May Day on Corfu by Charlambos Pachis

by 19th century ArtArtGreek ArtNeohellenic ArtStudent ActivitiesWorksheets
Charalambos Pachis, Greek Artist, 1844 – 1891
May Day on Corfu, ca 1875-1880, oil on canvas, 61 x 50 cm, National Gallery – Alexandros Soutsos Museum, Athens, Greece https://www.nationalgallery.gr/artwork/protomagia-stin-kerkyra/

On May Day in Corfu, write ‘The Kapodistria Museum – Center for Kapodistrian Studies’ experts, the villagers brought a cypress trunk to the city, the foliage of which they had decorated with wreaths and colorful ribbons. They hung red Easter eggs, pine cones, artichokes, and other fruit gilded, doves and such. This May tree was reminiscent of the Christmas tree. The villagers holding the cypress were singing outside the houses. May Day on Corfu by Charlambos Pachis is here to remind us of bygone happy days on the Island… https://www.capodistriasmuseum.gr/stories/anoixi-stin-kerkyra/

Haralambos Pachis (1844-1891) was an artist from the Island of Corfu who painted genre scenes and landscapes, mixing elements of traditional folk art with the Italian influences widespread on the island at the time. His education started at the Accademia de i Pittori e Scultori di Roma (1868-1869) where he studied the latest techniques and styles of painting, and further matured, as he traveled to various European countries, to meet artists, and visit Museums and Galleries. In 1870 he returned to Corfu where he originally taught at the Capodistrias School but then founded a private art school at which many noteworthy Corfiot painters studied, such as Angelos Giallinas and Georgios Samartzis. https://www.nationalgallery.gr/en/artist/pachis-charalambos/

Like many artists from the Ionian Islands who were trained in Europe, Pachis brought his art experiences back to Corfu and incorporated them into his native ‘world’, adapting them to reflect the unique cultural and historical context of the Ionian Islands. As a result, the paintings he created were often characterized by a vibrant use of color, dynamic compositions, and a focus on local landscapes, people, and cultural traditions.

The artist from Corfu became an active member of the late 19th-century Greek art community. He was known for his portraits, landscapes, history compositions, and genre scenes, like the circa 1875-1880 painting of May Day on Corfu in the collection of the National Gallery – Alexandros Soutsos Museum in Athens, Greece.

May Day on Corfu, painted after the union (1864) of the Ionian Islands with Greece bursts with liveness, energy, and an ‘eloquent’ expressiveness. The artist’s diagonal composition brings us to the heart of a central street in the city of Corfu, where typical Corfiot buildings with arches, and a Church with a tall Belltower create a strong sense of depth and perspective, further increased with the faintly colored buildings at the end of the line.

In the foreground, we discern two groups of people: the ‘Creators of Merriment’, centrally placed, and the ‘Viewers’ around them.

Full of energy, and carrying the May Day cypress trunk, the Musicians presented in the composition, create true merriment and cheerfulness with jovial singing and robust music. Dressed in traditional Corfiot attire, and bathed in light, they draw our attention, but most importantly, the attention of the picture’s second group, the ‘Viewers’. Placed in front of a Beerhouse, or around the Musicians, Charalambos Pachis creates a diverse and ‘interesting’ group of ‘Viewers.’ Two herdsmen, for example, wearing red fezzes and tsaruchia-type shoes, one of them carrying a milk container on his shoulder, and five children, three of them standing by the herdsmen, and two more, by the Musicians. These children are quite enigmatic. Are they children or dwarfs? Do they present specific, well-known people on the island? I am afraid I do not have the ‘right’ answer.

Charalambos Pachis, Greek Artist, 1844 – 1891
May Day on Corfu (detail), ca 1875-1880, oil on canvas, 61 x 50 cm, National Gallery – Alexandros Soutsos Museum, Athens, Greece https://www.nationalgallery.gr/artwork/protomagia-stin-kerkyra/

May Day on Corfu by Charlambos Pachis is a composition that projects a wealth of details, purity of forms, vivid colours, and precision of design. It is an ethnological treasure trove, a festive scene in an Ionian Island rich in culture… a 19th-century snapshot of Corfiot merriment!

Wishing you a very Happy May Day!

For a May Day Student Activity, please… Check HERE!

Lekythos in the Canellopoulos Museum

by Ancient Greek ArtArtGreek ArtMuseumsPotteryStudent ActivitiesWorksheets
White-Ground Lekythos, 440-430 BC, Terracotta, H. 25,5 cm, Canellopoulos Museum, Athens, Greece https://camu.gr/en/item/likythos/

Intended as a grave gift, this beautiful, white-ground Lekythos in the Canellopoulos Museum is a distinctive 5th century type of Athenian vessel. According to Maria S. Brouscari… the composition presented on the pot’s body, features, a tall, narrow stele with three steps, decorated with fillets, one at the top of the stele and one with its ends hanging over the top step, from which hang also two thin cords. To the left of the stele, a kneeling woman mourns. With her left hand she strikes her head, while her right is outstretched in a gesture of despair. To the right of the stele the dead stands motionless: a young man, fully clad in a deep purple garment, leaving only the head uncovered. His hair is rendered with a dilute black paint. The decoration of the Canellopoulos Museum Lekythos is typical of scenes connected with funerary rituals and can give us some insight into ancient Athenian funerary practices and ideas about death. https://camu.gr/en/item/likythos/

The Athenian, white-ground Lekythos, developed during the Classical period (5th-4th centuries BC), when Athenian potters began to cover the natural reddish color of their pottery with clay that turned white when fired. These small in size oil containers were used in funerary rituals in a number of different ways. They were, for example, burned with the body in cremations, used for pouring oil libations on the body or the grave site, and as offerings, were left at or in a burial. The great majority of these vessels have been found in and around graves, in Attica. https://www.getty.edu/art/collection/object/103VMY

When I look at the Lekythos in the Canellopoulos Museum, I think of Simonides of Ceos. His poetry, widely admired for its beauty, precision, and emotional depth, befits the funerary composition of the white-ground Lekythos in the Athenian Museum…

