Editing El Greco (section)

==Legacy==
{{main|Posthumous fame of El Greco}}

===Posthumous critical reputation===
[[File:Trinidad El Greco2.jpg|thumb|''The Holy Trinity'' (1577–1579, {{nowrap|300 × 178 cm}}, oil on canvas, {{Lang|es|[[Museo del Prado]]|italic=no}}, Madrid, Spain) was part of a group of works created for the church "Santo Domingo el Antiguo".]]

El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early [[baroque]] style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism.<ref name="Br" /> El Greco was deemed incomprehensible and had no important followers.<ref name="Plaka49">M. Lambraki-Plaka, ''El Greco{{snd}}The Greek'', 49</ref> Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex [[iconography]]. Some of these commentators, such as [[Antonio Palomino]] and [[Juan Agustín Ceán Bermúdez]], described his mature work as "contemptible", "ridiculous" and "worthy of scorn".<ref name="BrownFou">Brown-Mann, ''Spanish Paintings'', 43<br />* E. Foundoulaki, ''From El Greco to Cézanne'', 100–101</ref> The views of Palomino and Bermúdez were frequently repeated in Spanish [[historiography]], adorned with terms such as "strange", "queer", "original", "eccentric" and "odd".<ref name="Foundoulaki100">E. Foundoulaki, ''From El Greco to Cézanne'', 100–101</ref> The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".{{efn|name=J}} Still, his paintings influenced [[Diego Velázquez|Velazquez]], who positioned the main characters of his paintings in the same manner as El Greco, and painted the folds in the clothes in a similar fashion.<ref name=":0">{{Cite book |last=Carl |first=Klaus |url=https://books.google.co.uk/books?id=Mtj2AAAAQBAJ&pg=PT60 |title=Velasquez |date=2013-03-15 |publisher=Parkstone International |isbn=978-1-78160-637-7 |pages=60 |language=en}}</ref>

With the arrival of [[Romanticism|Romantic]] sentiments in the late 18th century, El Greco's works were examined anew.<ref name="Plaka49" /> To French writer [[Théophile Gautier]], El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme.<ref name="Russel1">J. Russel, [https://query.nytimes.com/gst/fullpage.html?res=9C0CE5DC1739F93BA25754C0A964948260 Seeing The Art Of El Greco As Never Before]</ref> Gautier regarded El Greco as the ideal [[romantic hero]] (the "gifted", the "misunderstood", the "mad"),{{efn|The myth of El Greco's madness came in two versions. On the one hand Gautier believed that El Greco went mad from excessive artistic sensitivity.<ref>T. Gautier, {{lang|fr|Voyage en Espagne}}, 217</ref> On the other hand, the public and the critics would not possess the ideological criteria of Gautier and would retain the image of El Greco as a "mad painter" and, therefore, his "maddest" paintings were not admired but considered to be historical documents proving his "madness".<ref name="Foundoulaki100" />}} and was the first who explicitly expressed his admiration for El Greco's later technique.<ref name="Foundoulaki100" /> French art critics [[Zacharie Astruc]] and [[Paul Lefort]] helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor.<ref name="Russel1" /> However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of [[Ephraim Chambers]]' ''[[Cyclopaedia, or Universal Dictionary of Arts and Sciences|Cyclopaedia]]'' in 1899.<ref>Talbot Rice, ''Enjoying Paintings'', 164</ref>

In 1908, Spanish art historian [[Manuel Bartolomé Cossío]] published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School.<ref name="Brown43">Brown-Mann, ''Spanish Paintings'', 43<br />* E. Foundoulaki, ''From El Greco to Cézanne'', 103</ref> The same year [[Julius Meier-Graefe]], a scholar of French [[Impressionism]], traveled in Spain, expecting to study [[Diego Velázquez|Velázquez]], but instead becoming fascinated by El Greco; he recorded in 1910 his experiences in ''Spanische Reise'' (''Spanish Journey'', published in English in 1926), the book which widely established El Greco as a great painter of the past "outside a somewhat narrow circle".<ref>Talbot Rice, ''Enjoying Paintings'', 165</ref> In El Greco's work, Meier-Graefe found foreshadowing of modernity.<ref>J.J. Sheehan, ''Museums in the German Art World'', 150</ref> These are the words Meier-Graefe used to describe El Greco's impact on the [[artistic movements]] of his time:

