Thaleia Flora Karavia was a prominent Greek painter known for her vibrant depictions of everyday life, her contributions to war art, and her involvement in the Greek artistic community. Born in Siatista, in northern Greece, she moved to Constantinople as a child in 1874, where she pursued her education at the Zappeion Girls’ School, and received her early artistic education. After graduation, she spent a year teaching, but her passion for painting soon led her to Munich in 1895. There, she attended private schools and received training from renowned artists such as Nikolaos Vokos, Georgios Ιakovidιs, Nikolaos Gyzis, Paul Nauen, Anton Azbe, Walter Thor, and Fer.
The artist returned to Constantinople in 1898, but her artistic journey called her back to Munich, where she stayed until 1900. Upon her final return to Constantinople, she travelled extensively across various European cities. In 1907, she married journalist Nikolaos Karavias during a visit to Egypt. The couple settled in Alexandria, where Flora Karavia lived for thirty years. During her time there, she was highly active in the art community, founding and personally running an Artistic School.
Karavia’s work is distinguished by impeccable draftsmanship, harmonious composition, a delicate approach to colour, and an acute sense of realism. She excelled in a diverse range of subjects, including portraits, landscapes, still life, and genre scenes, capturing the essence of Greek life and culture. Initially, she adhered to the conservative guidelines of the Academy, but eventually embraced the principles of impressionism and plein-air painting. Beyond her canvas work, she also illustrated literary texts and designed lottery tickets to support the Greek National Fleet, showcasing her versatility and commitment to both art and national causes.
A particular favourite is the artist’s painting of Girl on the Beach, as it captures a serene but joyful moment, emphasizing her mastery of light and colour. The painting depicts a smiling, young girl seated on a sun-drenched beach, gazing at the viewer, her back out at the summer sea. The composition is both simple and evocative, with the girl positioned at the center, creating a sense of balance and harmony. Flora Karavia’s use of soft, warm tones reflects the gentle sunlight, casting delicate shadows that add depth and realism to the scene. The brushwork is fluid yet precise, capturing the textures of the gentle ripples of the water, and the girl’s curly hair. This painting highlights Flora Karavia’s ability to convey a mood of peaceful introspection and her keen observation of the natural world. Through this work, she invites the viewer to share in a happy moment of joyful reflection, making it a poignant example of her artistic sensitivity and skill.
During the Balkan Wars (1912-1913) and World War I, Karavia was one of the few female war artists who documented the experiences of soldiers and the impact of the wars on Greece. Her war art provides a unique and personal perspective on conflicts, focusing on the human side of war rather than the strategic or political aspects.
Apart from her painting, Flora Karavia was also an active member of the Greek artistic community, participating in exhibitions and promoting the arts in Greece. She was associated with the Art Group “Techni,” which played a crucial role in the development of modern Greek art.
Throughout her career, Thaleia Flora Karavia’s works were celebrated for their emotional depth, technical skill, and dedication to portraying the human condition. Her legacy continues to be honoured in Greece, where she is considered a significant figure in the nation’s art history.
For a PowerPoint titled 10 Portraits of Women by Thaleia Flora Karavia, please… Check HERE!
Byzantine Casket with Mythological and Combat Scenes, 4th quarter of the 10th century, Ivory, 11.5×41.5×17.5 cm, Musée de Cluny, Paris, France (Photo Credit: Amalia Spiliakou, May 2023)
Byzantine Ivory Caskets, also known as covered boxes, represent exquisite examples of medieval artistry and craftsmanship. These small, intricately carved containers were crafted in the Byzantine Empire during the early medieval period, primarily between the 6th and 12th centuries. Made from luxurious materials such as ivory, these Caskets served a variety of purposes, ranging from holding religious relics to storing precious items like jewelry or cosmetics. Adorned with elaborate motifs, often depicting religious scenes, mythological figures, or intricate geometric patterns, Byzantine Ivory Caskets not only served functional roles but also conveyed the wealth, power, and artistic sophistication of the Byzantine civilization. These objects provide valuable insights into the social, cultural, and religious contexts of the Byzantine Empire.
In the present day, around 125 ivory Caskets endure, each bearing its unique journey through time and wear, with approximately 50 adorned in secular motifs. These elegant Caskets stand as a testament to Byzantine artistry, representing a remarkable legacy of secular expression preserved amidst the sands of time. Their survival marks them as the paramount example of Byzantine secular art, offering a glimpse into the aesthetic tastes and cultural nuances of an empire steeped in opulence and sophistication.
Intricately carved and made of transverse sections of elephant tusks, the Byzantine Caskets were more than mere receptacles; they were vessels of cultural significance and practical utility. Their intricate reliefs, often depicting a blend of pagan mythology and Christian iconography, hint at their multifaceted functions. Those adorned with scenes of Christ’s miraculous healings likely served as vessels for safeguarding the sacred elements of the Eucharist, underscoring their role in religious rituals and devotion. Conversely, Caskets embellished with pagan motifs might have been employed for storing personal effects like valuable documents, cosmetics or jewelry, reflecting the interplay between secular and religious spheres in Byzantine society. Though their precise origins remain elusive, scholars speculate that these Caskets were crafted in Constantinople or the Byzantine provinces of North Africa or Syria-Palestine, regions renowned for their ivory craftsmanship. Despite the enigma surrounding their provenance, Byzantine Ivory Caskets endure as tangible manifestations of the empire’s artistic prowess and spiritual fervour.