Fragment 520: ἀνθρώπων ὀλίγον μὲν / κάρτος, ἄπρακτοι δὲ μεληδόνες,  / αἰῶνι δ᾽ ἐν παύρωι πόνος ἀμφὶ πόνωι· / ὁ δ᾽ ἄφυκτος ὁμῶς ἐπικρέμαται θάνατος· / είνου γὰρ ἴσον λάχον μέρος οἵ τ᾽ ἀγαθοὶ / ὅστις τε κακός. – Των ανθρώπων λιγοστή η δύναμη κι άκαρπο ό,τι φροντίζουν πιο πολύ· στη σύντομη ζωή τους η μια στεναχώρια ακολουθεί την άλλη. Αναπόδραστος ο θάνατος ζυγιάζεται από πάνω τους χωρίς διάκριση· ευγενείς και ταπεινοί, όλοι έχουν μπροστά τους την ίδια μοίρα. (Translated by I. N. Kazazis) – Little is the strength of men and fruitless what they care most for; in their short life one sorrow follows another. Death, inescapable, weighs upon them without distinction; noble and humble, all face the same fate. https://www.greek-lan guage.gr/digitalResources/ancient_greek/anthology/poetry/browse.html?text_id=431

Fragment 521: ἄνθρωπος ἐὼν μή ποτε φάσηις ὅ τι γίνεται αὔριον, / μηδ᾽ ἄνδρα ἰδὼν ὄλβιον ὅσσον χρόνον ἔσσεται· / ὠκεῖα γὰρ οὐδὲ τανυπτερύγου μυίας / οὕτως ἁ μετάστασις. – Είσαι άνθρωπος, και γι᾽ αυτό ποτέ μην πεις τί μέλλει αύριο να συμβεί, μήτε να προβλέψεις, σαν δεις κανέναν να ευτυχεί, πόσον καιρό θα κρατήσει αυτό. Γιατί τόσο γοργό σαν την αλλαγή της μοίρας δεν είναι ούτε το φτερούγισμα της μακρόφτερης μύγας. (Translated by I. N. Kazazis) – You are only human, so, never  tell what will happen tomorrow, do not predict, if you see someone happy, how long his happiness will last. Because fate changes faster and swifter than the  fluttering of the long-flying fly. https://www.greek-language.gr/digitalResources/ancient_greek/anthology/poetry/browse.html?text_id=432

Fragment 522: πάντα γὰρ μίαν ἱκνεῖται δασπλῆτα Χάρυβδιν, αἱ μεγάλαι τ᾽ ἀρεταὶ καὶ ὁ πλοῦτος. – Γιατί όλα τα πράγματα καταλήγουν στην ίδια φριχτή Χάρυβδη, κι οι μεγάλες επιτυχίες και ο πλούτος. (Translated by I. N. Kazazis) – For all things come down to the same horrible Charybdis; people’s virtues and success. https://www.greek-language.gr/digitalResources/ancient_greek/anthology/poetry/browse.html?text_id=433

For a Student Activity, please… Check HERE!

Flora

by ArtMythologyRoman ArtRoman FrecoesStudent ActivitiesWorksheets
Villa Arianna Fresco of Flora, (Room W. 26),  1st century AD, fresco, 38×32 cm, from Villa Arianna in Stabiae, National Archaeological Museum of Naples, Italy
https://commons.wikimedia.org/wiki/File:Primavera_di_Stabiae.jpg

Love came to Flora asking for a flower / That would of flowers be undisputed queen, / The lily and the rose, long, long had been / Rivals for that high honor. Bards of power / Had sung their claims. “The rose can never tower / Like the pale lily with her Juno mien” — “But is the lily lovelier?” Thus between / Flower-factions rang the strife in Psyche’s bower. / “Give me a flower delicious as the rose / And stately as the lily in her pride” — But of what color?” — “Rose-red,” Love first chose, / Then prayed — “No, lily-white — or, both provide;”  / And Flora gave the lotus, “rose-red” dyed, / And “lily-white” — the queenliest flower that blows… writes the Indian poet Toru Dutt and I think of Flora my favorite fresco in Villa Arianna in Stabiae. https://allpoetry.com/Toru-Dutt

Where is Stabiae? Stabiae was an ancient Roman city, or rather a string of luxury villas stretching along the coast, located on the western side of Italy, in the modern-day region of Campania. It was well known for its luxurious villas and rich maritime trade. The city was destroyed by the eruption of Mount Vesuvius in 79 AD, along with the nearby city of Pompeii. The well-preserved remains of Stabiae, including frescoes and mosaics, offer a unique glimpse into the daily life and culture of ancient Rome. During the Archaic period (8th century BC) Stabiae already played an important strategic and commercial role. The city reached its highest population density between its destruction by Sulla (89 B.C.) and the eruption of Mount Vesuvius (79 A.D.). During this period, on the northernmost edge of the Varano hill, many Villas were built taking advantage of the panoramic views. They were mainly residential villas, with beautifully decorated large apartments, thermal baths, porticoes, and nymphaea. At present, only some of these villas, not entirely excavated yet, can be visited…

Information about Villa Arianna… On the western hills of Varano, and overlooking the Bay of Naples, Villa Arianna, is impressive, to say the least. It is estimated that it covered an area of over 11,000 sq.m., whereas its excavated parts cover only 2,500 sq.m. The villa has an unconventional layout, due in part to its continuous development but also to the sloping nature of the site. As much of the building is still buried, the original floor plan is quite difficult to interpret. Certainly, the main range of rooms was at the front of the highest of a series of terraces; some of these rooms featured views both of the sea on one side and of the mountains on the other. There was also a long tunnel (B) leading from the stables and farm court under the residential quarters to the shore. https://sites.google.com/site/ad79eruption/stabiae/villa-arianna

Excavations at Villa Arianna, When, How, and by Whom… Excavations in Villa Arianna started in 1757 and were conducted by the Swiss engineer Karl Weber, until 1762. At the time, the archaeological site of the Villa was seen more like a treasure hunt exploration site. The Weber team dug underground tunnels, explored the excavated areas, and whatever was discovered and considered of value, like furnishings and frescoes, were detached and taken to the Bourbon Museum at the Royal Palace of Portici. A lot, deemed unworthy or ruined, were left behind and much was ruined by the methods employed by the “archaeologists” of the time. Today, parts of the Villa nearest the sea have collapsed down the cliff and perished forever, extended areas of the site are still buried awaiting excavations, but thanks to a Bourbon-period map showing where tunnels were dug and thereafter re-buried, archaeologists resumed excavations in 1950, and proceed with proper scientific research.

