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International Conference 21–23 June 2014, Heraklion

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International Conference 21–23 June 2014, Heraklion INTERNATIONAL CONFERENCE 21–23 JUNE 2014, HERAKLION Δομήνικος Θεοτοκόπουλος: τα χρόνια στην Κρήτη Διεθνές Επιστημονικό Συμπόσιο (Ηράκλειο, 21-23 Ιουνίου 2014) ΠΕΡΙΛΗΨΕΙΣ / SUMMARIES El Greco: Τhe Cretan Years International Conference (Heraklion, 21-23 June 2014) ΟΡΓΑΝΩΣΗ / ORGANIZED BY ΠΕΡΙΦΕΡΕΙΑ ΚΡΗΤΗΣ / THE REGION OF CRETE ΔΗΜΟΣ ΗΡΑΚΛΕΙΟΥ / THE MUNICIPALITY OF HERAKLION ΕΤΑΙΡΙΑ ΚΡΗΤΙΚΩΝ ΙΣΤΟΡΙΚΩΝ ΜΕΛΕΤΩΝ / THE SOCIETY OF CRETAN HISTORICAL STUDIES ΕΠΙΣΤΗΜΟΝΙΚΗ ΕΠΙΤΡΟΠΗ / SCIENTIFIC COMMITTEE Νίκος Χατζηνικολάου Ομότιμος καθηγητής Ιστορίας της Τέχνης, Πανεπιστήμιο Κρήτης Nicos Hadjinicolaou Emeritus Professor of Art History, University of Crete Μαρία Κωνσταντουδάκη-Κιτρομηλίδου Καθηγήτρια Βυζαντινής Αρχαιολογίας, Πανεπιστήμιο Αθηνών Maria Constantoudaki-Kitromilides Professor of Byzantine Archaeology, University of Athens Παναγιώτης Ιωάννου Επίκουρος καθηγητής Ιστορίας της Τέχνης, Πανεπιστήμιο Κρήτης Panayotis Ioannou Assistant Professor of Art History, University of Crete Γραμματειακή υποστήριξη Βαγγελιώ Βιολάκη / Δημήτρης Μαθιουδάκης / Ελένη Σαπουντζή Symposium scretariat Vangelio Violaki / Dimitris Mathiodakis / Eleni Sapountzi ΠΕΡΙΕΧΟΜΕΝΑ / CONTEXT ΚΑΤΑΛΟΓΟΣ ΣΥΝΕΔΡΩΝ / INDEX TO PARTICIPANTS ................................................................... 7 ΠΕΡΙΛΗΨΕΙΣ MARGARITA TELLENBACH Observations concerning the appearance of Byzantine elements in the late work of El Greco ....................................................................................................... 9 Παρατηρήσεις για την παρουσία στοιχείων της βυζαντινής παράδοσης στο όψιμο έργο του Γκρέκο ..................................................................................................... 12 JAN ZACHARIAS The image of Christ between East and West. The case of El Greco ........................................... 16 H εικόνα του Χριστού μεταξύ ανατολής και δύσης. Η περίπτωση του Γκρέκο .......................... 20 JOSE RIELLO The Greek Books of El Greco .................................................................................................... 23 Τα ελληνικά βιβλία του Γκρέκο ............................................................................................... 27 IRENE LEONTAKIANAKOS The gradual abandonment of the Byzantine pictorial tradition in regions under Venetian rule. Thoughts on the early work of Domenikos Theotokopoulos in Crete ........................................ 30 ΕΙΡΗΝΗ ΛΕΟΝΤΑΚΙΑΝΑΚΟΥ Η σταδιακή εγκατάλειψη της βυζαντινής παράδοσης σε περιοχές υπό βενετική κυριαρχία. Σκέψεις σχετικά με το πρώιμο έργο του Δομήνικου Θεοτοκόπουλου στην Κρήτη .................... 32 MARIA KAZANAKI-LAPPA Georgios Klontzas and Domenikos Theotokopoulos: Parallel or counter itineraries? ................ 34 ΜΑΡΙΑ ΚΑΖΑΝΑΚΗ-ΛΑΠΠΑ Γεώργιος Κλόντζας και Δομήνικος Θεοτοκόπουλος: παράλληλες ή αντίστροφες πορείες; ....... 37 MARIA CONSTANTOUDAKI-KITROMILIDES Passion scenes in Cretan painting and in Theotokopoulos’ early work...................................... 40 ΜΑΡΙΑ ΚΩΝΣΤΑΝΤΟΥΔΑΚΗ-ΚΙΤΡΟΜΗΛΙΔΗ Οι σκηνές του Θείου Πάθους στην κρητική ζωγραφική και στο πρώιμο έργο του Θεοτοκόπουλου ............................................................................................................... 