Question: Which of Pablo Picasso's circle purchased an El Greco for a fairly low price?
About the article "Les Demoiselles d'Avignon", section "Influence of El Greco".

Candidate passages:
In 1899 Picasso rejected academic study and joined a circle of avant-garde artists and writers known as "modernistes" or "decadentes".
Meeting at Els Quatre Gats in Barcelona, they assimilated trends such as symbolism and Art nouveau, characterized by contour lines, simplified form and unnatural colors.
Yet, in addition to the influence of Théophile Steinlen and Henri de Toulouse-Lautrec, that of Francisco Goya and El Greco can be seen in Picasso's work of the period.
A significant innovation of El Greco's later works is the interweaving of form and space; a reciprocal relationship is developed between the two that unifies the painted surface.
This interweaving would re-emerge three centuries later in the works of Cézanne and Picasso.
Adapting these style, the artist produced numerous portraits of friends such as Carlos Casagemas and Jaime Sabartès (Sabartès Seated).
The modernists also devoted themselves to political anarchy and other social causes, including sympathy for the poor, denizens and the underclass; subjects that would soon emerge in the paintings of Picasso's blue period (a color associated with despair and melancholy, blue was commonly used in Symbolist painting).
The first artist who seems to have noticed the structural code built into the morphology of late El Greco was Paul Cézanne, one of the forerunners of Cubism.
Comparative morphological analyses of the two painters works reveal common elements: the distortion of the human body, the reddish and unworked backgrounds, and the similarities in the rendering of space.
According to Brown, "Cézanne and El Greco are spiritual brothers despite the centuries which separate them".
Fry observed that Cézanne drew from "his great discovery of the permeation of every part of the design with a uniform and continuous plastic theme".
In 1904 Picasso moved to Paris, where the work of post-impressionist painters Van Gogh, Cézanne, Seurat, Gauguin were exhibited at galleries and Salons.
Rapidly assimilating these influences, he adapted to new styles and techniques, as the use of bright unmixed colors.
The Symbolists, and Pablo Picasso during his Blue Period, drew on the cool tonality of El Greco and the anatomy of his ascetic figures.
While Picasso was working on , he visited his friend Ignacio Zuloaga in his Parisian atelier and studied El Greco's "Opening of the Fifth Seal" (owned by Zuloaga since 1897).
The relation between and the "Opening of the Fifth Seal" was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs of both works were analysed.
Art historian Ron Johnson was the first to focus on the relationship between the two paintings.
According to John Richardson, "Les Demoiselles d'Avignon" "turns out to have a few more answers to give once we realize that the painting owes at least as much to El Greco as Cézanne".
Picasso's Rose Period turns toward the theme of the fairground and circus performers; subjects often depicted in Post-Impressionist, romantic and symbolist art and verse (from Baudelaire and Rimbaud to Daumier and Seurat), where melancholy and social alienation pervade the saltimbanque.
Corresponding to the tone of Picasso, acrobats represent both mystery and enchantment in the poems of Guillaume Apollinaire written in the same period.
In 1906, working at the Bateau Lavoir, Picasso continued to explore new directions; portraying monumental female figures standing in abstract interior spaces.
Now, in addition to the bathers of Cézanne, Spanish romanesque art and Iberian sculpture provide an prominent influences for Picasso.
Around this time he also created a self-portrait depicting himself as something of a latter-day Cézanne. 
During the early 20th century, the European cultural elite were discovering African, Micronesian and Native American art.
Artists such as Henri Matisse and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those cultures.
Around 1906, Picasso, Matisse, André Derain and other artists in Paris had acquired an interest in primitivism, Iberian sculpture, African art and tribal masks, in part because of the compelling works of Paul Gauguin that had suddenly achieved center stage in the avant-garde circles of Paris.
Gauguin's powerful posthumous retrospective exhibitions at the Salon d'Automne in Paris in 1903 and an even larger one in 1906 had a stunning and powerful influence on Picasso's paintings.
From 1906 to 1909 Pablo Picasso's paintings explored the impact of Primitivism through Iberian sculpture, African sculpture, African traditional masks, and other historical works including the Mannerist paintings of El Greco, resulting in his masterpiece "Les Demoiselles D'Avignon" and the invention of Cubism. 
Named after a painting by El Greco, and originally published in a run of 263 copies, Picasso worked on "El Entierro del Condo de Orgaz" or "The Burial of the Count of Orgaz" from January 1957 to August 1959.
Like most of Picasso's literary output, the work defies easy categorization.
The text (written in coloured chalk or pencil) does not describe the scenes depicted in the engravings.
Poet and friend Raphael Alberti wrote the preface for the book, stating that, "here is the inventor.. ..of great entangled poetry – Pablo plants a sketch on the surface of a page and it grows into a whole population.
""The Burial of the Count of Orgaz" is the result of the Picasso's reminiscences and reflections on his homeland of Andalusia.
Earthy characters appear throughout, with names like "Don Rat" and "Don Bloodsausage".there did finally arrive the card announcing the festivities on monday night and nextmorning at dawn there were fires and worms up every ass hole and sugar palmsappeared in every window-Excerpt from "The Burial of the Count of Orgaz" (1959)The work has been described as "among the finest expressions of unpunctuated prose that have evolved from the literary avant garde."