During the Byzantine period, ivory held a revered status as a symbol of luxury, prestige, and religious devotion. The Byzantines prized ivory for its exceptional beauty and workability, utilizing it in a myriad of contexts ranging from religious artefacts to secular luxury items. Ivory was extensively employed in the creation of intricate carvings, including religious icons, diptychs, and triptychs, which adorned churches, palaces, and private collections and Caskets as containers of precious secular or religious treasures. These exquisite ivory artworks served not only as expressions of faith but also as tangible manifestations of wealth and power. Furthermore, ivory was utilized in the production of practical items such as furniture inlays, game pieces, and personal accessories, reflecting its versatility and widespread appeal across various aspects of Byzantine society. The use of ivory persisted throughout the Byzantine period, leaving an indelible mark on the art, culture, and material wealth of the empire.
Among these remarkable artefacts, the Byzantine ivory Casket of the Musée de Cluny in Paris stands as one of my favourites. Crafted in Constantinople around the turn of the millennium, this Casket is a testament to the refined tastes of the secular elites within the court of the Macedonian dynasty. Delicately adorned with finely carved ivory panels, it depicts intricate scenes drawn from the legendary exploits of Heracles and various other tales of Greek mythology to epic battles and chariot races. Each panel is a masterpiece of craftsmanship, capturing the essence of both ancient lore and medieval life. Undoubtedly intended for domestic use within the opulent confines of aristocratic households, this Casket serves as a tangible link between the classical past and the burgeoning cultural landscape of Byzantium.
As one marvels at this masterpiece within the halls of the Cluny Museum, one cannot help but be transported back in time, envisioning the opulence and splendour of the Byzantine era.
For a PowerPoint Presentation, please… Check HERE!
Lion from a grave monument, 4th century BC, White Marble, Height: 41.5 cm, Paul and Alexandra Canellopoulos Museum, Athens, Greece – Photo Credit: Amalia Spiliakou, Museum of Cycladic Art, Chaeronea, 2 August 338 BC: A day that changed the world Exhibition, February 2024
The lion sits on his haunches and looks straight ahead, with his mouth half open, evidently portrayed as growling. Anatomical details of the head have been realistically rendered. The eyes are small and fairly deeply set, the nose flat and wide. The slender, supple body and the swelling of the chest and leg muscles suggest tension. The rich mane has dense, thick, unruly curls, that were divided from each other by means of a drill. They cover the head, the upper part of the spine, the neck and the upper part of the chest. A crest of curls runs down the spinal ridge. The curls are rendered without the sharp tips that are usual on the Attic lions of the 4th century B.C. The long tail runs under the right hind leg and in snake-like curves ends in a tuft over the right haunch. This is how the Lion from a Grave Monument in the Canellopoulos Museum is described by the Museum experts, and I couldn’t agree more… https://camu.gr/en/item/epitymvio-liontari/
On the 17th of February, while visiting the Chaeronea, 2 August 338 BC: A Day That Changed the World Exhibition at the Cycladic Museum, I was captivated by the Lion from the Canellopoulos Museum. The statue’s imposing presence immediately drew my thoughts to grave monuments of lions in ancient Greek art, which are emblematic of power, courage, and enduring legacy. These sculptures, often placed atop graves, served as guardians and symbols of honour for the deceased. The lion’s fierce yet dignified expression evoked the valour of fallen warriors and the deep respect afforded to them in Greek culture. This connection underscored the lion’s role as a potent symbol across various contexts, from battlefield commemorations to funerary art, illustrating the profound layers of meaning that these majestic creatures held in ancient Greek society.
Lion from a grave monument, 4th century BC, White Marble, Height: 41.5 cm, Paul and Alexandra Canellopoulos Museum, Athens, Greece – Photo Credit: Amalia Spiliakou, Museum of Cycladic Art, Chaeronea, 2 August 338 BC: A day that changed the world Exhibition, February 2024
At the Chaeronea Exhibition, the Canellopoulos Lion is placed facing a sketch showing how the deceased were positioned in the Polyandrion of the Theban Sacred Band. This arrangement piques my eagerness to examine the monumental Lion of Chaeronea as well. This iconic grave monument, erected to honour the fallen Theban warriors of the Battle of Chaeronea, embodies the valour and enduring legacy of those who perished. Both sculptures’ powerful presence and dignified expression serve as a testament to the ancient Greeks’ deep reverence for their heroes, making them a compelling subject for exploration.
The Lion of Chaeronea stands as a significant symbol of ancient Greek history, commemorating the Battle of Chaeronea in 338 BCE, where Philip II of Macedon and his son, Alexander the Great, decisively defeated the combined forces of Athens and Thebes. This battle marked the end of Greek city-states’ independence and the rise of Macedonian dominance, setting the stage for Alexander’s future conquests and the spread of Hellenistic culture. The monument is believed to honour the Sacred Band of Thebes, an elite military unit renowned for its bravery and cohesion, which was annihilated during the battle. The Lion of Chaeronea thus serves as both a memorial to the fallen soldiers and a pivotal marker of the power shift that shaped the course of Western civilization.