Discuss the Fresco of Flora… Among the many treasures discovered in Villa Arianna is the fresco of Flora, exhibited today in the National Archaeological Museum of Naples. It is a 38×32 cm fresco, created for the triclinium area of the Villa (Room W. 26 in the Plan). The fresco depicts the goddess Flora, the Roman goddess of flowers and spring, surrounded by a variety of plants and flowers.

Villa Arianna Fresco of Flora (detail), (Room W. 26),  1st century AD, fresco, 38×32 cm, from Villa Arianna in Stabiae, National Archaeological Museum of Naples, Italy https://mariasannino.com/2021/03/08/la-fanciulla-che-coglie-fiori/

In vibrant colors, intricate details, and naturalistic depictions of plants and flowers, the lovely Flora, a young girl shown with her back to us, delicately gathering spring flowers, is a fine example of the 3rd Pompeian style in painting. Barefoot with a light step, her veil and the hem of her dress floating in the air, Flora turns suddenly to the side to pick a spring from a thin shrub with white flowers. Shown in a relaxed and carefree manner, the goddess is thought to reflect the changing cultural attitudes of the time, the increasing wealth and luxury of the Roman Empire, and may suggest a greater appreciation for the beauty and abundance of nature in ancient Campania!

For a Student Activity, please… Check HERE!

The Veil of Saint Veronica

by 16th century ArtArtBasil and Elise Goulandris Foundation AthensHigh RenaissancePowerpointsRenaissanceRenaissance Art
Domenikos Theotokopoulos (El Greco), 1541 – 1614
The Veil of Saint Veronica, the early 1580s, Oil on Canvas, 51 × 66 cm, Basil and Elise Goulandris Foundation, Athens, Greece
https://goulandris.gr/en/artwork/el-greco-the-holy-face

VII And a certain woman named Bernice (or Beronikē, meaning in Greek “bearer of victory”) (Veronica Lat.) crying out from afar off said: I had an issue of blood and touched the hem of his garment, and the flowing of my blood was stayed which I had twelve years. The Jews say: We have a law that a woman shall not come to give testimony… Part VII of the Apocryphal Gospel of Nicodemus or Acts of Pilate, is considered to be the first reference to the story of a woman called Veronica related to the Passion of Christ. This is where and how the legend of the Veil of Saint Veronica starts… https://en.wikisource.org/wiki/The_Apocryphal_New_Testament_(1924)/Passion_Gospels/The_Gospel_of_Nicodemus

Hundreds of years later… The Estoire del Saint Graal, part of a larger work called the Lancelot-Grail or Vulgate Cycle, attributed to Robert de Boron, and written circa 1230, tells us the famous story of Veronica’s Veil as we know it today. My lord, says Veronica, on the day that the Holy Prophet was led away to be crucified, I passed before Him carrying a piece of cloth to sell. He called me and beseeched me to lend Him this cloth to wipe His face, which was dripping with sweat. After He had done so, I folded the cloth and took it home. And when I unfolded it, I found Jesus’ face as clear as if it had been painted on a wall. Since then I have kept it, and no matter how sick I have been, once I looked at it, I was completely healed. https://www.academia.edu/12112461/St_Veronica_Evolution_of_a_Sacred_Legend

Thus… the legend of Veronica’s Veil, the Acheiropoietos Icon of Christ’s image on a simple piece of cloth, became a great source of inspiration for many distinguished artists of the Renaissance like Memling, Bosch, Pontormo, and Dürer. It has been depicted as a symbol of piety, devotion, and faith. The imprint of Jesus’ face on the cloth is seen as a testament to his suffering and a reminder of his sacrifice on the cross. The veil has also been used as a symbol of comfort and solace, particularly for those who are suffering or in need of healing. It has also been seen as a reminder of Jesus’ love and compassion, and as a symbol of hope in the face of adversity. When Greco decided in 1577 to approach the subject of Veronica’s Veil, he joined an already well-established tradition in the Catholic iconography. https://goulandris.gr/en/artwork/el-greco-the-holy-face

Whether alone or in collaboration with apprentices in his studio, Domenikos Theotokopoulos carried out several paintings on this subject. In some of them, he focused merely on Christ, while in others he represented the veil as well. The painting in the Museo de Santa Cruz, in Toledo, includes the portrait of Saint Veronica as well. https://goulandris.gr/en/artwork/el-greco-the-holy-face

The painting of The Veil of Saint Veronica in the Basil and Elise Goulandris Foundation in Athens, is, in my humble opinion, a version realized δια χειρός Domenikos Theotokopoulos.  

Domenikos Theotokopoulos (El Greco), 1541 – 1614
The Veil of Saint Veronica (detail), the early 1580s, Oil on Canvas, 51 × 66 cm, Basil and Elise Goulandris Foundation, Athens, Greece
https://goulandris.gr/en/artwork/el-greco-the-holy-face

The face of Christ looks tranquil, genteel, and collected. It appears to float on the moving surface of the silken Veil, bathed in light that ‘shines’ from within, rather than an external source. The composition, developed in three successive planes, is composed yet dramatic, as Christ’s face is placed first, on the white surface of the Veil, and then, on the bleak, black background of the painting. 

Domenikos Theotokopoulos (El Greco), 1541 – 1614
The Veil of Saint Veronica (detail), the early 1580s, Oil on Canvas, 51 × 66 cm, Basil and Elise Goulandris Foundation, Athens, Greece
https://goulandris.gr/en/artwork/el-greco-the-holy-face

The Goulandris painting of Veronica’s Veil summarizes El Greco’s entire aesthetic journey. Emotionless and serene, with hollow cheeks, a long and narrow face, and …almond-shaped eyes, Greco’s painting communicates a sense of nobility and grace. The wounds caused on his head by the crown of thorns do not affect Him at all. The single drop of blood running down in the middle of His forehead offers no pain… it symbolizes the route to Calvary, His immortality… and humanity’s salvation… https://goulandris.gr/en/artwork/el-greco-the-holy-face

Καλή Ανάσταση!