{{blockquote|He [El Greco] has discovered a realm of new possibilities. Not even he, himself, was able to exhaust them. All the generations that follow after him live in his realm. There is a greater difference between him and Titian, his master, than between him and Renoir or Cézanne. Nevertheless, Renoir and Cézanne are masters of impeccable originality because it is not possible to avail yourself of El Greco's language, if in using it, it is not invented again and again, by the user.|[[Julius Meier-Graefe]]|''The Spanish Journey''<ref name="Meier458">[[Julius Meier-Graefe]], ''The Spanish Journey'', 458</ref>}}

To the English artist and critic [[Roger Fry]] in 1920, El Greco was the archetypal genius who did as he thought best "with complete indifference to what effect the right expression might have on the public". Fry described El Greco as "an [[old master]] who is not merely modern, but actually appears a good many steps ahead of us, turning back to show us the way".<ref name="Kimmelman" /> English author [[W. Somerset Maugham|William Somerset Maugham]], in 1938, wrote "I do not doubt that he was one of the greatest painters that ever lived. I think ''[[The Burial of the Count of Orgaz|The]]'' ''[[The Burial of the Count of Orgaz|Burial of the Count Orgaz]]'' is one of the greatest pictures in the world".<ref>{{Cite book |last=Maugham |first=W. Somerset |url=https://archive.org/details/donfernandoorvar0000maug/mode/2up |title=Don Fernando |date=1990 |publisher=New York: Paragon House |isbn=978-1-55778-269-4 |orig-date=1935}}</ref> According to American artist [[William Alexander Griffith]], in 1925, El Greco was everywhere regarded as one of the greatest artists of all time, having achieved the high honor of a classification and is called the "supreme example of the baroque in painting".<ref>{{Cite book |last=Griffith |first=William |url=https://books.google.com/books?id=DytGAAAAMAAJ& |title=Great Painters and Their Famous Bible Pictures |date=1925 |publisher=W.H. Wise & Company |pages=184 |language=en |quote=...El Greco (The Greek) was hardly more than a name even to historians of art. Today he is everywhere regarded as one of the greatest artists of all time, having achieved the high honor of a classification and is called the "supreme example of the baroque in painting".}}</ref> A 1914 ''[[Literary Digest]]'' article noted, El Greco was "ranked by some critics not only as Spain's greatest artist, but as one of the five or six greatest painters of all time".<ref>{{Cite book |url=https://books.google.gr/books?id=ee3hu9xQmDwC&pg=PA1046 |title=Literary Digest |date=1914 |publisher=Funk and Wagnalls |pages=1046 |language=en |chapter=A "Modern" Painter Who Died 300 Years Ago |quote=Early in April, the Spanish city of Toledo celebrated, with a solemn funeral service, the tercentenary of the death of Domenico Theotocopouli, better known as El Greco, and now ranked by some critics not only as Spain's greatest artist, but as one of the five or six greatest painters of all time}}</ref>

During the same period, other researchers developed alternative, more radical theories. The ophthalmologists August Goldschmidt and Germán Beritens argued that El Greco painted such elongated human figures because he had vision problems (possibly progressive [[astigmatism]] or [[strabismus]]) that made him see bodies longer than they were, and at an angle to the perpendicular;<ref name="Firestone">Chaz Firestone, [http://www.perceptionweb.com/abstract.cgi?id=p7488 ''On the Origin and Status of the "El Greco Fallacy"''] {{webarchive|url=https://web.archive.org/web/20140317105422/http://www.perceptionweb.com/abstract.cgi?id=p7488 |date=17 March 2014 }}</ref>{{efn|This theory enjoyed surprising popularity during the early years of the twentieth century and was opposed by the German [[psychologist]] David Kuntz.<ref name="HelmTe93-94">R.M. Helm, ''The Neoplatonic Tradition in the Art of El Greco'', 93–94<br />* M. Tazartes, ''El Greco'', 68–69</ref> Whether or not El Greco had progressive astigmatism is still open to debate.<ref name="Grierson">I. Grierson, ''The Eye Book'', 115</ref> Stuart Anstis, Professor at the [[University of California]] (Department of Psychology), concludes that "even if El Greco were astigmatic, he would have adapted to it, and his figures, whether drawn from memory or life, would have had normal proportions. His elongations were an artistic expression, not a visual symptom."<ref>S. Anstis, ''Was El Greco Astigmatic'', 208</ref> According to Professor of Spanish John Armstrong Crow, "astigmatism could never give quality to a canvas, nor talent to a dunce".<ref name="Crow">J.A. Crow, ''Spain: The Root and the Flower'', 216</ref>}} the physician Arturo Perera, however, attributed this style to the use of [[marijuana]].<ref name="Tazartes68-69">M. Tazartes, ''El Greco'', 68–69</ref> Michael Kimmelman, a reviewer for ''[[The New York Times]]'', stated that "to Greeks [El Greco] became the quintessential Greek painter; to the Spanish, the quintessential Spaniard".<ref name="Kimmelman" />