According to the Chaeronea Museum experts… At the entrance of Chaeronea, at a distance of 13 kilometres from the city of Livadia, stands a marble pedestal with a large lion. The tomb monument was erected in honour of the Theban soldiers of the ‘sacred band’ who fell in the Battle of Chaeronea in 338 BC, in which the Macedonians emerged victorious. When after his victory Philip II allowed the burial of the dead, the Lion of Chaeronea was erected to mark their burial place. Indeed, excavations at the site brought to light the skeletons of 254 men and some of their weapons.
The statue of the Lion is 5.30 meters tall and is depicted sitting on his hind legs. The lion is considered to symbolize the heroism of the soldiers of Thebes, which Philip II himself had recognized. The Lion was revealed after excavations in 1818, broken into five pieces. It was restored standing on a 3-meter-high pedestal. Today it is located next to the Archaeological Museum of Chaeronea, in front of a row of cypress trees.
Dolphin Frieze, Second half of the 13th century BC, Fresco, from the Mycenaean Acropolis of Gla in Boeotia, Archaeological Museum of Thebes, Greece – Photo Credit: Amalia Spiliakou, February 19, 2024
On February 19, 2024, I fulfilled a long-awaited wish by visiting the Archaeological Museum of Thebes, one of Greece’s most significant archaeological museums. The collections, some of which are rare or unique, have been on my bucket list for quite some time. These artefacts, originating from excavations across Boeotia, span from the Paleolithic era to post-Byzantine times, providing a comprehensive view of the region’s cultural history. The Dolphin Frieze from the Mycenaean Acropolis of Gla was at the top of my list; seeing it in person was a moment of sheer delight and fulfilment.
The Mycenaean period is of profound significance in both art and history, acting as a vital cultural link between the Bronze Age civilizations of the Aegean and the classical world of ancient Greece. Artefacts from this era, ranging from architecture to fresco painting and pottery, illuminate the emergence of distinct artistic styles and techniques that greatly influenced classical Greek artistry. Mycenaean builders demonstrated their prowess through the construction of grand palaces, robust fortifications, and imposing tombs, showcasing advanced architectural and engineering capabilities. Their vibrant fresco paintings, characterized by bold depictions of figures, animals, and geometric patterns, stand as a testament to their artistic abilities. Moreover, the Mycenaean civilization played a pivotal role in shaping the socio-political landscape of ancient Greece, laying the groundwork for the development of Greek culture and identity.
The least known of all Mycenaean Palaces is probably that of Gla in Central Greece. Perched atop a rugged hill, the Mycenaean Acropolis of Gla is a site of historical and archaeological significance dating back to the Late Bronze Age. This fortified settlement, strategically positioned on the Boeotian plain jutted into Lake Kopais (now drained) or formed an island within it. It served as a vital center of the Mycenaean civilization, showcasing the architectural prowess and strategic foresight of its ancient inhabitants. With its imposing Cyclopean Walls, about 3 m thick, and 2.8 km long, enclosing about 235,000 square meters of land, and commanding views, the Acropolis of Gla stands as a testament to the military and cultural achievements of the Mycenaeans, offering invaluable insights into their society, economy, and interactions within the broader Aegean world.
The Acropolis of Gla is famously associated with the ambitious endeavour to drain Lake Kopais, a feat considered unparalleled in Bronze Age antiquity, highlighting the advanced technical knowledge possessed by Mycenaean engineers. It is also known for its sheer magnitude and complexity. Encircled by robust Cyclopean Walls featuring four gates constructed from imposing stone blocks, Gla reigns as the largest fortified Mycenaean Acropolis within Greek territory. Less known, but equally important is the site’s residential area, a sprawling L-shaped edifice, often hailed as a ‘Palace’, and situated in the site’s northern expanse. Built atop an engineered plateau, this ‘Palace’ or, Melathron’, unfolds into three distinct sections, featuring a layout reminiscent of the renowned Megaron structures found in ancient centers like Tiryns, Mycenae, and Pylos. However, the absence of hallmark Mycenaean Palace elements, specifically a “throne room”, a circular hearth, and a “bathroom”, raises questions about its classification as a fully-fledged Mycenaean Megaron.
Among the buildings’ debris, archaeologists discovered as early as 1893, evidence of a wastewater system, unique clay roof tiles suggesting pitched roofs, and evidence of decorative wall frescoes, damaged and fragmentary, but extremely precious. Today, these fragments, discovered in the elongated East Wing of the South Enclosure, during excavations conducted by S. Iakovidis, in the early 1980s and 1990s are exhibited in the Archaeological Museum of Thebes. The most remarkable of these fragments show diving Dolphins and parts of other maritime scenes, including large Argonauts. These fresco fragments were expertly reconstructed by Christos Boulotis. (See Bibliography)
Dolphin Frieze, Second half of the 13th century BC, Fresco, from the Mycenaean Acropolis of Gla in Boeotia, Archaeological Museum of Thebes, Greece – Photo Credit: Amalia Spiliakou, February 19, 2024
The Dolphin Fresco from the Mycenaean Acropolis of Gla is a remarkable artefact that showcases an unusual naturalism and a sophisticated understanding of marine life, captured through the depiction of Dolphins with an astonishing level of detail and realism. These elegant creatures, spanning 75 to 80 cm in height, are painted against a vivid blue background, highlighting their dynamic forms and graceful postures. The Dolphins, numbering between six and seven, are depicted in a uniform size and posture, their bodies elegantly curved into open arches or crescents, embodying the fluidity and grace of living dolphins. Their upper bodies are painted black, featuring a triangular dorsal fin, while their bellies are a contrasting white, delineated from the black with yellow stripes. Their eyes are almond-shaped, set against a yellow background, adding a striking detail to their overall appearance.