For a PowerPoint on El Greco’s rendering of the theme of The Veil of Saint Veronica, please… Check HERE!

Holy Thursday – Μεγάλη Πέμπτη

by 16th century ArtArtRenaissanceRenaissance ArtStudent ActivitiesWorksheets
Domenikos Theotokopoulos (El Greco), 1541 – 1614
The Agony in the Garden, c. 1590, oil on canvas, 104 x 117 cm, Toledo Museum of Art, Toledo, Ohio, USA https://www.wga.hu/frames-e.html?/html/g/greco_el/index.html

Jesus went out as usual to the Mount of Olives, and his disciples followed him. On reaching the place, he said to them, “Pray that you will not fall into temptation.”  He withdrew about a stone’s throw beyond them, knelt down and prayed, “Father, if you are willing, take this cup from me; yet not my will, but yours be done.” An angel from heaven appeared to him and strengthened him. 44 And being in anguish, he prayed more earnestly, and his sweat was like drops of blood falling to the ground. When he rose from prayer and went back to the disciples, he found them asleep, exhausted from sorrow. “Why are you sleeping?” he asked them. “Get up and pray so that you will not fall into temptation.” (Luke 22:39-46 Holy Thursday – Μεγάλη Πέμπτη) https://www.biblegateway.com/passage/?search=Luke%2022&version=NIV

Domenikos Theotokopoulos was a Cretan Greek, born at Handaka-Candia, present-day Herakleion, part, at the time, of the thriving Republic of Venice. He was young, talented, and ambitious, well-versed in the Creto-Byzantine style of painting, and eager to establish himself among the greatest of his time! By 1567/8 Theotokopoulos traveled to Venice, by 1570, he was in Rome, by 1576 he relocated to Spain, and in 1577 the artist settled in Toledo where he found his spiritual home and remained for the rest of his life. He died on the 7th of April 1614, admired for his unique fluid style, temperamental character, and humanist education. One of his friends and admirers, Hortensio Félix Paravicino y Arteaga (1580-1633) the Spanish poet, preacher, and a member of the Trinitarian Order, wrote for the artist “O Greek divine! We wonder not that in thy works / The imagery surpasses actual being.” Paravicino also wrote, foreseeing Theotokopoulos’s legacy “Future generations will admire his strange genius, but for centuries he will not be imitated.” http://www.nccsc.net/essays/spanish-style 

The Agony in the Garden is a mature El Greco painting circa 1590, created in Toledo. The artist, known for his unique style that combined elements of Renaissance and Byzantine art, depicts the biblical scene of Jesus’ agony (in Greek, agonia, “agony”) in the Garden of Gethsemane, located on the Mount of Olives outside Jerusalem before his arrest and crucifixion. Christ prays to God for strength and comfort. He is depicted as a tall and slender figure, surrounded by his disciples who are asleep. He is shown with his head raised to heaven, as he prays in a state of intense emotion and expressive distress. El Greco gives visual form to Matthew 26:42, My Father, if it is not possible for this cup to be taken away unless I drink it, may your will be done. http://emuseum.toledomuseum.org/objects/54729/the-agony-in-the-garden

My thoughts on why this is a very ‘special,’ one of my favourites, Theotokopoulos paintings:

The composition is unique! El Greco’s figures and landscape are isolated in individual pockets of ambiguous, shallow space. There are four such areas, the sleeping disciples, the imposing Angel to the left, the approaching Roman soldiers to the right, and Christ in the middle, depicted kneeling, praying… in agony. The contrast between the individual pockets of shallow space creates a sense of emotional tension, with Jesus in a state of intense distress and the disciples in peaceful slumber. http://emuseum.toledomuseum.org/objects/54729/the-agony-in-the-garden

El Greco’s use of light and color is one of the most distinctive features of his work. In The Agony in the Garden, the intense light source illuminates Jesus and creates a strong contrast with the dark background, emphasizing his centrality and importance. The use of warm, golden tones adds to the emotional impact of the scene.

The figures in the painting are depicted with elongated forms, a hallmark of El Greco’s style. The two larger figures in the composition, Christ in the middle and the Angel of Compassion and Consolation to the left, facing each other, contribute to the emotional and spiritual intensity of the scene and highlight the dramatic nature of Jesus’ anguish.

The Agony in the Garden is considered one of El Greco’s most important works and is considered a masterpiece of Spanish Renaissance art. It is widely regarded as one of the most powerful and expressive religious paintings of the period and continues to be widely admired and studied by art enthusiasts and scholars today.

For a Student Activity on Holy Thursday – Μεγάλη Πέμπτη, please… Check HERE!

Holy Monday – Μεγάλη Δευτέρα

by 16th century ArtArtItalian Renaissance ArtPowerpointsRenaissance
Domenikos Theotokopoulos (El Greco), 1541 – 1614
Christ Driving the Money Changers from the Temple, c. 1570-75, oil on canvas, 115.57×147.32 cm, Minneapolis Institute of Arts, MN, USA https://collections.artsmia.org/art/278/christ-driving-the-money-changers-from-the-temple-el-greco

On reaching Jerusalem, Jesus entered the temple courts and began driving out those who were buying and selling there. He overturned the tables of the money changers and the benches of those selling doves, and would not allow anyone to carry merchandise through the temple courts.  And as he taught them, he said, “Is it not written: ‘My house will be called a house of prayer for all nations’? But you have made it ‘a den of robbers.’” The chief priests and the teachers of the law heard this and began looking for a way to kill him, for they feared him, because the whole crowd was amazed at his teaching. When evening came, Jesus and his disciples went out of the city. (Mark 11:15-19 Holy Monday – Μεγάλη Δευτέρα) https://www.biblegateway.com/passage/?search=Mark%2011&version=NIV