Epitomizing the consensus of El Greco's impact, [[Jimmy Carter]], the 39th President of the United States, said in April 1980 that El Greco was "the most extraordinary painter that ever came along back then" and that he was "maybe three or four centuries ahead of his time".<ref name="Russel1" /> Historian Eric Storm, who sees the "rediscovery" of El Greco as "as one of the most important events of its kind in art history" summarized:

{{Blockquote|text=Thanks to authors such as [[Julius Meier-Graefe|Meier-Graefe]] and groundbreaking modern artists like [[Pablo Picasso|Picasso]], [[Franz Marc]], and [[Wassily Kandinsky|Kandinsky]], in less than fifty years El Greco was eventually proclaimed to be one of the greatest painters ever.|author=Eric Storm|title=''The Discovery of El Greco: The Nationalization of Culture Versus the Rise of Modern Art (1860-1914)''|source=p. 191}}

===Influence on other artists===
{{see also|Boy Leading a Horse}}{{Multiple image
| image1            = Cardinal Fernando Niño de Guevara (1541–1609) MET DT854.jpg
| caption1          = ''[[Portrait of Fernando Niño de Guevara]]'' (ca. 1600, oil on canvas, 170.8 cm × 108 cm, New York, [[Metropolitan Museum of Art]]) by El Greco is seen as the primary influence and as the "immediate predecessor" of Velázquez's famous ''Portrait of Innocent X''.
| image2            = Retrato del Papa Inocencio X. Roma, by Diego Velázquez.jpg
| caption2          = ''[[Portrait of Innocent X]]'' (ca. 1650, oil on canvas, 141 cm × 119 cm, Rome, [[Galleria Doria Pamphilj]]) by [[Diego Velázquez]] was primarily influenced by El Greco's ''Portrait of Fernando Niño de Guevara''; the red robe of the Pope, especially, seems to have been infused with El Greco's subtlety.
| total_width       = 400
}}
{{multiple image
| align             = right
| image1            = El Greco, The Vision of Saint John (1608-1614).jpg
| width1            = 165
| alt1              = 
| caption1          = ''[[The Opening of the Fifth Seal]]'' (1608–1614, oil on canvas, 225&nbsp;×&nbsp;193&nbsp;cm., New York, Metropolitan Museum) has been suggested to be the prime source of inspiration for Picasso's {{lang|fr|Les Demoiselles d'Avignon}}.
| image2            = Les Demoiselles d'Avignon.jpg
| width2            = 180
| alt2              = 
| caption2          = Picasso's ''[[Les Demoiselles d'Avignon]]'' (1907, oil on canvas, 243.9&nbsp;×&nbsp;233.7&nbsp;cm., New York, [[Museum of Modern Art]]) appears to have certain morphological and stylistic similarities with ''The Opening of the Fifth Seal''.
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}}

{{multiple image
| align             = right
| image1            = El Greco - Portrait of the Artist's Son Jorge Manuel Theotokopoulos - WGA10567.jpg
| width1            = 151
| alt1              = 
| caption1          = ''Portrait of Jorge Manuel Theotocopoulos'' (1600–1605, oil on canvas, {{nowrap|81 × 56 cm}}, [[Museum of Fine Arts of Seville|Museo de Bellas Artes]], [[Seville]])
| image2            = Picasso Painter El Greco.jpg
| width2            = 180
| alt2              = 
| caption2          = The ''Portrait of a Painter after El Greco'' (1950, oil on plywood, {{nowrap|100.5 × 81 cm}}, Angela Rosengart Collection, [[Lucerne]]) is Picasso's version of the ''Portrait of Jorge Manuel Theotocopoulos''.
| footer            = 
}}

