El Greco, the Greek-born painter who became one of Spain’s most celebrated Renaissance artists, is at the center of a new AI study that challenges long-held ideas about how some of his major paintings were created.
The research, led by Andrew Van Horn and published in “Science Advances,” uses artificial intelligence to examine microscopic details in paint surfaces. The findings suggest that variations once linked to workshop assistants may instead reflect changes in the artist’s own technique.
Born in Crete as Domenikos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος), El Greco trained in the Greek tradition of icon painting before moving to Italy and later settling in Toledo, Spain. His work blended Byzantine influences with elements of the Italian Renaissance, creating a distinctive style marked by elongated figures and strong color contrasts. Art historians have long viewed this background as central to his artistic identity.
AI sheds light on artistic process
Painting in the Renaissance was often a collaborative process. Masters typically worked with assistants and apprentices who helped complete large commissions. This has made it difficult for scholars to determine which parts of a painting were created by the master and which were done by others.
To address this problem, researchers developed a machine-learning method known as PATCH. Instead of analyzing overall style, the system examines tiny surface textures left by brushstrokes. These microscopic features can reveal how paint was applied and whether different areas of a painting were created under similar conditions.
The team first tested the method on modern paintings produced by known artists. The system accurately distinguished between works created by different individuals and those made by the same painter. This validation allowed researchers to apply the technique to historical works.
Two paintings offer contrasting results
The study focused on two paintings attributed to El Greco: “The Baptism of Christ” and “Christ on the Cross with Landscape.” Art historians have traditionally viewed the first as a collaborative work involving members of El Greco’s workshop, possibly including his son Jorge Manuel. The second has generally been considered a work completed entirely by the artist himself.
New AI research is reshaping how we see El Greco.
A study in Science Advances suggests some paintings thought to involve workshop assistants may actually reflect the artist’s own changing technique. pic.twitter.com/YUMZs3l16R
— Tom Marvolo Riddle (@tom_riddle2025) April 20, 2026
Analysis of “The Baptism of Christ” revealed four distinct regions with different painting characteristics. At first, this appeared to support the idea of multiple contributors. However, researchers found that many of these regions remained closely connected at a microscopic level. They say this level of similarity is difficult to explain if the painting were divided among clearly separate artists.
Instead, the findings suggest that a single artist may have used different techniques across the canvas. These differences could reflect variations in brushwork, materials, or artistic approach within the same work.
Greek roots remain visible in the technique
Researchers say the results highlight the importance of El Greco’s early training in Crete. His background in Greek icon painting shaped his artistic methods before he encountered Italian influences. The study suggests that variations within “The Baptism of Christ” may reflect this evolving style rather than the involvement of multiple painters.
In contrast, the analysis of “Christ on the Cross” showed limited variation across the painting. The results support the view that the work was largely created by a single artist. Any minor differences may be linked to later restoration or damage rather than separate contributors.
Study challenges traditional interpretations
The findings do not rule out the role of workshops in Renaissance art. However, they suggest that the boundary between individual and collaborative work may be less clear than previously believed. Differences within a single painting may reflect shifts in technique rather than multiple hands.
Researchers say the method could also be used in other fields, including conservation and image analysis. For art history, the study provides a new way to examine authorship and technique by focusing on details invisible to the human eye.
The results offer a revised view of El Greco’s work. They suggest that some paintings thought to involve several artists may instead reflect the range and evolution of a single painter shaped by both Greek and European traditions.
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