The Rose Period comes from the time when the style of Pablo Picasso's painting used cheerful orange and pink colours in contrast to the cool, somber tones of the previous Blue Period.
The Rose Period lasted from 1904 to 1906.
Picasso was happy in his relationship with Fernande Olivier whom he had met in 1904 and this has been suggested as one of the possible reasons he changed his style of painting.
Harlequins, circus performers and clowns appear frequently in the Rose Period and populated Picasso's paintings at various stages throughout the rest of his long career.
The harlequin, a comedic character usually depicted in checkered patterned clothing, became a personal symbol for Picasso.
The Rose Period has been considered French influenced, while the Blue Period more Spanish influenced, although both styles emerged while Picasso was living in Paris.
Picasso's Blue Period began in late 1901, following the death of his friend Carlos Casagemas and the onset of a bout of major depression.
It lasted until 1904, when Picasso's psychological condition improved.
The Rose Period is named after Picasso's heavy use of pink tones in his works from this period, from the French word for pink, which is "rose".
Picasso's highest selling painting, "Garçon à la pipe (Boy with a pipe)" was painted during the Rose Period.
Other significant Rose Period works include: "Woman in a Chemise (Madeleine)" (1904–05), "The Actor" (1904–1905), "Lady with a Fan" (1905), "Two Youths" (1905), "Harlequin Family" (1905), "Harlequin's Family With an Ape" (1905), "La famille de saltimbanques" (1905), "Boy with a Dog" (1905), "Nude Boy" (1906), "Boy Leading a Horse" (1906), and "The Girl with a Goat" (1906).
The Rose Period was followed by Picasso's African influenced period, where his Proto-Cubist work took form.
The most famous painting from Picasso's African Period is Les Demoiselles d'Avignon, painted in 1907, which created a sensation among critics and the public when it was exhibited in 1916. 
El Greco's re-evaluation was not limited to scholars.
According to Efi Foundoulaki, "painters and theoreticians from the beginning of the 20th century 'discovered' a new El Greco but in process they also discovered and revealed their own selves".
His expressiveness and colors influenced Eugène Delacroix and Édouard Manet.
To the Blaue Reiter group in Munich in 1912, El Greco typified that "mystical inner construction" that it was the task of their generation to rediscover.
The first painter who appears to have noticed the structural code in the morphology of the mature El Greco was Paul Cézanne, one of the forerunners of cubism.
Comparative morphological analyses of the two painters revealed their common elements, such as the distortion of the human body, the reddish and (in appearance only) unworked backgrounds and the similarities in the rendering of space.
According to Brown, "Cézanne and El Greco are spiritual brothers despite the centuries which separate them".
Fry observed that Cézanne drew from "his great discovery of the permeation of every part of the design with a uniform and continuous plastic theme".
The Symbolists, and Pablo Picasso during his Blue Period, drew on the cold tonality of El Greco, utilizing the anatomy of his ascetic figures.
While Picasso was working on , he visited his friend Ignacio Zuloaga in his studio in Paris and studied El Greco's "Opening of the Fifth Seal" (owned by Zuloaga since 1897).
The relation between and the "Opening of the Fifth Seal" was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs of both works were analysed.
The early cubist explorations of Picasso were to uncover other aspects in the work of El Greco: structural analysis of his compositions, multi-faced refraction of form, interweaving of form and space, and special effects of highlights.
Several traits of cubism, such as distortions and the materialistic rendering of time, have their analogies in El Greco's work.
According to Picasso, El Greco's structure is cubist.
On 22 February 1950, Picasso began his series of "paraphrases" of other painters' works with "The Portrait of a Painter after El Greco".
Foundoulaki asserts that Picasso "completed ... the process for the activation of the painterly values of El Greco which had been started by Manet and carried on by Cézanne".
The expressionists focused on the expressive distortions of El Greco.
According to Franz Marc, one of the principal painters of the German expressionist movement, "we refer with pleasure and with steadfastness to the case of El Greco, because the glory of this painter is closely tied to the evolution of our new perceptions on art".
Jackson Pollock, a major force in the abstract expressionist movement, was also influenced by El Greco.
By 1943, Pollock had completed sixty drawing compositions after El Greco and owned three books on the Cretan master.
Contemporary painters are also inspired by El Greco's art.
Kysa Johnson used El Greco's paintings of the Immaculate Conception as the compositional framework for some of her works, and the master's anatomical distortions are somewhat reflected in Fritz Chesnut's portraits.
El Greco's personality and work were a source of inspiration for poet Rainer Maria Rilke.
One set of Rilke's poems ("Himmelfahrt Mariae I.II.
", 1913) was based directly on El Greco's "Immaculate Conception".
Greek writer Nikos Kazantzakis, who felt a great spiritual affinity for El Greco, called his autobiography "Report to Greco" and wrote a tribute to the Cretan-born artist.
In 1998, the Greek electronic composer and artist Vangelis published "El Greco", a symphonic album inspired by the artist.
This album is an expansion of an earlier album by Vangelis, ("A Tribute to El Greco", ).
The life of the Cretan-born artist is the subject of the film "El Greco" of Greek, Spanish and British production.
Directed by Ioannis Smaragdis, the film began shooting in October 2006 on the island of Crete and debuted on the screen one year later; British actor Nick Ashdon has been cast to play El Greco.