The use of colours in the Gla Dolphins fresco draws closer to the real hues of these marine creatures, with the black, white, and yellow providing a stark contrast to the deep blue sea they inhabit. This colour choice not only enhances the naturalism of the scene but also demonstrates the Mycenaeans’ advanced skills in pigment selection and application. Indeed, recent analyses have revealed the use of rare, imported lapis lazuli mixed with hematite and possibly an organic colour derived from murex, underscoring the significant effort and resources devoted to achieving the fresco’s vibrant colours.
This fresco, along with other Dolphin Paintings of the Aegean Bronze Age period demonstrates a persistence of themes drawn from nature within Mycenaean art, suggesting a deep-rooted appreciation for the natural world. The Gla Dolphins, with their lifelike appearance and intricate detailing, stand as a testament to the Mycenaean civilization’s artistic prowess and their enduring fascination with the sea and its inhabitants.
For a Student Activity, inspired by the Dolphin Freeze, please… Check HERE!
Maid of Athens, ere we part, / Give, oh give me back my heart! / Or, since that has left my breast, / Keep it now, and take the rest! / Hear my vow before I go, / Ζωή μου, σᾶς ἀγαπῶ. / By those tresses unconfined, / Wood by each Ægean wind; / By those lids whose jetty fringe / Kiss thy soft cheeks’ blooming tinge; / By those wild eyes like the roe, / Ζωή μου, σᾶς ἀγαπῶ. / By that lip I long to taste; / By that zone encircled waist; / By all the token-flowers that tell / What words can never speak so well; / By love’s alternate joy and woe. / Ζωή μου, σᾶς ἀγαπῶ. / Maid of Athens! I am gone: / Think of me, sweet! when alone. / Though I fly to Istambol, / Athens holds my heart and soul: / Can I cease to love thee? No! / Ζωή μου, σᾶς ἀγαπῶ. (Zoë mou, sas agapo – My Life, I love you)… wrote Lord Byron in 1810 while visiting Athens… https://allpoetry.com/Maid-Of-Athens,-Ere-We-Part
Lord Byron, the famous British poet, visited Greece in 1809-1810 as part of his Grand Tour of Europe and the Near East. He was motivated by a desire to explore the classical world and to see the ruins of antiquity. He was also interested in the politics of the region and was particularly intrigued by the ongoing struggles of the Greek people against Ottoman rule. Byron became a strong advocate of the Greek Struggle for Independence, donating money and resources to support the cause. His actions helped to raise awareness of the Greek cause and inspired other Europeans to support Greek independence as well. He is remembered as one of the most prominent philhellenes of the 19th century, the man whose influence on British public opinion helped the recognition of Greek independence by the British government.
Fascinated by the ancient Greek culture and history, Byron spent during 1810, several months in Athens, immersing himself in the local culture. Athens had a profound impact on his poetry, particularly in the creation of his epic poem Childe Harold’s Pilgrimage, which was published in 1812 and became a literary sensation. The poem is a reflection on the ruins of ancient Greece and the contemporary state of the country, which was still under Ottoman rule. Greece inspired him to write several other poems, such as The Curse of Minerva, The Isles of Greece,and The Siege of Corinth, all of which reflect his admiration for ancient Greece and its culture.
The Maid ofAthens is a poem by Lord Byron, published in 1810. It is a tribute to a Greek girl named Teresa Makri, whom the poet met during his first, 1810, stay in Athens. The poem expresses the speaker’s admiration for Teresa’s beauty and spirit, and his regret at not being able to spend more time with her. The poem is known for its romantic and exotic imagery and its evocation of the beauty and mystery of Greece.
In 1860, Theodoros Vryzakis, a 19th-century Greek painter, known for his historical and patriotic canvases depicting scenes from the Greek War of Independence, painted The Maid ofAthens, inspired by Byron’s famous poem.
According to the National Gallery of Greece citation… After his father was hanged by the Turks in 1821, Theodoros Vryzakis and his brother Euthymios were sent to the Capodistrias Orphanage on Aegina. In 1832, probably with the help of Ludwig Thiersch, a progressive educator in the Court of King Otto of Greece, he went to Munich where he studied at the Panhellenion, the Greek school founded by Ludwig I for the orphans of the veterans of the Greek War of Independence. In 1844, he was accepted by the Munich Academy of Fine Arts, and until 1855 continued on a scholarship financed by the Greek community in Munich. https://www.nationalgallery.gr/en/artist/vryzakis-theodoros/
From 1848 to 1851, still financed by the Greek community in Munich, Vryzakis returned to Greece for an extended visit. He aimed to study the landscape and the people of Greece so he could accurately depict them in his history paintings. Could the Maid of Athens be the result of such a study? I wish I could accurately say Yes or No!
