
Christ on the Cross
El Greco
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Saint Martin and the Beggar
El Greco
Period
1550-1600
Theme
Religion & Mythology
Medium
Oil on canvas
Current Location
Art Institute of Chicago, Chicago
The Story
Saint Martin and the Beggar is a painting by the Greek mannerist painter El Greco, painted c. 1597–1599. It depicts a legend in the life of Christian saint Martin of Tours, in which the saint cut off half his cloak to clothe a beggar. Part of a triptych commissioned for a private chapel, the paintings Saint Martin and the Beggar and The Virgin and Child with Saints Martina and Agnes remained in the chapel in the Spanish city of Toledo, until 1907, when they were sold to the American collector Peter Widener. C.
El Greco painted smaller versions of large commissioned paintings, which he could then sell independently. El Greco's smaller version of St Martin and the Beggar is now in the collection of the Art Institute of Chicago.
The physical object — Oil on canvas, 110 × 63 cm (43 5/16 × 24 13/16 in.); Framed: 133.4 × 85.7 × 10.2 cm (52 1/2 × 33 3/4 × 4 in.) — carries its own history of handling and restoration. El Greco's brushwork here moves between exacting description and looser, more suggestive passages, a balance typical of Renaissance studio practice.
Look closely and the painting opens up. Objects you might pass over — a folded letter, a half-drawn curtain, the angle of a glance — were placed to be read. The iconography draws on scripture and classical myth, but the emotional weight is entirely human.
Art Institute of Chicago in Chicago now holds the work, where conservators and historians continue to revisit its condition and attribution. Each generation of scholarship adds a layer to how El Greco's output from this period is understood.
“A silence so complete it becomes its own witness.”
Martin of Tours, horse, beggar, male toplessness, ruff, man, Arabian horse, armor.
This painting is a small replica of an altarpiece for the private family chapel of San José in Toledo, Spain. Producing smaller versions of commissioned altarpieces allowed El Greco to introduce his creations to a wider market. The composition here includes elements that would have resonated with his audience: Saint Martin wears fashionable, contemporary armor, and the walls of Toledo are visible in the distant background. Martin was a popular saint during the period, when the Catholic Church was promoting acts of charity like the gift of his cloak to a beggar as necessary for earning salvation.
Gift of Mr. and Mrs. Chauncey McCormick
Materials: oil paint, canvas.
Technique: oil painting, painting techniques, painting (image making), painting.
Inscriptions: Inscribed lower right: Domenikos Theotokopoulos / Kres epoiei [transliterated].
Possibly in the artist’s studio at the time of his death, 1614 [the 1614 inventory of the artist’s estate includes “un S. Martin” (a St. Martin); transcribed by F[rancisco] de B[orja de] San Román [y Fernández], El Greco en Toledo, Madrid, 1910, p. 193]; possibly by descent to his son, Jorge Manuel Theotocopoulos (d. 1631), Toledo [the 1621 inventory of Jorge Manuel’s possessions includes “170 Un San Martin a caballo, de bara y terzia y tres quartas” (170 A Saint Martin on horseback, of one vara and a third by three quarters); transcribed by Francisco de Borja de San Román y Fernández, “De la vida del Greco,” Archivo español de arte y arqueología 3 (1927), p. 301]. Marquis de Perinat, Madrid, by 1910 [according to New York 1915]. Durand-Ruel, Paris, by 1912, with a half-share sold to Knoedler, New York [Stein 1993, p. 259, citing documents in the Durand-Ruel Archives, Paris, and letters to Louisine W. Havemeyer]; sold by Knoedler to Charles Deering (d. 1927), Chicago, by 1922; on loan to the AIC from 1922 [On loan from 1922 to 1931, when it was sent to Mr. and Mrs. Chauncey McCormick; Art Institute Archives]; given to his daughters Mrs. Chauncey McCormick and Mrs. Richard E. Danielson, 1924; Mrs. Chauncey McCormick, in a division of their joint property, by 1931; given to the Art Institute, 1949.
Art Institute of Chicago, Chicago. View on the museum’s official page.
See more works at Art Institute of Chicago or browse the full El Greco collection.
A restrained palette and sculptural lighting create a solemn geometry. The wooden crate and letter anchor the narrative with journalistic precision.
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