[[File:Matthias Laurenz Gräff, Triptychon `Weltenallegorie`.JPG|thumb|upright=1.5|''Weltenallegorie,'' 2009, [[Matthias Laurenz Gräff]]]]
[[Diego Velázquez]] was one of the earliest artists influenced by El Greco. The former positioned the main characters of his paintings in the same manner as the latter, and painted the folds in the clothes in a similar fashion.<ref name=":0" /> In his composition, as well as in El Greco's, there is a radiant dove at the top and swirling clouds that surround the figures.<ref name=":0" /> According to [[Charles Henry Caffin]]:<ref>{{Cite book |last=Caffin |first=Charles Henry |url=https://books.google.co.uk/books?id=OotBAQAAIAAJ |title=How to Study the Old Masters by Means of a Series of Comparisons of Paintings and Painters from Cimabue to Lorrain |date=1914 |publisher=Hodder & Stoughton |pages=166 |language=en}}</ref>

{{Blockquote|text=For Velasquez, so little disposed to be influenced by any other artist, however great, did not disdain to learn of El Greco. He occasionally borrowed from the latter's compositions, and meanwhile was permanently affected by El Greco's use of colour – his superb blacks and whites and his subtle tones of rose and blue.|author=[[Charles Henry Caffin]]|title=}}

Velázquez's ''[[Portrait of Innocent X]]'',<ref name=":1">{{Cite book |last=Holme |first=Charles |url=https://books.google.co.uk/books?id=BR1HAQAAIAAJ |title=A Re-Discovered Portrait by Velázquez |last2=Eglinton |first2=Guy |last3=Boswell |first3=Peyton |last4=McCormick |first4=William Bernard |last5=Whigham |first5=Henry James |last6=Mayer |first6=August L. |date=1930 |publisher=Offices of the International Studio |pages=52 |language=en}}</ref><ref name=":2">{{Cite journal |last=Guerrero Zegarra |first=María Alexandra |date=2021-06-30 |title=El poder se nutre de dogmas. El apropiacionismo en la obra de Herman Braun‑Vega |trans-title=The Power is Nourished by Dogmas. The Appropriation in the Work of Herman Braun-Vega |url=http://revista.letras.unmsm.edu.pe/index.php/le/article/view/690 |journal=LETRAS, revista de investigación científica de la Facultad de Letras y Ciencias Humanas de la Universidad Nacional Mayor de San Marcos |language=es |volume=92 |issue=135 |pages=177–190 |doi=10.30920/letras.92.135.13 |issn=0378-4878 |eissn=2071-5072 |quote=En el fondo, a la izquierda, sobre el muro de la habitación, está colgado el retrato del Cardenal Federico Niño de Guevara [...]. Cossío (1908), en su libro sobre El Greco, señala: “el Greco ha influido en Velásquez, hay algo de Velásquez que procede de El Greco” (p. 512). La influencia de ambos artistas en la pintura española es a la que hace referencia Herman Braun-Vega cuando cita a los personajes retratados en su obra. |doi-access=free}}</ref> as well as his (now lost) portrait of [[Gaspar de Borja y Velasco|Cardinal Borja]],<ref name=":1" /> were also influenced by El Greco.<ref name=":2" />

El Greco influenced several other Spanish painters after him, including [[Francisco Goya]].<ref>{{Cite book |last=Marín |first=José Luis Morales y |url=https://books.google.co.uk/books?id=ytzqAAAAMAAJ |title=Goya: A Catalogue of His Paintings |date=1997 |publisher=Real Academia de Nobles y Bellas Artes de San Luis |isbn=978-84-922677-0-5 |pages=105 |language=en}}</ref> According to art historian {{Ill|José Luis Morales y Marín|es|José Luis Morales y Marín}}:

{{Blockquote|text=El Greco's influence would be found in Goya's similar tendency to materialise the corporeal, not for itself, but as "the basis for the spiritual forces; he expressed this with identical sobriety and with the sensation of a distant being far removed from life and all it represents in the form of pleasure and sensualism.|author=José Luis Morales y Marín|title=''Goya: A Catalogue of His Paintings''|source=p. 105}}

