Overview

No overview.

Inscription

lower left in cursive Greek: [Do] ménik [os Theotokopoulos]; formerly, unidentified inventory number at lower right: 387

Marks and Labels

null

Provenance

Possibly (Baron Isidoro Taylor collection sale, Hôtel Drouot, Paris, 24-26 February 1880, no. 22).[1] Louis Manzi, Paris, by 1908.[2] In the private collection of Josse and Gaston Bernheim-Jeune, Paris art dealers, by 1919;[3] sold 19 June 1929 to (M. Knoedler & Co., New York);[4] purchased 28 March 1930 by Andrew W. Mellon, Pittsburgh and Washington, D.C.;[5] deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.

Exhibition History

1925
Exposition d'art ancien espagnol, Hôtel Jean Charpentier, Paris, 1925, no. 48.
1930
A Loan Exhibition of Sixteen Masterpieces, M. Knoedler & Co., Inc., New York, 1930, 29, no. 13.
1937
Paintings and Sculpture Owned in Washington, Phillips Memorial Gallery, Washington, 1937, no. 14.

Bibliography

1906
Lafond, Paul. "Domenikos Theotokopuli dit Le Greco." Les arts 58 (October, 1906): 20-22, repro. 6.
1906
Lafond, Paul. "La Chapelle San José de Tolèdo et ses peintures du Greco." Gazette des Beaux-Arts 36 (1906): 387, repro.
1908
Cossío, Manuel B. El Greco. Madrid, 1908: 330, 600, no. 309, pl. 47 (also rev. ed., ed. Natalia Cossío Jíménez. Barcelona, 1972: 192, 386, no. 287).
1909
Calvert, Albert F., and C. Gasquoine Hartley. El Greco. London, 1909: 124.
1911
Mayer, August L. El Greco. Munich, 1911: 53.
1919
Fénéon, Félix, ed. L'art moderne et quelques aspects de l'art d'autrefois d'après de MM. J. et G. Barnheim-Jeune. 2 vols. Paris, 1919: 1:61-64, pl. 68.
1925
Boyer, Raymond. "La saison des `retrospectives.'" La Revue de l'Art 48 (1925): 229.
1925
Dayot, Armand. "Une exposition d'art ancien espagnol." L'art et les artistes 19 (1925): 296.
1926
Mayer, August L. Dominico Theotocopuli, El Greco. Munich, 1926: 48, no. 299.
1928
Villar, Emilio H. del. El Greco en España. Madrid, 1928: 103.
1929
Mayer, August L. "St. Martin and the Beggar by El Greco." Apollo 10 (1929): 151, color repro.
1930
Bull, Henry Adsit. "Notes of the Month." International Studio 95 (1930): 58, repro.
1930
Rutter, Frank. El Greco. New York, 1930: 62, 98, no. 80, pl. 70.
1931
Mayer, August L. El Greco. Berlin, 1931: 107, fig. 105.
1934
Busuioceanu, Al. "Les tableaux du Greco dans la collection royale de Roumanie." Gazette des Beaux-Arts 76 (1934): 298, repro. 294.
1937
Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 42.
1937
Legendre, Maurice, and Alfred Hartmann. Domenikos Theotokopoulos, Called El Greco. Paris, 1937: 463, repro.
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 92, no. 84, as by El Greco.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 240, repro. 216, as by El Greco.
1945
Cook 1945, 70-72, fig. 3.
1949
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): xii, repro. 43.
1950
Camón Aznar, José. Dominico Greco. 2 vols. Madrid, 1950: 2:702-704, 1383, no. 528, fig. 538 (also 1970 rev. ed., 2:712, 714, 1367, no. 528, fig. 594).
1957
Soehner, Halldor. "Ein Hauptwerk Grecos: die Kapelle San José in Toledo." Zeitschrift für Kunstgeschichte 9 (1957): 215, n. 88.
1958
Gaya Nuño, Juan Anotonio. La pintura española fuera de España; historia y catàlogo. Madrid, 1958: 205, no. 1407.
1960
Evans, Grose. Spanish Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Ten in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 42, color repro. on cover, as by El Greco.
1961
Soehner, Halldor. Una obra maestra de El Greco: la Capilla de San José de Toledo. Translated. Madrid, 1961: 40, n. 88.
1962
Wethey, Harold E. El Greco and His School. 2 vols. Princeton, 1962: 1:fig. 119; 2: 247, no. X-401 (also Spanish ed., Madrid, 1967: 2:262, no. X-401, pl. 103).
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 309, repro., as by El Greco.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 62, as by El Greco.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 54, repro., as by El Greco.
1969
Manzini, Gianna, and Tiziana Frati. L'opera completa del Greco. Milan, 1969: no. 105c-1.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 162, repro., as by El Greco.
1982
Pérez Sánchez, Alonso E. "On the Reconstruction of El Greco's Dispersed Altarpieces." In El Greco of Toledo. Exh. cat. Museums in Ohio, Madrid, Washington, and Dallas. Boston, 1982-1983: 168.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 237, no. 304, color repro.as by El Greco.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 186, repro.
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: 78-83, repro. 79.
1993
Griswold, Susanna P. "Two Paintings by El Greco: Saint Martin and the Beggar." Studies in the History of Art 41 (1993): 133, 136, 140, 142-148, repro. no. 2.

Conservation Notes

The original support is a single piece of fine, plain-weave fabric. Before 1937 the original tacking edges were flattened out, and the picture was lined to a larger, slightly coarser fabric. Above the gypsum ground is a reddish brown imprimatura that was left exposed in places, particularly along the outlines of the figures. Most of the surface is covered evenly by a moderately thick paste of oil paint, applied primarily with short, choppy strokes. Analysis of several cross sections by the NGA science and painting conservation departments indicates that the palette is virtually the same as that used for the large-scale version of Saint Martin and the Beggar (1942.9.25), but the layering of colors is considerably simpler. X-radiographs did not reveal any pentimenti. The painting was cleaned and conserved between 1987 and 1988. A period frame hides the non-original extensions.[1]


[1] The Technical Notes are based on Susanna Pauli, "Two Paintings by El Greco: Saint Martin and the Beggar Analysis and Comparison" (forthcoming publication, conservation department papers, National Gallery of Art). I thank Ms. Pauli for providing me with a typescript of this article and for allowing me to discuss some of her findings here.

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