Laocoon is a product of Mannerism, an art movement that originated in Italy in the 16th century and opposed the artistic ideals of the Renaissance. Greco's paintings deliberately break away from the balance and harmony of the Renaissance. Art with its strong emotional atmosphere and distorted characters.

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El Greco portrays the city of Toledo as a world full of suffering, using colors to create a sense of doom. The high horizon and standing figures at both ends of the painting create a vertical composition. Dominated by turbulent gray shadows and swirling clouds, a threatening sky shrouded Toledo, creating a weird background and adding to the pain of the foreground.

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This style is popular in decorative arts, frequent scenes with pornographic content, and continuous references to myths and fables that help to appreciate the beauty of nude works. (Romanenkova et al., 2020)

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Therefore, in my painting creation, I refer to the character color of Laocoön by El Greco and the desperate look of the characters in the picture. That dark, gloomy tone.

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"Beat Wismer says, “young expressionists engaged intensively with him, both with his form and with the ecstatic and visionary impulses of his painting.” Modernism across Europe was lifting off, shattering the centuries-old dominance of realism. In German painting, expressionism, as it came to be known, was a particular manifestation of a desire to redraw the rules of space, structure and colour. The Düsseldorf exhibition presents El Greco alongside works by key Germano-Austrian modernist painters, including Franz Marc, August Macke, Max Beckmann and Oskar Kokoschka. Its aim is to show that the late discovery of El Greco helped them define their entire approach to how paint can be arranged on canvas." (Woodall, 2012)

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reference:

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Marinomonas primoryensis Romanenko et al. 2003". The NamesforLife Abstracts. doi:10.1601/nm.2463. Romanenko, LA; Uchino, M; Mikhailov, VV; Zhukova

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Woodall, J. (2012) Creating the modern eye, 2012. Available at: https://www.prospectmagazine.co.uk/magazine/edvard-munch-el-greco-modernism