El Greco's Geometric Grids, Cont'd

I downloaded many of El Greco's painting reproductions from the internet. I've with each and all done what you see on this reproduction. Before going into cyberspace, I used tracing paper over printed reproductions I got hold of. Of the ones I copied and of the versions I analyzed using straight edge and compass, the composition you see her gives testimony as to El Greco's keeping it secret. It would have been considered damning by the Spanish Inquisition.

It has remained his secret for centuries. Experts and writers whose works were published are unanimous in telling us bout this painter's contempt of geometry. The above image says otherwise. We can see plainly the close proximity of his images with the geometric planar elements. It is no fluke. El Greco was indeed a follower of a metaphysic that was Platonist, The intent was Pythagorean. That is he believed in a pagan mysticsm and metaphysics.

The geometric grid is flat, planar, and precedes and intercedes those aspects representing th dimensionality of what viewers deem as 'picture space'. My anaylsis is derived from the straight edge drawn diagonals of the rectangle of the actual reproduction I download. I also fit at east one circle to derive geometric units based on the square and triangle. I've no doubt that the artist worked in a similar manner to obtain what he deemed would be a suitable proportioning suited to his sacred motifs.

It is this purpose and function that was being this served! The ordinal sequence of the planar grids was to establish proportions. The figures in the virtual field of vision, the entire picture field was in alignment to his symmetries and golden rectangle harmonies. No artist before or after went to this added procedure. None.

I now use my computer tools for the tasks I performed on tracing paper.I am collecting as many reproductions of El Greco's art to determine how each and all fit the Plato, Pythagorus mysticism as to the role of geometry in making truly the most 'perfect' renderings of that which is holy, sacred, and sublime. It is a 'Sacred Geometry'. Each and every canvas I examined, convinces me that he knew that this was pure heresy! El Greco knew very well that he transgressed the prevailing beliefs of his christian patrons. The truth now be told, it was why there never was a 'school of El Greco'. His real methods could not be taught, had to be maintained in total secrecy.

It was not the art of a man with astigmatism or sheer eccentricity. The increasing use of elongations and distortions, his compress perspectival foreshortenings, his flattenings appeared hallucinogenic, his heightened colorations , its luminescence were not random but algorithmic!