42 NICOS HADJINICOLAOU Is the Passion of Christ in the Velimezis Collection (Athens) a work painted by Greco? ............. 44 ΝΙΚΟΣ ΧΑΤΖΗΝΙΚΟΛΑΟΥ Είναι το Πάθος του Χριστού της Συλλογής Βελιμέζη (Αθήνα) έργο του Γκρέκο; ....................... 44 CARMEN GARRIDO The Modena Triptych between East and West ......................................................................... 45 To Tρίπτυχο της Μόδενας μεταξύ Ανατολής και Δύσης ........................................................... 46 PANAYOTIS IOANNOU The Modena Triptych and the question of the Madonneri ....................................................... 47 ΠΑΝΑΓΙΩΤΗΣ ΙΩΑΝΝΟΥ Το Τρίπτυχο της Μόδενας και το ζήτημα των Madonneri ........................................................ 49 FERNANDO MARÍAS Miles Christi once again: El Greco and his Venetian clientele ................................................... 50 Μiles Christi και πάλι: o Ελ Γκρέκο και οι πελάτες του στη Βενετία.......................................... 51 MICHIAKI KOSHIKAWA Andrea Schiavone, Battista Franco and the Grimani Family: Οn the historical context of the Modena Triptych and its visual sources ......................................................................... 52 Andrea Schiavone, Battista Franco και Οικογένεια Grimani: το ιστορικό πλαίσιο και τα πρότυπα του Τριπτύχου της Μόδενας .......................................................................... 55 DAVID MCTAVISH The Modena Triptych and the impending challenge of Venetian naturalism ............................ 58 Το Τρίπτυχο της Μόδενας και η επικείμενη πρόκληση του βενετσιάνικου νατουραλισμού ..... 61 NIKOLAS BAKIRTZIS & ROPERTOS GEORGIOU Light on El Greco from a technological perspective: The Baptism of Christ and the View of Mount Sinai at the Historical Museum of Crete in Heraklion ....................................... 65 ΝΙΚΟΛΑOΣ ΜΠΑΚΙΡΤΖΗΣ & ΡΟΠΕΡΤΟΣ ΓΕΩΡΓΙΟΥ Ο Γκρέκο υπό το φως της τεχνολογίας: Η Βάπτιση του Χριστού και η Άποψη του Όρους και της Μονής Σινά στο Ιστορικό Μουσείο Κρήτης στο Ηράκλειο ............................................ 67 ΚΑΤΑΛΟΓΟΣ ΣΥΝΕΔΡΩΝ / INDEX TO PARTICIPANTS 1. BAKIRTZIS Nikolaos, Assistant Professor, The Cyprus Institute Νικόλαος Μπακιρτζής, Επίκουρος καθηγητής, Ινστιτούτο Κύπρου email: [email protected] 2. CONSTANTOUDAKI -KITROMILIDES Maria, Professor of Byzantine Archaeology, University of Athens Μαρία Κωνσταντουδάκη-Κιτρομηλίδου, Καθηγήτρια Βυζαντινής Αρχαιολογίας, Πανεπιστήμιο Αθηνών email: [email protected] 3. DAVIES David, Emeritus Professor of Art History, University College London, 117, Turney Road, Dulwich, London S.E.21 7J.B., United Kingdom Ομότιμος καθηγητής Ιστορίας της Τέχνης, University College London tel / τηλ.: 0044 207-733 89 12 4. FERNANDO Marías, Professor of Art History, Universidada Autónoma de Madrid, member of the Spanish Royal Academy of History Καθηγητής Ιστορίας της Τέχνης, Universidad Autónoma de Madrid, μέλος της Βασιλικής Ακαδημίας της Ιστορίας της Ισπανίας email: [email protected] 5. GARRIDO Carmen, former director of the Technical Analysis Lab, Museo Nacional