El Greco’s painting of Christ Driving the Money Changers from the Temple in The Minneapolis Institute of Arts presents a dramatic scene from the New Testament, told in all the Gospels. According to the Gospels, Jesus entered the Temple in Jerusalem and became angered by the commercial activities taking place there. He overturned the tables of the money changers and drove them out, accusing them of turning the temple into a marketplace. This scene was rarely painted in its own right before the Reformation. After the Council of Trent, it gained a new significance and for the Catholics, the image came to symbolize the purification of the Church through internal reform. https://collections.artsmia.org/art/278/christ-driving-the-money-changers-from-the-temple-el-greco

The Minneapolis painting is known for its powerful composition, dynamic figures, and vibrant colors. It was probably executed in Rome, in about 1570/1575. Set in a grand architectural interior, the scene reflects El Greco’s experiments with Italian linear perspective and break from the Byzantine style he employed in the Greek icons painted, while in Crete, in his youth. The composition seems less crowded, and the figures, distorted, but fuller and more clearly articulated, dominate the spatial setting. The lines are bold, the brushstrokes are expressive, and the colours are intense and pulsating. The use of light and shadow is masterful, casting a theatrical glow over the scene, highlighting the central figure of Christ, and adding to the sense of drama. Overall, the painting is a powerful and emotive depiction of this moment in the life of Jesus. https://collections.artsmia.org/art/278/christ-driving-the-money-changers-from-the-temple-el-greco

Christ Driving the Money Changers from the Temple is a theme that interested El Greco throughout his career. He painted this subject at least five times. What distinguishes the Minneapolis version is the inclusion of four male portrait heads in the lower-right corner of the painting. It turns out that these four men are famous artists whose lives and work inspired El Greco. They are four major figures in the arts during the Renaissance, and they are, from the left: Titian, Michelangelo, Giulio Clovio, and Raphael.

For Holy Monday – Μεγάλη Δευτέρα and a PowerPoint of all five versions of El Greco’s painting of Christ Driving the Money Changers from the Temple, please… Check HERE!

Domenikos Theotokopoulos (El Greco), 1541 – 1614
Christ Driving the Money Changers from the Temple (Detail), c. 1570-75, oil on canvas, 115.57×147.32 cm, Minneapolis Institute of Arts, MN, USA https://www.flickr.com/photos/museumnerd/5207337688

Face to Face with Emperor Ioannis VIII Palaiologos

by 15th century Italian Renaissance ArtArtPowerpointsRenaissance
Pisanello’s Medallion of Ioannis VIII Palaiologos, a loan from the Galleria Giorgio Franchetti at the Ca’ D’Oro, Venice, as exhibited in the Hôtel de la Marine, in Paris, France, My amateurish attempt at photography…

A page of Pisanello’s sketchbook in the Louvre Museum presents the mounted figure of the Byzantine Emperor Ioannis VIII Palaiologos and the short descriptive passage reads… The hat of the Emperor should be white on top and red underneath, the profile red all round. The doublet is green damask and the mantle on top crimson. A black beard on a pale face, hair and eyebrows alike. The eyes between grey and green, and the stooped shoulders of a small person. The boots of pale yellow leather; the sheath of the bow brown and grained, and also that of the quiver and of the scimitar. On the 5th of March, while in Paris, I visited the Hôtel de la Marine, and I came Face to Face with Emperor Ioannis VIII Palaiologos. Pisanello’s famous Medallion of the penultimate Byzantine Emperor was among the selected artifacts presented at the Exhibition Ca’ d’Oro, Masterpieces of the Renaissance in Venice (November 30, 2022 – May 7, 2023). I was touched… Some Preparatory Drawings for Pisanello’s Medallion of John VIII Palaeologus, by Michael Vickers, The Art Bulletin, Vol. 60, No. 3 (Sep. 1978), pp. 417-424 (8 pages) https://www.jstor.org/stable/3049816?read-now=1&seq=8#page_scan_tab_contents

Pisanello’s Medallion and two pages with preparatory drawings and comments, by Pisanello as well, one in the Louvre, the other in the Art Institute of Chicago, are vital in reconstructing the features and the physique of the Emperor. The Medallion I saw in Paris, like the rest of the exhibited artworks, loans from the Galleria Giorgio Franchetti at the Ca’ D’Oro, Venice, was an opportunity to read and refresh my knowledge of Ioannis VIII Palaionogos… his ‘works and days.’ https://www.thealthanicollection.com/hdlm/ca-doro-masterpieces-of-the-renaissance-in-venice

Ioannis VIII Palaiologos (or John VIII Palaiologos) was a Byzantine Emperor who ruled from 1425 to 1448. He was born on December 18, 1392, as the oldest son of Emperor Manuel II Palaiologos and Helena Dragaš. He was an intellectual, well-educated, and a patron of arts and learning. He was fluent in several languages, including Greek, Latin, and some Turkish. His reign was marked by a series of desperate attempts to save the Byzantine Empire from its rapid decline, particularly due to the increasing pressure from the Ottoman Empire.

In an effort to save his empire, he sought the aid of the West by advocating for a union of the Eastern Orthodox Church and the Roman Catholic Church. This led him to attend the Council of Ferrara/Florence (1438-1439), where he personally negotiated with Western leaders and agreed to a theological compromise that would allow for the churches to reunite. However, this decision was met with strong opposition from many within the Byzantine Empire, particularly the clergy and the people who saw the reunion as a betrayal of their Orthodox faith. Ultimately, the church union failed to secure the military and financial assistance Ioannis had hoped for, and the empire’s decline, continued, with a loss of territory and influence. Ioannis VIII Palaiologos died on October 31, 1448. Five years later, the Byzantine Empire ceased to exist. It was the 29th of May, 1453.

The Medallion of John VIII Palaiologos is a bronze portrait medal created by the renowned Italian artist Pisanello in 1438. This medallion, an outstanding example of Renaissance art, is considered one of the earliest examples of portrait medals in the history of art and stands as a testament to the diplomatic, cultural, and artistic exchanges that occurred during this tumultuous period in history. The medal is not only significant for its portrayal of the Byzantine Emperor but also for its role in the development of the art of medal-making in Europe.

