The Assumption of the Virgin in the church of Santo Domingo el Antiguo is acquired by the Infante Sebastián Gabriel de Borbón, with positive reports from court painters Juan Antonio de Ribera and José de Madrazo, whose collection includes three works by the artist.
Ferdinand VII acquires the Trinity from Santo Domingo el Antiguo for the Prado, with positive reports from court painters Vicente López, the museum’s artistic director, and Juan Antonio de Ribera.
Louis Philippe of Orleans’s Spanish Gallery opens to the public at the Louvre; it features nine important works by or attributed to El Greco, brought from Spain by Baron Taylor. The Museo de la Trinidad is inaugurated in Madrid, with religious works from expropriated convents and monasteries, among them several by El Greco.
Writer and critic Théophile Gautier travels to Spain, where he sees works by El Greco.
Publication of the Annals of the Artists of Spain, the first monograph illustrated with photographs of works by Spanish artists, among them El Greco. The author, William Stirling-Maxwell, acquired several of the artist’s works.
Édouard Manet visits the Prado and Toledo on the advice of Zacharie Astruc, who had travelled to Spain the previous year. The following years Fortuny makes watercolour copies of El Greco paintings in the Prado.
The holdings of the Museo de la Trinidad, which owned fifteen works by El Greco, are incorporated into the Prado. The Burial of the Count of Orgaz is restored by painter Matías Moreno.
Paul Cézanne copies Lady in a Fur Wrap after a woodcut.
Santiago Rusiñol acquires two El Grecos in Paris, which are solemnly transported to the Cau Ferrat in Sitges.
The first monographic exhibition devoted to El Greco is organized by the Prado. From this point onwards his works are frequently acquired by North American collectors and museums.
Ignacio Zuloaga acquires The Vision of Saint John. Miguel Utrillo publishes the first monograph on El Greco, featuring 50 illustrations.
German artists make copies of the paintings belonging to the altarpiece of Doña María de Aragón in the Prado. Picasso paints his first Cubist picture, Les Demoiselles d’Avignon.
Manuel B. Cossío writes the first monograph with a catalogue raisonné of El Greco’s works. The Autumn Salon in Paris devotes one of its sections to the artist.
Hugo von Tschudi acquires El Greco’s Disrobing of Christ for the Pinakothek Art Museums in Munich. The San Fernando Academy in Madrid stages an El Greco exhibition.
Julius-Meier-Graefe’s Spanische Reise (Journey around Spain) is published. The Marquis de la Vega Inclán opens the El Greco House Museum / Casa Museo del Greco in Toledo. The Marczell von Nemes collection, which owns important works by El Greco, is exhibited in Budapest before travelling to Munich and Dusseldorf.
Books on El Greco are published by Maurice Barrès in Paris and by August L. Mayer in Munich.
Diego Rivera stays in Spain, followed by Robert and Sonia Delaunay, who remain for much longer (from 1914 to 1920).
The room devoted to El Greco opens at the Prado.
Commissioned by Pomona College in Claremont (California), José Clemente Orozco executes the mural Prometheus, influenced by El Greco’s Saint Sebastian. It is visited by Jackson Pollock and Philip Guston
Henry Moore, André Masson and Marc Chagall travel to Spain, where they see works by El Greco.
M. Legendre and A. Hartmann publish their monograph on El Greco featuring heliogravure prints that provide the basis for many pencil copies made by Jackson Pollock, who is then deeply influenced by the artist.
In the United States Roberto Matta paints his Psychological Morphology series and, together with Picasso and Orozco, influences Jackson Pollock, who in 1944 paints Gothic, at the threshold of Action Painting.
Laocoön joins the holdings of the National Gallery in Washington. Eleven years later The Vision of Saint John is acquired by the Metropolitan Museum in New York, which already owned several works by El Greco, among them View of Toledo. In Europe Alberto Giacometti copies works by El Greco and, like Bacon and Saura after him, draws inspiration from the artist.
Picasso begins his series of paintings based on musketeer motifs, which he continues over the following years, some inspired by A Gentleman with his Hand on his Chest. In 1968 he pays an ironic homage to the Burial of the Count of Orgaz in his prints.