del Prado Πρώην διευθύντρια του εργαστηρίου τεχνικών αναλύσεων του Μουσείου του Prado email: [email protected] 6. GEORGIOU Ropertos, Researcher, The Cyprus Institute Ροπέρτος Γεωργίου, Ερευνητής, Ινστιτούτο Κύπρου email: [email protected] 7. HADJINICOLAOU Nicos, Emeritus Professor of Art History, University of Crete Νίκος Χατζηνικολάου, Ομότιμος καθηγητής Ιστορίας της Τέχνης, Πανεπιστήμιο Κρήτης email: [email protected] 8. IOANNOU Panayotis, Assistant Professor of Art History, University of Crete Παναγιώτης Ιωάννου, Επίκουρος καθηγητής Ιστορίας της Τέχνης, Πανεπιστήμιο Κρήτης email: [email protected] 8 EL GRECO: THE CRETAN YEARS / Δ. ΘΕΟΤΟΚΟΠΟΥΛΟΣ: ΤΑ ΧΡΟΝΙΑ ΣΤΗΝ ΚΡΗΤΗ ................................................................................................................................................................................ 9. KAZANAKI -LAPPA Maria, Archaeologist, Byzantine art historian Μαρία Καζανάκη-Λάπα, Αρχαιολόγος, Ιστορικός της Βυζαντινής Τέχνης email: [email protected] 10. KOSHIKAWA Michiaki, Associate Professor of Art History, Tokyo University of the Arts Καθηγητής Ιστορίας της Τέχνης, Tokyo University of the Arts email: [email protected] 11. LEO NTAKIANAKOS Irene, Lecturer in Art History, University of the Aegean Ειρήνη Λεοντακιανάκου, Λέκτορας Ιστορίας της Τέχνης, Πανεπιστήμιο Αιγαίου email: [email protected] 12. McTAVISH David, Emeritus Professor, Department of Art, Queen’s University, Kingston, Ontario Ομότιμος καθηγητής Ιστορίας της Τέχνης, Queen's University, Kingston, Ontario email: [email protected] 13. RIELLO José, Associate Professor of Art History, Department of the History and Theory of Art, Universidad Autónoma de Madrid Αναπληρωτής καθηγητής Ιστορίας της Τέχνης, Τμήμα Ιστορίας και Θεωρίας της Τέχνης, Universidad Autónoma de Madrid email: [email protected] 14. TELLENBACH Margarita, postgraduate student in the History of Art, Ludwig- Maximilians-Universität, Munich Μεταπτυχιακή φοιτήτρια Ιστορίας της Τέχνης, Ludwig-Maximilians-Universität, Μόναχο email: [email protected] 15. ZACHARIAS Jan, postgraduate student in the History of Art, Charles University, Prague Μεταπτυχιακός φοιτητής Ιστορίας της Τέχνης, Charles University, Πράγα email: [email protected] ΠΕΡΙΛΗΨΕΙΣ MARGARITA TELLENBACH Observations concerning the appearance of Byzantine elements in the late work of El Greco Since the beginning of research about Domenikos Theotokopoulos, discussion has been ongoing as to whether the painter belongs in the tradition of the accomplished icon painter or if he is to be considered mainly as an Italian mannerist. In his famous analysis of the Burial of the Count of Orgaz, the distinguished Austrian art historian Max Dvořák1 refers to influences of Italian mannerists in the late work of El Greco: from the corpses of Michelangelo to the use of the pale incarnate of Tintoretto. The evident interrelations between El Greco and Italian art in Rome and Venice in the 16th century cannot be denied. Furthermore, both traditions to which El Greco belongs, the Byzantine world of icons and the Italian Renaissance, can be found in his works from the time of his arrival in Spain onwards. A much broader insight into the master’s early work
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