Pisanello, c. 1395 – 1455
Medal with John VIII Palaeologus (Ioánnis VIII), Emperor of Constantinople, 1438, National Gallery of Art, Washington, DC, USA
https://www.nga.gov/collection/artist-info.2228.html#works

Looking at Pisanello’s portrait of the Emperor, I wonder how John VIII Palaiologos felt during his trip to Italy. I am sure he hoped that by engaging in negotiations and pushing for the reunification of the Eastern Orthodox and Roman Catholic Churches, he could secure much-needed assistance from Western Europe. At the same time, he was also likely to have felt anxiety and pressure. The theological differences between the two churches were deeply rooted, and reaching a compromise would be a delicate and complex process. Furthermore, the Byzantine Emperor had to navigate diplomatic and protocol arrangements that were probably, at times, difficult and offensive, to put it politely.

Pisanello keeps his distance from the political intrigues and nuances. On the obverse side, the Emperor is depicted, in profile, dignified, imposing, and elegantly groomed. The artist displays individualized facial features, such as his well-groomed beard, high forehead, and strong nose. These details suggest an attempt to capture the likeness of the Emperor, rather than relying on stylized or idealized forms that were common in earlier periods. The clothing and adornments the Emperor wears, like his characteristic hat, reflect the luxurious aspects of Byzantine culture and provide a sense of authenticity to his portrayal. Around the perimeter of the obverse side, an inscription, in Greek, identifies the Emperor by name and title.

The reverse side of Pisanello’s Medallion, ‘signed’ by the artist in Latin and Greek, shows something entirely different. The Emperor, identified by his characteristic hat, is depicted astride his famous Eastern European horse, groomed for hunting. He is probably presented in the area of his residence, a convent outside Ferrara, where he indulged in his passion for the chase during the autumn of 1438. Was the Emperor depicted enjoying ‘personal time’ of relaxation, away from tension and stress? I wish he did…

For a PowerPoint inspired by Face to Face with Emperor Ioannis VIII Palaiologos, please… Check HERE!

For Face to Face with Emperor Ioannis VIII Palaiologos and Pisanello’s Medallion, please Check…

Some Prepatory Drawings for Pisanello’s Medallion of John VIII Palaeologus, by Michael Vickers, The Art Bulletin, Vol. 60, No. 3 (September 1978), pp. 417-424 (8 pages) https://www.jstor.org/stable/3049816?read-now=1&seq=8#page_scan_tab_contents

Some Notes on Pisanello and the Council of Florence, by James A. Fasanelli, Master Drawings, Vol. 3, No. 1 (Spring, 1965), pp. 36-47+84-93 (22 pages) https://www.jstor.org/stable/1552781?read-now=1&seq=10#page_scan_tab_contents

The Emperor John VIII Slept Here… by Kenneth M. Setton, Speculum, Vol. 33, No. 2 (April 1958), pp. 222-228 (8 pages) https://www.jstor.org/stable/2850780?read-now=1&seq=8#page_scan_tab_contents

April by Lucien Pissarro

by 19th century ArtArtFrench ArtImpressionismStudent ActivitiesWorksheets
Lucien Pissarro, French Artist, 1863–1944
April, Epping, 1894, Oil paint on canvas, 603 × 730 mm, Tate, London, UK
https://www.tate.org.uk/art/research-publications/camden-town-group/lucien-pissarro-april-epping-r1139298

Oh, to be in England / Now that April’s there, / And whoever wakes in England / Sees, some morning, unaware, / That the lowest boughs and the brushwood sheaf / Round the elm-tree bole are in tiny leaf, / While the chaffinch sings on the orchard bough / In England—now! Robert Browning probably wrote Home-Thoughts, from Abroad in 1845, while he was staying in Italy, homesick of the English countryside during a glorious April morning! Interestingly, April by Lucien Pissarro is an Impressionistic painting of a similar April morning by a French artist living in England! https://www.poetryfoundation.org/poems/43758/home-thoughts-from-abroad

Lucien Pissarro was a French painter, printmaker, and etcher. He was born on February 20, 1863, in Paris, France, and was the oldest son of the Impressionist painter Camille Pissarro. He began his artistic education at a young age, studying under his father and at the École des Beaux-Arts in Paris. In 1884, he began exhibiting his work in Impressionist exhibitions, and in 1886, he participated in the 8th and final Impressionist exhibition. In 1888, Pissarro moved to London, where he became a member of the New English Art Club and began to develop his own unique style, influenced by the work of the Pre-Raphaelites and Japanese prints. He spent the next two decades in London, exhibiting his work and participating in the city’s art scene. https://www.tate.org.uk/art/research-publications/camden-town-group/lucien-pissarro-r1105344

Portrait of Lucien Pissarro, c.1937, Photograph, black and white, on paper, taken by Lafayette Ltd, London, Tate Archive, London, UK
https://www.tate.org.uk/art/research-publications/camden-town-group/lucien-pissarro-r1105344

In 1910, Pissarro returned to France and settled in the small town of Éragny-sur-Epte, where he focused on painting landscapes and rural scenes. He continued to exhibit his work, and in 1913, he was awarded the Légion d’honneur. Pissarro’s work is characterized by his use of vibrant colors, bold brushstrokes, and a focus on nature. He is considered to be one of the most important Impressionist painters of the 20th century. Pissarro died on July 10, 1944, in Éragny-sur-Epte, France. https://www.tate.org.uk/art/research-publications/camden-town-group/lucien-pissarro-r1105344

According to the TATE experts David Fraser Jenkins and Helena Bonet, …Lucien Pissarro exhibited April, Epping at the New English Art Club in November–December 1904, where he renewed contact with artists, he had met more than ten years earlier. He was invited to join Walter Sickert’s Fitzroy Street Group in 1907, and so became acquainted with those who went on to form the Camden Town Group in 1911. For the younger artists of the group in particular, Pissarro represented a direct link to the origins of impressionism and neo-impressionism, his father Camille being a great inspiration, as well as his friends Seurat, Signac, and van Gogh. The influence of Pissarro’s style and technique can be traced in the work of Spencer Gore, Harold Gilman, William Ratcliffe and James Bolivar Manson in particular. Sickert wrote of this influence in the New Age in May 1914: ‘Mr. Pissarro, holding the exceptional position at once of an original talent, and of the pupil of his father, the authoritative depository of a mass of inherited knowledge and experience, has certainly served us as a guide, or, let us say, a dictionary of theory and practice on the road we have elected to travel.’ https://www.tate.org.uk/art/research-publications/camden-town-group/lucien-pissarro-r1105344