Vryzakis’s painting of the Maid of Athens, a tribute to the famous Philhellene, Lord Byron, is characteristically executed in the artist’s classical romantic spirit. His style, clearly influenced by Neoclassicism, idealizes the girl’s features, emphasizing her dark hair and eyes. If the Maid of Athens is indeed Theresa Macri, the eldest daughter of Theodora Macri, the widow of a former English vice-consul, she is depicted as described by the artist, Hugh W. Williams, who visited Athens in May 1817… Theresa, the Maid of Athens, …has black, or dark hair and eyes; her visage is oval, and her complexion somewhat pale, with teeth of pearly whiteness. Her cheeks are rounded, her nose straight, rather inclined to aquiline. Her countenance, except when the conversation has something of mirth in it, may be said to be rather pensive. She is elegant, and her manners pleasing and lady-like, such as would be fascinating in any country… https://genius.com/Lord-byron-maid-of-athens-ere-we-part-annotated – Travels in Italy, Greece, etc., ii. 291, 292.
Celebrating the Greek Revolution of 1821 and remembering… people and events!
Anonymous Apulian Vase Painter, commonly called the Darius Painter, worked between 340 and 320 BC Darius Vase, 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece
On February 17, 2024, during my visit to Athens, Greece, I had the pleasure of attending an exceptional exhibition titled ‘NοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today, held at the Acropolis Museum. Curated by Professor Nikolaos Chr. Stampolidis and his associates, this exhibition forms a unique Tetralogy, wherein the Greek word ‘ΝΟΗΜΑ’ (‘Meaning’ in English) metaphorically transforms into a ‘ΝΗΜΑ’ (a ‘Thread’), weaving together diverse artworks including statues, reliefs, vases, coins, jewelry, Byzantine icons, and paintings. It marks a groundbreaking moment by uniting antiquity with Byzantium, Renaissance, and Modern Art for the first time. Among the Exhibition artworks that impressed me most was Darius Vase, a large Apulian Volute Krater from the Museo Archaeologico Nazionale di Napoli!
The Darius Vase is one such example of Apulian pottery. It dates back to the late 4th century BC, 330 to 300 BC to be specific. It was created by the so-called Darius Painter in Magna Graecia, standing as a testament to the mastery of Greek pottery during this period. This amazing Volute Krater, measuring approximately 1.15 meters in height and 1.93 meters in circumference, features intricate red-figure decoration with additional white and red paint. Its provenance traces back to the city of Taranto (ancient city of Taras), an area known for its production of fine ceramics. With its distinctive style and historical subject matter, the Darius Vase remains a vital piece for understanding both Greek artistry and the cultural exchanges between Greece and Magna Graecia during antiquity. The Darius Vase was discovered in 1851 near Canosa di Puglia and is now on display at the Museo Archaeologico Nazionale, in Naples.
Standing as a testament to the artistic finesse of ancient Greek Apulian pottery, the vase features a rich and complex iconography divided into four main zones or registers:
Top Register (Neck): The iconography of the Neck of the Darius Vase is subject to diverse interpretations. While some scholars argue that the combat scene depicted signifies the conflicts between Alexander the Great and Darius III, others propose that the scene may represent an earlier battle between Greeks and Persians or even an incident related to the Amazonomachy. Thus, the iconography of the Neck of the Darius Vase invites exploration into both historical narratives and mythological symbolism, providing a rich tapestry of cultural significance.
Anonymous Apulian Vase Painter, commonly called the Darius Painter, worked between 340 and 320 BC Darius Vase (Detail with Hellas, Zeus and Athena), 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy https://twitter.com/greece_heritage/status/1688905660803805184
The Second Register (from the top): A procession of Greek deities adds depth to the iconography, rich symbolism and mythological significance, as it portrays a visual narrative that intertwines Persian and Greek cultures. Artemis, the huntress, is depicted riding a stag, symbolizing her connection to the wilderness and fertility. Seated beside her is Apollo, God of light and music, cradling a swan, representing his multifaceted domains. Zeus, the king of the gods, is presented sitting in the middle, with a sceptre in his hand, the thunderbolt beside him and a winged Victory in front of him. He turns towards a woman who, as the inscription above her head states, is Hellas personified, accompanied by Athena, goddess of wisdom and warfare, fully armoured, ready for battle. Apate, the goddess of deceit, holds aloft two torches, perhaps suggesting the duality of truth and deception. Lastly, Asia, personified as a seated figure on an altar, is depicted in front of a Hermaic Stele. The arrangement of these figures on the vase not only showcases the artistic prowess of the era but also reflects the intricate interplay between Greek and Persian mythologies, offering insights into the complexities of ancient cultural exchange.
Anonymous Apulian Vase Painter, commonly called the Darius Painter, worked between 340 and 320 BC Darius Vase (Detail with Darius and the Messenger), 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy https://en.wikipedia.org/wiki/Darius_Vase
The Third Register: The protagonist of the third register, is Darius, the King of Persia. He is depicted in the center of the composition, seated on a luxurious throne with a footstool, holding a scepter in his right hand and a sword in his left hand, and is identified, like other figures, by an inscription. Standing before him, on a two-tiered circular plinth that bears the inscription PERSAI, is a bearded man, arm raised with three fingers extended, clearly delivering a message to the monarch. The messenger’s countenance betrays the gravity of his news, suggesting its unwelcome nature. The remaining figures represent members of Darius’s entourage, his bodyguard for example, and his officials, Greek and Persians alike.
