti. There is a four-inch-wide tear to the left of the center of the fabric.

Another large loss is located on Saint John's stomach. Overall, the surface shows solvent abrasion and many glazes have broken through. Much of the retouching has discolored. Weave interference from the lining fabric is visible on the surface.

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