Editing El Greco (section)

===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.
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| image1            = El Greco, The Vision of Saint John (1608-1614).jpg
| width1            = 165
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| 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
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| image1            = El Greco - Portrait of the Artist's Son Jorge Manuel Theotokopoulos - WGA10567.jpg
| width1            = 151
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| 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''.
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[[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.