According to Efi Foundoulaki, "painters and theoreticians from the beginning of the 20th century 'discovered' a new El Greco but in process they also discovered and revealed their own selves".<ref name="Foundoulaki113">E. Foundoulaki, ''From El Greco to Cézanne'', 113</ref> His expressiveness and colors influenced [[Eugène Delacroix]] and [[Édouard Manet]].<ref name="Wethey55">H.E. Wethey, ''El Greco and his School'', II, 55</ref> To the [[Blaue Reiter]] group in Munich in 1912, El Greco typified that ''mystical inner construction'' that it was the task of their generation to rediscover.<ref name="Foundoulaki103">E. Foundoulaki, ''From El Greco to Cézanne'', 103</ref> The first painter who appears to have noticed the structural code in the morphology of the mature El Greco was Paul Cézanne, one of the forerunners of [[Cubism]].<ref name="Plaka49" /> Comparative morphological analyses of the two painters revealed their common elements, such as the distortion of the human body, the reddish and (in appearance only) unworked backgrounds and the similarities in the rendering of space.<ref name="Foundoulaki105-106">E. Foundoulaki, ''From El Greco to Cézanne'', 105–106</ref> According to Brown, "Cézanne and El Greco are spiritual brothers despite the centuries which separate them".<ref name="Brown28">J. Brown, ''El Greco of Toledo'', 28</ref> Fry observed that Cézanne drew from "his great discovery of the permeation of every part of the design with a uniform and continuous plastic theme".<ref name="Lambraki15">M. Lambraki-Plaka, ''From El Greco to Cézanne'', 15</ref>

The [[Symbolism (movement)|Symbolists]], and Pablo Picasso during his [[Picasso's Blue Period|Blue Period]], drew on the cold tonality of El Greco, utilizing the anatomy of his ascetic figures. While Picasso was working on his [[Proto-Cubism|Proto-Cubist]] {{lang|fr|[[Les Demoiselles d'Avignon]]}}, he visited his friend [[Ignacio Zuloaga]] in his studio in Paris and studied El Greco's ''[[Opening of the Fifth Seal]]'' (owned by Zuloaga since 1897).<ref>C.B. Horsley, [http://www.thecityreview.com/elgreco.html The Shock of the Old]</ref> The relation between {{lang|fr|Les Demoiselles d'Avignon}} and the ''Opening of the Fifth Seal'' was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs of both works were analysed.<ref name="Johnson">R. Johnson, ''Picasso's Demoiselles d'Avignon'', 102–113<br />* J. Richardson, ''Picasso's Apocalyptic Whorehouse'', 40–47</ref>

[[Salvador Dalí|Salvador Dali]] was also influenced by El Greco.<ref>{{Cite web |title=Landscape of Fire |url=https://www.guggenheim.org/teaching-materials/spanish-painting-from-el-greco-to-picasso-time-truth-and-history/landscape-of-fire |access-date=2025-04-07 |website=The Guggenheim Museums and Foundation |language=en-US}}</ref> He considered him to have been one of the "''Five Spanish Immortals''" (alongside [[El Cid]], [[Diego Velázquez|Velázquez]], [[Miguel de Cervantes|Cervantes]] and [[Alonso Quijano|Don Quixote]]), drawing a portrait of him in 1965.<ref>{{Cite web |title=Salvador Dalí Sketches Five Spanish Immortals: Cervantes, Don Quixote, El Cid, El Greco & Velázquez {{!}} Open Culture |url=https://www.openculture.com/2012/06/salvador_dali_sketches_five_spanish_immortals.html |access-date=2025-04-07 |language=en-US}}</ref><ref>{{Cite book |last=Dalí |first=Salvador |url=https://books.google.co.uk/books?id=YxDqAAAAMAAJ |title=Dali Y El Quijote [published on the Occasion of the Exhibition Held at the Institut Valencia D'art Modern, 31 May - 28 August 2005]. |date=2005 |publisher=IVAM Institut Valencià d'Art Modern |isbn=978-84-482-4067-7 |pages=62 |language=es}}</ref> According to Dali, El Greco seemed to "impregnated with all the savors, the substance and quintessence of the ascetic and mystical Spanish spirit" and, despite not being Spanish, "he became more Spanish than the Spaniards themselves".<ref>{{Cite book |last=Frankel |first=David |url=https://books.google.co.uk/books?id=QaPpAAAAMAAJ |title=Masterpieces: The Best-loved Paintings from America's Museums |date=1995 |publisher=Simon & Schuster |isbn=978-0-684-80197-1 |pages=68 |language=en}}</ref>

