The Vision of Saint John — El Greco (Domenikos Theotokopoulos), ca. 1608–14

The Vision of Saint John, El Greco (Domenikos Theotokopoulos)

Seen

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Of

These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.

Iconclass: 11G12Cherubim11H(JOHN)the apostle John the Evangelist; possible attributes: book, cauldron, chalice with snake, eagle, palm, scroll73G312
Holder's headings: Infants, Male Nudes, Saint John the Evangelist
Wikidata depicts: infant, soul, nude, Book of Revelation, cherub, salvation, angel, John the Evangelist, robe, martyr

Means

No reading yet.

Rights

Credit: Rogers Fund, 1956
Licence: CC0-1.0
Evidence: metmuseum.org collection api v1: isPublicDomain=true on object 436576 (read 2026-09-01)
Record: https://www.metmuseum.org/art/collection/search/436576

Also by El Greco (Domenikos Theotokopoulos)

3

Christ Healing the Blind, El Greco (Domenikos Theotokopoulos) — Christ Healing the BlindEl Greco (Domenikos Theotokopoulos)ca. 1570Metropolitan Museum of Art, New York, NY

View of Toledo, El Greco (Domenikos Theotokopoulos) — View of ToledoEl Greco (Domenikos Theotokopoulos)ca. 1599–1600Metropolitan Museum of Art, New York, NY

The Adoration of the Shepherds, El Greco (Domenikos Theotokopoulos) — The Adoration of the ShepherdsEl Greco (Domenikos Theotokopoulos)ca. 1605–10Metropolitan Museum of Art, New York, NY

Within fifty years of ca. 1608–14

814

Thamar ejected from her brother's house, Martin Van Heemskerk, Netherlandish, 1498 - 1574 — Thamar ejected from her brother's houseMartin Van Heemskerk, Netherlandish, 1498 - 15741559Cooper Hewitt, Smithsonian Design Museum

Ammon Begs the King to Summon his Sister Thamar, Martin Van Heemskerk, Netherlandish, 1498 - 1574 — Ammon Begs the King to Summon his Sister ThamarMartin Van Heemskerk, Netherlandish, 1498 - 15741559Cooper Hewitt, Smithsonian Design Museum

Portrait of Don Juan of Austria, Alonso Sánchez Coello — Portrait of Don Juan of AustriaAlonso Sánchez Coello1559–60The Art Institute of Chicago

Sanctarum autoritatum veterum catholicae ecclesiae patrum libri quatuor. In usum omnium pietatis amantium ... : quibus accessit breve evangeliorum monotessaron, Bonaventura — Sanctarum autoritatum veterum catholicae ecclesiae patrum libri quatuor. In usum omnium pietatis amantium ... : quibus accessit breve evangeliorum monotessaronBonaventura1559Stiftung der Werke von C.G.Jung, Zürich

Pair of Gauntlets for a Child, Lucio Piccinino — Pair of Gauntlets for a ChildLucio Piccininoca. 1585Metropolitan Museum of Art, New York, NY

Pair of Gauntlets, Unknown — Pair of GauntletsUnknownca. 1585Metropolitan Museum of Art, New York, NY

Mirror clock, Master CR — Mirror clockMaster CRca. 1565–70Metropolitan Museum of Art, New York, NY

Garniture for Field and Foot Tourney at the Barriers, Northern Italian, Milan — Garniture for Field and Foot Tourney at the BarriersNorthern Italian, Milanc. 1575The Art Institute of Chicago

Also at Metropolitan Museum of Art, New York, NY

675

Marble female figure, Bastis Master — Marble female figureBastis Master2600–2400 BCEMetropolitan Museum of Art, New York, NY

Relief Fragment with a Ship Under Sail, Unknown — Relief Fragment with a Ship Under SailUnknownca. 2465–2458 BCEMetropolitan Museum of Art, New York, NY

Tomb Chapel of Raemkai: South Wall, Unknown — Tomb Chapel of Raemkai: South WallUnknownca. 2446–2389 BCEMetropolitan Museum of Art, New York, NY

West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and Werdjedptah, Unknown — West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and WerdjedptahUnknownca. 2420–2250 BCEMetropolitan Museum of Art, New York, NY

Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching Lion, Unknown — Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY

Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh Sign, Unknown — Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh SignUnknownca. 2150–2010 B.C.Metropolitan Museum of Art, New York, NY

Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a Lion, Unknown — Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY

Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tail, Unknown — Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tailUnknownca. 2100–2080 B.C.Metropolitan Museum of Art, New York, NY

Similar picturesFound by visual likeness

4 pictures

Other makers only

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

The Adoration of the Shepherds, El Greco (Domenikos Theotokopoulos) — The Adoration of the ShepherdsEl Greco (Domenikos Theotokopoulos)ca. 1605–10Metropolitan Museum of Art, New York, NY

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The Adoration of the Shepherds, El Greco (Domenikos Theotokopoulos) and Workshop — The Adoration of the ShepherdsEl Greco (Domenikos Theotokopoulos) and Workshopca. 1612–14Metropolitan Museum of Art, New York, NY

0.84

Three Putti with Garland; Romulus and Remus Breastfeeding from She-Wolf; Two Putti Playing Cymbals, Felice Giani, Italian, 1758–1823 — Three Putti with Garland; Romulus and Remus Breastfeeding from She-Wolf; Two Putti Playing CymbalsFelice Giani, Italian, 1758–18231818Cooper Hewitt, Smithsonian Design Museum

0.83

The sacrifice of Abraham, Pieter Lastman — The sacrifice of AbrahamPieter Lastman1612Rijksmuseum

0.83

In the stacks

Not yet checked1

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

Vision and Design · Roger Fry
For one thing, the idea goes back behind Michelangelo to Signorelli, and in his case, at least, one can see no trace of any preoccupation with those psychological states, but rather a pure passion for a particular kind of rhythmic design. Moreover, the general principle of the continued enlargement of the unit of design was bound to occur the moment artists recovered from the debauch of naturalism of the fifteenth century and became conscious again of the demands of abstract design. In trying thus to place El Greco’s art in
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Next

Made in the seventeenth century, like The Vision of Saint John.

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