Created just a few years after he settled in England, April, Epping is for Lucien Pissarro a new approach to Landscape painting. He breaks away from the ‘teachings’ of Georges Seurat and Paul Signac, the ‘neo-impressionist’ or ‘divisionist’ artists with whom he had been friend in Paris, and he creates a landscape painting characterized by thick, visible brushstrokes, and a strong emphasis on light and color. He uses ordered, criss-crossed touches of paint, mostly light green but with a variety of other colours, showing recession by means of colour, and he uses touches of orange, mauve and blue paints among the green of the meadow, to re-introduce the key principle of impressionism, that, of coloured shadows. In May 1894 Lucien Pissarro wrote to his father asking for new materials and …short brushes, like the ones Cézanne used … because I am going to try to paint in an entirely different way. Did he? https://www.tate.org.uk/art/research-publications/camden-town-group/lucien-pissarro-april-epping-r1139298

For a Student Activity, please… Check HERE!

Raiment of the Soul

by 1821-Greek Independence Day20th century ArtArtGreek ArtStudent Activities
Photographer Vangelis Kyris and Artist of Embroidery Anatoli Georgiev
Costume of Dimitrios Mavromichlis, 19th century, Hand finished silver embroidery, using silver stitching carousel and cord, on printed cotton canvas, 126×104 cm. https://gallerykourd.gr/el/raiment-of-the-soul-2/

”The focus of this exhibition is the traditional Greek costume. Simple or more elaborate, everyday or festive, with embroidery and gold decorations, it is not a simple garment. It is a complex semiotic portrait of the person who wears it” said President of the Republic Katerina Sakellaropoulou in her greeting at the opening of the exhibition Raiment of the Soul at the Acropolis Museum (December 20, 2022, until April 2, 2023).https://www.greeknewsagenda.gr/topics/culture-society/7819-raiment-of-the-soul

There are seventy artworks presented in this fine exhibition. They are embroidered photographs of garments and costumes mostly of the 19th century, safeguarded in the past and present with the love and care of people, mainly the personnel of the National Historical Museum of Athens, but also of other Greek Museums. Two artists are responsible for this unique body of work, photographer Vangelis Kyris and artist of embroidery Anatoli Georgiev. They collaborated with Museums holding these precious costumes and chose the ‘right’ contemporary models to wear them. Then, Vangelis Kyris photographed each model capturing the essence of the costume she/he wore. When the photos were printed on large pieces of cotton canvases, majestic like Renaissance paintings, Anatoli Georgiev, using gold or silver thread stitching, silk or cotton threads, cord, sequins, metallic or knitted buttons… embroidered seminal parts of the costume’s original needlework, creating ‘poetry’ through texture. https://www.theacropolismuseum.gr/en/temporary-exhibitions/raiment-soul

The artists see their project, as a  journey from the past to the future, with the present as a boat. For Vangelis Kyris beauty is what soothes your gaze and educates your soul, and for Anatoli Georgiev, it is Measure, balance, the feeling that what you see elevates your aesthetics.https://www.ifocus.gr/magazine/editors-choice/3044-xronia-polla-ellada-me-endyma-psyxis and https://www.womantoc.gr/stories/article/afto-pou-anakoufizei-to-vlemma-sou-mia-ksexoristi-ekthesi-gia-tin-oraiotita-ton-pragmaton/

For me, Raiment of the Soul is the best way to Celebrate Greece and its  Independence Day!

Photographer Vangelis Kyris and Artist of Embroidery Anatoli Georgiev
Costume of Dimitrios Mavromichlis, 19th century, Hand finished silver embroidery, using silver stitching carousel and cord, on printed cotton canvas, 126×104 cm.
https://gegonota.news/2023/01/25/endyma-psychis-20-dekemvriou-2022-26-martiou-2023/

Demetrios Mavromichalis was the fifth son of Petrobeis Mavromichalis. He was born in Mani, and lived for many years in Paris, upon his return he followed a military career, reaching the rank of lieutenant general. He was a supporter of King Otto I of Greece and took part in the revolution of 1862. As a politician, he participated in the governments of Voulgaris, Kanaris, and Benizelos Roufos. Presented by Kyros and Georgiev in the Acropolis Museum Exhibition, Mavromichalis’s Portrait comes alive and embodies the spirit of Greece through colours, movement, and texture.

Photographer Vangelis Kyris and Artist of Embroidery Anatoli Georgiev
Esther Mastrogianni wearing the Epirote Costume of Kyra Frosyni, 18th century, Hand finished gold embroidery using cord, stitching, and metal sequins on printed cotton canvas, 130×170 cm. https://www.theacropolismuseum.gr/en/temporary-exhibitions/raiment-soul
Acropolis Museum View of the Exhibition Raiment of the Soul with the original Costume of Kyra Frosyni in the Collection of the National Historical Museum of Athens https://www.okmag.gr/lifestyle/protaseis/endyma-psychis-mia-monadiki-ekthesi-me-endymasies-istorikon-prosopon-sto-mouseio-tis-akropolis-me-protovoulia-tis-mariannas-vardinogianni/

Euphrosyne Vasileiou is better known as Kyra Frosini. She lived in Ioannina, in Epirus and she was famous for her beauty and spirit. Kyra Frosyni was executed for adultery in Ioannina by the Ottoman governor Ali Pasha of Ioannina along with 17 other women. She was allegedly executed for political reasons and was thereby viewed as a national heroine. Her violet-coloured dress represents the finest of 18th century Greek craftsmanship. The Kyros and Georgiev Portrait of Kyra Frosyni is ‘alive’ and stunningly ‘beautiful’ in its regal disposition.

