Understanding Greek Art History
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Issues of Gender Representation in Modern Greek Art the Case of Thaleia Flora-Caravia’S Photographic Images and Self-Portraits
p Issues of Gender Representation in Modern Greek Art The Case of Thaleia Flora-Caravia’s Photographic Images and Self-Portraits Despoina Tsourgianni ABSTRACT There is a recent trend, mainly in the fi eld of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns writ- ten (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora- Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits. This kind of cross-examination allows the reader to become familiar with the mosaic of roles and identities that constitutes the subjectivity of female artists in Greece in the late nineteenth and early twentieth centuries. KEYWORDS: autobiography, female artist, modern Greek art, photography, self-portrait p Introduction No opening words could be more appropriate to introduce a study on twentieth- century artist representation than the verses of Rainer Maria Rilke on the painter Paula Modersohn-Becker: So free of curiosity your gaze had become, so unpossessive, of such true poverty, it no longer desired even you yourself; it wanted nothing: holy.1 aspasia Volume 13, 2019: 31–64 doi:10.3167/asp.2019.130105 32 DESPOINA TSOURGIANNI It is of key importance to note the way in which this emblematic poet of modernity perceives the ideal depiction of oneself: as one being stripped of any vanity that leads to the beautifi cation of physical characteristics. -
Treating Two 18Th Century Maps of the Danube in Association with Google-Provided Imagery
ON THE DIGITAL REVIVAL OF HISTORIC CARTOGRAPHY: TREATING TWO 18TH CENTURY MAPS OF THE DANUBE IN ASSOCIATION WITH GOOGLE-PROVIDED IMAGERY Evangelos Livieratos Angeliki Tsorlini Maria Pazarli [email protected] Chrysoula Boutoura Myron Myridis Aristotle University of Thessaloniki Faculty of Surveying Engineering University Campus, Box 497 GRE - 541 24 Thessaloniki, Greece Abstract The great navigable Danube River (known as the Istros River to the Ancient Greeks and as one of the crucial ends of the Roman Empire northern territories) is an emblematic fluvial feature of the overall European historic and cultural heritage in the large. Originating in the German Black Forest as two small rivers (Brigach and Breg) converging at the town of Donaueschingen, Danube is flowing for almost 2850 km mainly eastwards, passing through ten states (Germany, Austria, Slovakia, Hungary, Croatia, Serbia, Romania, Bulgaria, Moldova and Ukraine) and four European capitals (Vienna, Bratislava, Budapest and Belgrade) with embouchure in the west coasts of the Black Sea via the Danube Delta, mainly in Romania. Danube played a profound role in the European political, social, economic and cultural history influencing in a multifold manner the heritage of many European nations, some of those without even a physical connection with the River, as it is the case of the Greeks, to whom the Danube is a reference to their own 18th century Enlightenment movement. Due to Danube’s important role in History, the extensive emphasis to its cartographic depiction was obviously a conditio sine qua non especially in the 17th and 18th century European cartography. In this paper, taking advantage of the modern digital technologies as applied in the recently established domain of cartographic heritage, two important and historically significant 18th century maps of the Danube are comparatively discussed in view also to the reference possibilities available today in relevant studies by the digital maps offered by powerful providers as e.g. -
The Reception of Isaac Newton in Europe
The Reception of I THE RECEPTION OF ISAAC NEWTON IN EUROPE LANGUAGE COMMUNITIES, REGIONS AND COUNTRIES: THE GEOGRAPHY OF NEWTONIANISM Edited by Helmut Pulte and Scott Mandelbrote BLOOMSBURY ACADEM I C LO:-IDON • NEW YORK• OXt"ORD • NEW DELHI • SYDNEY BLOOMSBURY ACADEMIC Bloomsbury Publishing Pie 50 Bedford Square, London, WC 1B 3DP. UK 1385 Broadway, NewYork, NY 10018, USA BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Pie First published in Great Britain 2019 Reprinted in 2019 Copyright© Helmut Pulte, Scott Mandelbrote and Contributors, 2019 Helmut Pulte, Scott Mandelbrote and Contributors have asserted their rights under the Copyright. Designs and Pat~nts Act, 1988, to be identified as Authors of this work. For legal purposes the Acknowledgements on pp. xv, 199 constitute an extension of this copyright page. Cover design: Eleanor Rose All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Pie does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. -
The Anatomy in Greek Iatrosophia During the Ottoman Domination