The early Cubist explorations of Picasso were to uncover other aspects in the work of El Greco: structural analysis of his compositions, multi-faced refraction of form, interweaving of form and space, and special effects of highlights. Several traits of Cubism, such as distortions and the materialistic rendering of time, have their analogies in El Greco's work. According to Picasso, El Greco's structure is Cubist.<ref name="SouchèreFoun">E. Foundoulaki, ''From El Greco to Cézanne'', 111<br />* D. de la Souchère, {{lang|fr|Picasso à Antibes}}, 15</ref> On 22 February 1950, Picasso began his series of "paraphrases" of other painters' works with ''The Portrait of a Painter after El Greco''.<ref name="Foundoulaki111">E. Foundoulaki, ''From El Greco to Cézanne'', 111</ref> Foundoulaki asserts that Picasso "completed ... the process for the activation of the painterly values of El Greco which had been started by Manet and carried on by Cézanne".<ref name="Foundoulaki40-47">E. Foundoulaki, ''Reading El Greco through Manet'', 40–47</ref>

The expressionists focused on the expressive distortions of El Greco. According to [[Franz Marc]], one of the principal painters of the [[German expressionist]] movement, "we refer with pleasure and with steadfastness to the case of El Greco, because the glory of this painter is closely tied to the evolution of our new perceptions on art".<ref name="Kandinsky75-76">Kandinsky-Marc, ''Blaue Reiter'', 75–76</ref> [[Jackson Pollock]], a major force in the [[abstract expressionist]] movement, was also influenced by El Greco. By 1943, Pollock had completed sixty drawing compositions after El Greco and owned three books on the Cretan master.<ref name="Pollock">J.T. Valliere, ''The El Greco Influence on Jackson Pollock'', 6–9</ref>

Pollock influenced the artist [[Joseph Glasco]]'s interest in El Greco's art. Glasco created several contemporary paintings based on one of his favorite subjects, El Greco's View of Toledo.<ref>{{Cite book |last=Raeburn |first=Mark |title=Joseph Glasco: The Fifteenth American |publisher=Cacklegoose Press |year=2017 |isbn=9781611688542 |location=London |pages=278, 292–293 (ill. 177) |language=English}}</ref>

[[Kysa Johnson]] used El Greco's paintings of the [[Immaculate Conception]] as the compositional framework for some of her works, and the master's anatomical distortions are somewhat reflected in Fritz Chesnut's portraits.<ref name="Harrison">H.A. Harrison, [https://query.nytimes.com/gst/fullpage.html?res=9504EFDA133CF933A15750C0A9639C8B63 Getting in Touch With That Inner El Greco]</ref>

El Greco's personality and work were a source of inspiration for poet Rainer Maria Rilke. One set of Rilke's poems (''Himmelfahrt Mariae I.II.'', 1913) was based directly on El Greco's ''Immaculate Conception''.<ref>F. Naqvi-Peters, ''The Experience of El Greco'', 345</ref> Greek writer Nikos Kazantzakis, who felt a great spiritual affinity for El Greco, called his autobiography ''Report to Greco'' and wrote a tribute to the Cretan-born artist.<ref name="Sanders10">Rassias-Alaxiou-Bien, ''Demotic Greek II'', 200<br />* Sanders-Kearney, ''The Wake of Imagination'', 10</ref>

In 1998, the Greek electronic composer and artist [[Vangelis]] published ''[[El Greco (album)|El Greco]]'', a [[symphonic]] album inspired by the artist. This album is an expansion of an earlier album by Vangelis, {{lang|el-Latn|[[Foros Timis Ston Greco]]}} (''A Tribute to El Greco'', {{lang|el|Φόρος Τιμής Στον Γκρέκο|italic=yes}}). The life of the Cretan-born artist is the subject of the film ''[[El Greco (2007 film)|El Greco]]'' of Greek, Spanish and British production. Directed by [[Yannis Smaragdis|Ioannis Smaragdis]], the film began shooting in October 2006 on the island of Crete and debuted on the screen one year later;<ref name="El Greco film">[https://www.imdb.com/title/tt0905329/ El Greco, 2007], The Internet Movie Database</ref> British actor [[Nick Ashdon]] was cast to play El Greco.<ref name="Film on life">[http://www.hri.org/news/greek/ana/2006/06-05-09.ana.html#32 Film on Life of Painter El Greco Planned.] Athens [[News Agency]].</ref>

In reference to El Greco, the Austrian artist [[Matthias Laurenz Gräff]] created his large-format religious triptych "Weltenalegorie" (World allegory) in 2009, which contains various figures from El Greco's paintings.