Photographer Vangelis Kyris and Artist of Embroidery Anatoli Georgiev
Anatoli Georgiev wearing the attire of Vaso Brajević a Serbian general who became a hero of the Greek War of Independence known by the nickname Mavrovouniotis (“Montenegrin”), 19th century Greek traditional costume, Hand finished gold embroidery using gold  metal thread, stitching, cord and metal sequins, on printed cotton canvas, 126×103 cm. https://www.greeknewsagenda.gr/topics/culture-society/7819-raiment-of-the-soul
Protected…until the day…detail from the costume of Vasos Mavrovouniotis… by Vangelis Kyris https://www.facebook.com/v.kyris/photos/a.598821666844976/2920413098019143?locale=el_GR

Vaso Brajević was a Serbian general who became a hero of the Greek War of Independence known by the nickname Mavrovouniotis (“Montenegrin”). His life was adventurous, risk-taking, and bold. Anatoli Georgiev wearing the attire of Vaso Brajević  Mavdovouniotis presents a striking and dramatic Portrait of a truly revolutionary personality of a harsh but ‘Romantic’ era.  

For Student Activities on the Greek War of Independence, please… Click HERE!

For a short Video on the Exhibition Raiment of the Soul, prepared by the Acropolis Museum, Click… https://www.theacropolismuseum.gr/en/temporary-exhibitions/raiment-soul

GIOVANNI BELLINI Influences croisées

by ArtItalian Renaissance ArtRenaissanceStudent ActivitiesVenetian ArtWorksheets
Giovanni Bellini, c. 1435/40 – 1516
The Madonna and Child at a Ledge with an Apple: “The Philips Madonna”, c.1459-1460, tempera, oil and gold on a panel of poplar, 76.8 x 53 cm,  Private collection
https://www.sortiraparis.com/album-photo/101484-exposition-giovanni-bellini-musee-jacquemart-andre

Giovanni Bellini opened the way to the art of colour and tones that came to be characteristic of the art of the sixteenth century in Venice… write the Musée Jacquemart-André experts, Neville Rowley and Pierre Curie, introducing the Exhibition GIOVANNI BELLINI Influences croisées (Paris, from 3 March to 17 July 2023). For a private, intimate, Museum like the Jacquemart-André, gathering fifty artworks of the great Venetian master, from public and private European collections, some of which were put on display for the first time, this exhibition was one more great accomplishment. The Exhibition’s goal is to compare the artist’s works with those of his intellectual models, and thus showcase how his artistic language has never ceased to renew itself while developing its very own unique style. Not an easy task… but in creating an effective ‘dialogue’ between Bellini’s works and the ‘models’ that inspired them… the Museum experts were successful in organizing a most interesting Exhibition! While in Paris for four days, the Musée Jacquemart-André Exhibition on Bellini was the first to visit, and thoroughly enjoy it! https://www.musee-jacquemart-andre.com/en/giovanni-bellini

The Exhibition Poster at the Musée Jacquemart-André

Giovanni Bellini (c. 1430 – 1516) was an Italian Renaissance painter, considered one of the greatest Venetian painters of the 15th century. Born in Venice, he was part of a famous family of artists, including his father Jacopo Bellini, his brother Gentile, and his brother-in-law Andrea Mantegna. His style is characterized by the use of rich, glowing colors, an interest in light and atmospheric effects, and his ability to create a sense of depth and space in his paintings. He is known for his religious paintings, which often featured devotional themes such as the Madonna and Child.

Giovanni Bellini, c. 1435/40 – 1516
The Madonna and Child at a Ledge with an Apple: “The Philips Madonna”, c.1459-1460, tempera, oil, and gold on a panel of poplar, 76.8 x 53 cm,  Private collection
https://www.sothebys.com/en/buy/auction/2022/master-paintings-sculpture-part-i/the-madonna-and-child-at-a-ledge-with-an-apple-the

The Madonna and Child at a Ledge with an Apple, also known as The Philips Madonna, caught my eye. I am always attracted to Byzantine-influenced Venetian paintings of the Madonna, and Bellini’s Phillips Madonna, painted circa 1460 was no exception. In 1453, when Constantinople fell into the hands of the Ottoman Empire, thousands of refugees flocked to Venice, bringing with them many Greek manuscripts, icons, and relics. It was only natural for the young artist, who had just set up an independent workshop in 1459 in the parish of San Lio, near the Rialto Bridge, to be attracted to an artistic tradition with deep roots in his native city. https://www.musee-jacquemart-andre.com/en/giovanni-bellini

My amateurish iPhone attempt…

Yet, Bellini’s progressive approach to the subject of the Madonna and Child is evident. The Philips Madonna gold ground on which the image is painted represents the Byzantine influence still evident and popular in the city of Venice, but the dynamism of the pose of the figure of the infant Christ… demonstrates Bellini’s awareness of the “new style” being formulated throughout Italy. https://www.sothebys.com/en/buy/auction/2022/master-paintings-sculpture-part-i/the-madonna-and-child-at-a-ledge-with-an-apple-the

Giovanni Bellini, c. 1435/40 – 1516
The Madonna and Child at a Ledge with an Apple: “The Philips Madonna”, c.1459-1460, tempera, oil and gold on a panel of poplar, 76.8 x 53 cm,  Private collection
https://www.sothebys.com/en/buy/auction/2022/master-paintings-sculpture-part-i/the-madonna-and-child-at-a-ledge-with-an-apple-the
Attributed to Donatello, 1386–1466
Madonna and Child (The Borromeo Madonna), circa 1450, terracotta, 83.5×52.1 cm, Kimbell Art Museum, TX, USA https://commons.wikimedia.org/wiki/File:Donatello_Borromeo_Madonna_Kimbell.jpg
Putti of the throne of Saturn, 1st century AD, marble, 58,5 x 69 cm, National Archaeological Museum of Venice https://www.facebook.com/archeovenezia/photos/a.335181736569328/3017256798361795/?type=3

According to Sotheby’s experts, who auctioned the painting on the 27th of January 2022, Bellini’s composition echoes the terracotta reliefs of this same theme by Donatello, whose own work had made such an impression in Venetian artistic circles during the previous two decades. The painting’s Child is also connected, by Mauro Lucco, to the putti in the so-called “Trono di Saturno,” a pair of ancient reliefs that decorated an archway between Piazza San Marco and the Frezzaria. These amazing Roman bas-reliefs furnished inspiration not just for Donatello and Giovanni Bellini, but also for Mantegna, Titian, and Sansovino.

A delightful painting in an Exhibition worth visiting!

For a Student Activity on GIOVANNI BELLINI Influences croisées, please… Check HERE!