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
Art of El Greco "madness". The critic Zacharie Astruc and the scholar Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters then living in Paris adopted him as their guide and mentor. In 1908, art historian Manuel Bartolomé Cossío, who regarded El Greco's style as a response to Spanish mystics, published the first comprehensive catalogue of El Greco's works. In this book, El Greco is described as the founder of the Spanish School and as the conveyor of the Spanish soul. Julius Meier-Graefe, a scholar of French Impressionism, travelled in Spain in 1908 and wrote