Anonymous Apulian Vase Painter, commonly called the Darius Painter, worked between 340 and 320 BC Darius Vase (Tax Collecting scene), 340-320 BC, Ceramic Red-Figure Volute Crater, Clay, Height: 1.15 m, Archaeological Museum of Naples, Italy https://en.wikipedia.org/wiki/Darius_Vase
The Bottom Fourth Register: In the Bottom Register, a robed, bearded man takes center stage, seated before a table. In his left hand, he holds a diptych tablet inscribed with numbers, indicating his role in calculation. Ψῆφοι, that is white stones utilized by ancient mathematicians for arithmetic, are scattered across the table, emphasizing his pursuits. Flanking him, two ‘Persians’ approach, one bearing a bag of currency, the other presenting golden vessels, symbolic of their tribute. Meanwhile, additional ‘Persians’ kneel in deference, extending their hands in a gesture of submission. The scene vividly illustrates the dynamics of taxation and submission, with the Greek figure diligently calculating and recording the total, while the ‘Persians’ acknowledge their obligation to pay taxes and recognize Greek authority.
Is the composition of the Darius Vase inspired by an ancient Greek theatrical Drama? One interpretation suggests that the depicted events on the Darius Vase likely correspond to Alexander the Great’s campaign in Persia. Therefore, it is inferred that the Persian king portrayed on the vase is Darius III, depicted listening to the news of the defeat of the Persian army, as conveyed by a messenger after the battle of Granicus in 334 BC. Following this battle, Alexander asserted his dominance over Asia Minor up to the Taurus Mountains. Consequently, many regions either submitted willingly or were compelled to acknowledge Alexander’s authority, leading to the imposition of tribute and the consequent enrichment of his treasury.
The iconography of the Darius Vase, like many other Apulian vases, is a treasury of symbolism and storytelling, offering profound insights into ancient Greek mythology, history, and culture through its intricate imagery and narrative compositions. It appears that the news of Alexander’s initial triumph over Darius swiftly spread across Greece, igniting fervor, and inspiring the creation of masterpieces, in the visual as well as the performing arts, that captivated audiences from Greece to Lower Italy.
Could it be that the Darius Vase itself is a product of this inspirational fervour? Crafted by one of Taranto’s most esteemed vase painters, it stands as a potential testament to the enduring influence of Alexander’s victory on the artistic landscape of Magna Graecia. As we marvel at its intricate details and ponder its narrative significance, we’re drawn into a world where history, myth, and art intertwine, inviting us to contemplate the profound impact of past events on the creative expressions of ancient civilizations.
For a PowerPoint Presentation on Apulian Pottery, please… Check HERE!
Dance is an ephemeral art. Is it about sentiment, imagination, and expression? Is The Bronze Hellenistic Dancer at the MET the quintessence of a Hellenistic Dancer’s soul?
The MET Dancer emerges, as if from the shadows, draped in layers of gleaming veils that conceal and reveal her movements. With each step, she gracefully twists and turns to the left, casting a downward gaze. As she dances, her left hand lifts a veil over her left hip, while her right arm, holding folds of fabric, shields the lower part of her veiled head, which arches backward. The ethereal dance causes her dress to swirl around her body, and the edges of her enveloping cloak flare out at her sides.
She is, luckily, not alone. In addition to the captivating Hellenistic Bronze statue showcased at the MET, the collection also features a charming array of clay statuettes portraying dancers.
Sculptures of dancers from this era often captured the dynamic and graceful movements of the human body, showcasing the Hellenistic fascination with naturalism and the portrayal of emotion. These sculpted dancers, whether in bronze or clay, reflected the cultural significance of dance as a form of entertainment, religious ritual, and social expression. The intricate detailing of their poses and flowing garments not only celebrated the physical prowess of the human form but also conveyed a sense of vitality and joy, providing a testament to the Hellenistic commitment to aesthetic excellence and the embodiment of life in art.
For a Student Activity on Hellenistic Dancing, please… Check HERE!
NikephorosLytras, Greek Artist, 1832 – 1904 Study for Τα Κάλαντα (Carols), 1870s, Oil on Cardboard, 17,3 x 22,5 cm, National Gallery – Alexandros Soutsos Museum, Corfu Annex, Greece https://www.nationalgallery.gr/en/artwork/study-for-carols/
Good Evening Kings, / if it’s your will / the divine birth of Christ / I’ll sing in your mansion. / Christ is born today, / in the city of Bethlehem, / the heavens are rejoicing, / all the nature rejoices. / Inside the cave is being born, / in a manger of horses, / The King of heavens / The Creator of all. / In this house, we’ve come / may no stone ever crack, / and the master of the house / may live for many years! Carols, known as Kalanta in Greek, are a beloved tradition for children worldwide. In Greece, during the Christmas season and New Year, Kalanta is joyously sung by children with great enthusiasm and gusto. This festive scene is precisely captured in our Christmas Eve BLOG POST titled… Study for Ta Kalanta by Nikephoros Lytras. https://hcc.edu.gr/greek-christmas-carols-meaning-and-translations/
This is an iconic work in Greek art, created in the 1870s while Lytras was Professor of Painting at the National Technical University in Athens. The painting, a genre scene inspired by Greek culture, is characteristic of Lytras’ style, which reflects the influence of the School of Munich. It combines academic principles, a realistic and detailed representation of what is presented, and a romanticized approach to the genre subject matter, a group of children singing Kalanta, the festive tradition during the Holidays Season.
The painting I am presenting, Study for Ta Kalanta by Nikephoros Lytras, is exhibited in the Corfu Annex of the National Gallery – Alexandros Soutsos Museum of Greece. It is, as the title connotates, a ‘Study” of the iconic larger oil on canvas painting by Lytras, Ta Kalanta, held in a private collection. Both paintings, apart from capturing a festive moment in Greek tradition, reflect the broader artistic and cultural movements of their time.
