Art of El Greco like a vision, all of the buildings painted glistening white. According to Wethey, in his surviving landscapes, "El Greco demonstrated his characteristic tendency to dramatize rather than to describe". Professor Nicos Hadjinicolaou notes the manner in which El Greco could adjust his style in accordance with his surroundings and stresses the importance of Toledo for the complete development of El Greco's mature style. Wethey asserts that "although Greek by descent and Italian by artistic preparation, the artist became so immersed in the religious environment of Spain that he became the most vital visual representative of Spanish mysticism". The same scholar
Posthumous fame of El Greco Manet. 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. Maurice Denis, a deep admirer of Cézanne, was the first one to connect El Greco with Cézanne; he had the idea of connecting the early period of Cézanne to El Greco. In an article of his in 1907 Denis, when he is referring to El Greco, he does not omit any of the commonplaces which have been formulated about him, but, on the other hand, he establishes a new, dynamic relationship