以《奥尔加斯伯爵葬礼》为起点,埃尔·格雷科的创作进入了空前旺盛、更加辉煌的时期。然而,其题材始终局限在教堂、修道院或僧俗名流等委托人所要求的宗教(主要是《圣经·新约》讲述的圣母与基督圣迹以及圣徒行传)和肖像方面。题材的相对狭窄,虽然多少会限制艺术家在更宽阔的领域表现才华,但是毕竞不能捆住他的手脚,倒反而促使他在作品的思想深度上作别具慧眼、探赜索隐的发掘,在作品的表现形式上作匠心独运、不同凡响的创造。 在圣像画方面,他不仅发展了传统的全身尤其是半身形式,而且特别重视特定人物的心灵表达。所谓圣像,是类似肖像 Beginning with the Earl of Burgundy of Olgas, El Greco’s creation entered a period of unprecedented prosperity and greater glories. However, its subject matter has always been limited to the religions required by principals such as churches, monasteries or monks and celebrities (mainly the Holy Virgin and the Sacred Scriptures and the saints of saints described in the New Testament) and portraiture. The relatively narrow subject matter, although somewhat restricting the artist’s ability to show his talents in a broader field, can not bind him with his hands and feet, but instead prompts him to make discerning and exploratory discoveries in the depth of his works, In the performance of the form of originality, extraordinary creation. In iconography, he not only developed the traditional whole body, especially half-length, but also paid special attention to the spiritual expression of certain characters. The so-called icon, is a portrait