Jorge Manuel Theotocópuli

JORGE MANUEL THEOTOCÓPULI (Toledo, 1578-ibidem, 1631),
"Christ in the house of Simon".
Oil on canvas.
Attached report issued by the Institute of Historical and Artistic Studies.
Presents restorations.
Measurements. 67 x 51,5 cm; 81,5 x 61,5 cm (frame).
The painting in question, attributed to Jorge Manuel Theotocópuli (Toledo, 1578-1631), represents the Gospel episode known as Christ in the house of Simon the Pharisee, a scene loaded with deep symbolic and emotional charge. In it, we are shown the moment when a woman, traditionally identified as Mary Magdalene, enters Simon's house to wash Christ's feet with her tears, anoint them with perfume and dry them with her hair, a gesture of humility and repentance that scandalizes the guests and provokes Jesus' teaching on forgiveness.
In this work, Jorge Manuel faithfully retakes the compositional and stylistic elements characteristic of the workshop of his father, El Greco, but also reveals his own artistic sensibility. The scene is composed around an oval-shaped table, which organizes the figures in a dense ensemble of great expressive force. The figure of Christ occupies the center of the composition, visually dominating the scene, and is enhanced by a halo of light that surrounds his head, an effect that reinforces the sacredness of the character. The figures, elongated and of stylized proportions, are arranged in an almost choreographic movement, endowed with an intense gestural and facial expressiveness, elements inherited from Grecian mannerism.
The chromatic palette is sober, dominated by earthy tones, deep greens and intense reds, which bring drama to the scene. The lighting focuses on the main characters, particularly on Christ and the woman who, with a reverent gesture, holds a jar of ointment, symbol of repentance and devotion. The architectural background is austere, with simple lines that guide the eye towards the space where the action takes place, while the play of light and shadow intensifies the spiritual atmosphere.
This work is remarkably related to another version of the same theme attributed to Jorge Manuel and preserved at the Art Institute of Chicago, also entitled The Feast in the House of Simon. The comparison between the two is illustrative to understand the stylistic evolution of the artist. Although they share the same subject matter and certain compositional similarities, the Art Institute's version reveals a greater technical maturity, both in the spatial arrangement and in the treatment of light and color.
In contrast, the work we analyze here is perceived as more compact and dynamic, with a greater density in the grouping of the characters, which contributes to an atmosphere of more intense emotional tension. This difference can be interpreted as a reflection of different stages in the painter's career or variations intended to satisfy different devotional contexts.
Both versions show Jorge Manuel's ability to move between the Mannerist heritage of El Greco and the new trends of the early Baroque, integrating in his compositions a plastic language of his own, which combines intense spirituality with a growing concern for narrative naturalness and visual clarity.
Jorge Manuel trained artistically in his father's workshop, where he worked until his father's death. Although it is true that throughout his career he participated alone in other projects as an architect and painter. His pictorial work was distinguished by continuing with the aesthetic precepts of his father. However, where he especially excelled was in the field of architecture; he even designed the building of the Toledo City Hall, in addition to being ordained master builder of the primate cathedral.