Both paintings depict a group of five children in traditional attire, singing Kalanta in the rhythm of the drum and the flute. They are not alone. In front of the open door of a humble household, the five protagonists are watched by a young mother, cradling a baby in her arms. Interestingly, a sixth boy is added in the final version of Ta Kalanta. He emerges from behind the high fence wall, next to the courtyard’s leafless tree, gazing with curiosity at the unfolding scene of merriment.
Nikephoros Lytras masterfully crafted a scene of fading light, with the moon ascending in the sky and a small lantern flickering in the firm grip of one of the performers. This comes as no surprise, given that during Lytras’s era, children would sing carols after sunset, a tradition that continues to thrive in numerous rural regions of Greece to this day.
The artist intends to convey more than what I have already presented. In both of his paintings, a rich tapestry of symbolism unfolds. The mother’s offering of pomegranate fruits symbolizes not only rebirth but also abundance. The presence of a straw broom by the door and a leafless tree in the courtyard serves as a poignant representation of hardships and poverty, yet it carries an underlying message of hope for brighter days ahead. Adjacent to the other side of the door, an ancient Greek sculpture of a Nike figure hints at the enduring strength of the Greek people, serving as the foundation for future growth and fortune.
Both paintings of Τα Κάλαντα are regarded as masterpieces within Lytras’ body of work, exemplifying his capacity to seamlessly integrate technical expertise with a profound comprehension of Greek culture. By skillfully depicting children as the bearers and preservers of Greek cultural legacies Lytras connects the past with the present and sends the joyful message of camaraderie of all people, defying limitations, and discrimination. Celebrated for their emotional resonance, these artworks highlight the artist’s dedication to encapsulating the essence of Life.
Χρόνια Πολλά και πάντα ΚΑΛΑ!!!
For a PowerPoint titled 14 Masterpieces by Nikephoros Lytras, please… Check HERE!
Attributed possibly to the archaic Greek poet Sappho, the following fragment of Greek lyric poetry is preserved by the Alexandrian Grammarian Hephaestion. It reminds me of Sleeping Eros, the beloved Hellenistic bronze statue displayed in the Metropolitan Museum of Art. The verses paint a vivid scene… The moon and the Pleiades have set, / it is midnight, / time is passing, / but I sleep alone.https://en.wikipedia.org/wiki/Midnight_poem
In Greek mythology, Eros, portrayed as the son of Aphrodite and Ares, is the god of love, desire, and attraction. Various myths and stories are associated with Eros, in which he played a prominent role in matters of love and relationships. Well-known stories involving Eros include the myths of Rhodopis and Euthynicus, Apollo and Daphne, and his own love story, the myth of Psyche—a mortal princess who became the object of his affection. All these stories explore themes of love, trust, and the trials involved in achieving fulfillment with Eros projected as a significant figure in Greek mythology.
Eros is often depicted in various poses and contexts in ancient art, usually as a mischievous and playful winged youth armed with a bow and arrows. The arrows are said to have the power to incite love or desire in those they pierce. The Sleeping Eros statue in the MET depicts, on the other hand, a young, winged infant Cupid in a relaxed, reclining position, emphasizing the peaceful and gentle aspects of the god of love.
In the realm of Hellenistic sculpture, the motif of the Sleeping Eros emerged as a captivating and symbolic representation, offering a glimpse into the nuanced artistic expressions of love and vulnerability during this period. The Hellenistic era, spanning from the death of Alexander the Great in 323 BCE to the establishment of the Roman Empire in 31 BCE, witnessed a remarkable evolution in art, marked by a departure from the rigid idealism of Classical Greece. Hellenistic period statues were known for their attention to detail, realistic anatomy, dynamic poses, naturalism in the composition, and the expression of strong emotionalism along with the introduction of the ‘genre’ and a shift in artistic sensibilities.
In the realm of Hellenistic art, ‘genre’ refers to the inclusion of everyday life scenes and common people as subjects in sculptures, paintings, and other artistic expressions. This departure from the rigid canons of Classical Greek art allowed artists to explore a wider range of emotions, experiences, and individual characteristics. The Sleeping Eros serves as a poignant manifestation of these transformations, capturing the subtleties of emotion and narrative in sculpture.
Eros is portrayed in a state of repose, inviting viewers into an intimate exploration of the deity’s more tender and human aspects. As we delve into the intricacies of the Sleeping Eros sculpture in the MET, we untangle not only the technical abilities of the Hellenistic artist who created it, but also the deeper cultural and philosophical underpinnings that inform this artistic motif. Through a lens of mythology, symbolism, and craftsmanship, the Sleeping Eros sculpture offer a captivating window into the Hellenistic worldview, where the divine and the mortal meet in a harmonious dance of form and emotion.
According to the MET experts, during the Hellenistic period… Young children enjoyed great favor, whether in mythological form, as baby Herakles or Eros, or in genre scenes, playing with each other or with pets. The MET Eros, the god of love, has been brought down to earth and disarmed, a conception considerably different from that of the powerful, often cruel, and capricious being so often addressed in Archaic poetry. One of the few bronze statues to have survived from antiquity, this figure of a plump baby in a relaxed pose conveys a sense of the immediacy and naturalistic detail that the medium of bronze made possible. He is clearly based on firsthand observation! https://www.metmuseum.org/art/collection/search/254502
For a Student Activity inspired by the MET Sleeping Eros, please… Check HERE!
