In 1584 he was back in Greece and worked mainly in Crete and the Ionian islands. His works are in traditional Byzantine style but with many influences from Venetian painting, mainly Renaissance artists such as [[w:Tintoretto|Tintoretto]] and [[w:Paolo Veronese|Paolo Veronese]]. He used a particular rose colour that characterised his paintings; his figures' dimensions are defined by only a few brush strokes, while he was drawing wooden and never marble thrones as was typical in the [[w:Cretan School|Cretan School]].
That Damaskinos was highly regarded is shown by him being invited from Crete to paint the frescoes of [[
w:San Giorgio dei Greci|San Giorgio dei Greci]], despite all the many Greek artists already in Venice .<ref>[http://parembasis.gr/2000/00_08_23.htm 2000_ΑΥΓΟΥΣΤΟΣ-ΜΙΧΑΗΛ ΔΑΜΑΣΚΗΝΟΣ]</ref>. Damaskinos was also the first artist to introduce paler flesh tones into post-Byzantine painting and it was one of the stylistic features of his work which proved highly influential from the second half of the sixteenth century and onwards.<ref>A winged St. John the Baptist icon in the British Museum (2003). Angeliki Lymberopoulou Apollo.</ref>
As was usual for distinguished painters, Damaskinos signed his works: ΧΕΙΡ ΜΙΧΑΗΛ ΤΟΥ ΔΑΜΑΣΚΗΝΟΥ or ΧΕΙΡ ΜΙΧΑΗΛ ΔΑΜΑΣΚΗΝΟΥ, ΔΑΜΑΣΚΗΝΟΥ ΜΙΧΑΗΛ ΧΕΙΡ or even ΠΟΙΗΜΑ ΜΙΧΑΗΛ ΤΟΥ ΔΑΜΑΣΚΗΝΟΥ (creation of Michael Damaskinos).<ref>[http://home.yebo.co.za/~xenitis/Cretan3.htm Cretan portable icons]</ref>. Damaskinos having worked extensively in the Ionian islands, has contributed to the fusion of the [[w:Cretan School|Cretan]] and the [[w:Heptanese School|Heptanese School]] of painting.