The Paul and Alexandra Canellopoulos Museum in Athens, Greece, is a small treasure trove of outstanding antiquities, showcasing the Museum’s Ancient Art collection spanning from Prehistory to the Roman Era. The collection boasts objects dating back to the Neolithic period (6000-3200 BC), followed by representative examples from civilizations that thrived in the region during the Bronze Age (3000-1100 BC), the Early Iron Age (1100-88 BC), and the Archaic period (7th-6th century BC). Notably, the Archaic period exhibits Corinthian vases adorned with decorative motifs inspired by imaginary beings from the East, such as the Corinthian Arybalos, which I would like to present to you today!
So… Let’s explore the How of an amazing small masterpiece in the Canellopoulos Museum, in Athens… by answering some questions!
How can we best describe the characteristics of the Orientalizing period in ancient Greek Art?
The Orientalizing period in ancient Greek art refers to a significant phase that occurred during the 7th century BCE. It is characterized by a notable influence of artistic motifs and elements from the Near East and Egypt, which were collectively known as the “Orient” to the ancient Greeks. During this period, Greek city-states began to engage in increased trade and cultural contact with the civilizations of the Near East, such as Phoenicia, Assyria, and Egypt. As a result, Greek artists and craftsmen were exposed to new artistic styles, techniques, and iconography, which they integrated into their own artistic expressions.
A key characteristic of the Orientalizing period in ancient Greek art is the adoption of Eastern motifs that included animals like lions and sphinxes, as well as mythical creatures and floral patterns. Greeks, however, were always fond of expressing narrative in their vase painting and they appropriated Near Eastern creatures like the sphinx, for example, or the siren and altered their basic function by making them a part of a larger story. Orientalizing art may look Oriental on the surface but is still recognizably Greek below.
It is important to note that the Orientalizing period was not a homogenous style but rather a phase of artistic transition that laid the groundwork for the subsequent Archaic period. The influence of the Orient on Greek art gradually declined during the 6th century BCE as the Greek city-states developed their own distinctive artistic styles, leading to the flourishing of the Classical period of ancient Greek art. https://www.colorado.edu/classics/2018/06/15/orientalizing-period-ancient-greece
How can we best describe the characteristics of Pottery during the Orientalizing period in ancient Greek art?
During the Orientalizing period in ancient Greek art, pottery underwent significant changes in terms of style, decoration, and iconography. Vessels became more varied and sophisticated, with influences from Eastern pottery shapes and forms. For example, the aryballos (a small, globular-shaped container) and the alabastron (a slender, often pointed bottle) were popular shapes during this time. The period, which occurred from approximately the late 8th century BC to the early 6th century BC, was marked by the influence of Eastern motifs, like lions, sphinxes, and griffins, as well as floral and geometric patterns which became popular, along with the representation of human figures in a more lifelike manner.
How can we best describe the characteristics of Corinthian Pottery during the Orientalizing period in ancient Greek Art?
During the Orientalizing period in ancient Greek art, Corinthian pottery underwent a transformative shift from its earlier geometric style to a more figurative and narrative-focused approach. Influenced by artistic traditions from the Near East and Egypt, Corinthian potters embraced animal motifs, mythical creatures, and composite beings in dynamic poses. Corinthian vessels were adorned with intricate designs, covering the entire surface, exemplifying the abundance and opulence of this period. Utilizing the black-figure technique, they painted dark silhouettes against a yellowish-orange background, embellishing the scenes with incised lines to add detail. To fill empty spaces on these vases, palmettes and lotus blossoms were utilized in place of traditional geometric patterns, and in some cases, negative space gained more prominence.
How can we best describe the Corinthian Alabastron in the Canellopoulos Museum, in Athens?
The Canellopoulos Museum Alabastron from Corinth is typical of the Orientalizing period. This type of pottery, used for holding precious perfumed oils, originated around the 11th century BC in ancient Egypt, and spread via ancient Greece, to many parts of the Mediterranean world. Most Alabastra vases of the Orientalizing period have a narrow body with a rounded end, a narrow neck, and a broad mouth. Alabastra vases were often left without handles, but, for easy mobility, some types were equipped with one, or two, small projections into which holes were punched for strings to pass through, just like the Corinthian Alabastron in Athens.
According to Dr. Moschonesioti… The horizontal rim of the Canellopoulos Museum Alabastro is decorated with a tongue pattern and the vertical side of the rim with broken lines. The neck of the vase is decorated with a tongue pattern and the uppermost part of the vase with three parallel lines. Below them, two wide bands separate three decorative zones with (dancing?) komasts (mythological figures associated with God Dionysus) holding horns. Around the figures, which are presented dressed in purple, floral ornaments, such as large and small rosettes, heart-shaped leaves, and lotus flowers, densely cover the remaining surface of the vase. https://camu.gr/item/korinthiako-alavastro/
The Canellopoulos Museum Alabastro vase boasts an exquisite display of intricate decorations. From the tongue patterns adorning the horizontal and neck rims to the graceful lines and mythological figures of komasts, the artistry captivates the viewer’s eye, standing as a testament to the creativity and craftsmanship of its time.
For a Student Activity inspired by the Corinthian Alabastron in the Canellopoulos Museum, please… Check HERE!