JBUON 2021; 26(1): 33-38 ISSN: 1107-0625, online ISSN: 2241-6293 • www.jbuon.com Email: [email protected] REVIEW ARTICLE The Anatomy in Greek Iatrosophia during the Ottoman domination era Christos Tsagkaris1, Ioannis Koliarakis1, Agamemnon Tselikas2, Markos Sgantzos3, Ioannis Mouzas4, John Tsiaoussis1,4 1Laboratory of Anatomy, Medical School, University of Crete, 70013 Heraklion, Greece. 2Centre for History and Palaeography, Cultural Foundation of the National Bank of Greece, 10558 Athens, Greece. 3Laboratory of Anatomy, Faculty of Medicine, School of Health Sciences, University of Thessaly, 41334 Larissa, Greece. 4Medical Museum, Medical School, University of Crete, 71500 Heraklion, Greece. Summary The knowledge of Anatomy during the Ottoman domination tomans. At the same time, anatomy has been discussed by in Greece has not been widely studied. Medical knowledge of various authors in diverse contexts. All in all, it appears the time can be retrieved from folk and erudite books called that a consensus on the importance of anatomy has been Iatrosophia. The majority of these books focused on empirical established among Greek scholars in the late 18th century, diagnostics and therapeutics. However, a small quota of these leading to the translation of current anatomical knowledge Iatrosophia includes important information about anatomy. to the contemporary language and literature. The interest in anatomy appears only after the Neohellenic Enlightenment (1750-1821) and has been associated to the Key words: anatomy, history of medicine, Iatrosophia, Neo- scholarly background of the 1821 revolution against the Ot- hellenic Enlightenment Introduction Medicine in Greece during the Ottoman domi- During Ottoman domination, Iatrosophia per- nation has not been widely studied. -
The Travels of Anacharsis the Younger in Greece
e-Perimetron , Vol. 3, No. 3, 2008 [101-119] www.e-perimetron.org | ISSN 1790-3769 George Tolias * Antiquarianism, Patriotism and Empire. Transfer of the cartography of the Travels of Anacharsis the Younger , 1788-1811 Keywords : Late Enlightenment; Antiquarian cartography of Greece; Abbé Barthélemy; Anacharsis; Barbié du Bocage ; Guillaume Delisle; Rigas Velestinlis Charta. Summary The aim of this paper is to present an instance of cultural transfer within the field of late Enlightenment antiquarian cartography of Greece, examining a series of maps printed in French and Greek, in Paris and Vienna, between 1788 and 1811 and related to Abbé Barthé- lemy’s Travels of Anacharsis the Younger in Greece . The case-study allows analysing the al- terations of the content of the work and the changes of its symbolic functions, alterations due first to the transferral of medium (from a textual description to a cartographic representation) and next, to the successive transfers of the work in diverse cultural environments. The trans- fer process makes it possible to investigate some aspects of the interplay of classical studies, antiquarian erudition and politics as a form of interaction between the French and the Greek culture of the period. ‘The eye of History’ The Travels of Anacharsis the Younger in Greece , by Abbé Jean-Jacques Barthélemy (1716- 1795) 1, was published on the eve of the French Revolution (1788) and had a manifest effect on its public. “In those days”, the Perpetual Secretary of the Académie des Inscriptions et Belles Lettres, Bon-Joseph Dacier (1742-1833) was to recall in 1826, “an unexpected sight came to impress and surprise our spirit. -
The Eye of History
ANTIQUARIANISM, PATRIOTISM AND EMPIRE: TRANSFERS OF THE CARTOGRAPHY OF THE TRAVELS OF ANACHARSIS THE YOUNGER IN GREECE (1788-1811) George Tolias ABSTRACT: The aim of this paper is to present an instance of cultural transfer within the field of late Enlightenment antiquarian cartography of Greece, examining a series of maps printed in French and Greek, in Paris and Vienna, between 1788 and 1811 and related to Abbé Barthélemy’s Travels of Anacharsis the Younger in Greece. The case study analyses the alterations of the content of the work and the changes of its symbolic functions, alterations due first to the transferral of medium (from a textual description to a cartographic representation) and next, to the successive transfers of the work in diverse cultural environments. The transfer process makes it possible to investigate some aspects of the interplay of classical studies, antiquarian erudition and politics as a form of interaction between the French and the Greek intelligentsia of the period. “The Eye of History” The Travels of Anacharsis the Younger in Greece, by Abbé Jean-Jacques Barthélemy (1716-1795),1 was published on the eve of the French Revolution (1788) and had a manifest effect on its public. “In those days,” the Perpetual Secretary of the Académie des Inscriptions et Belles Lettres, Bon-Joseph Dacier (1742-1833), was to recall in 1826 an unexpected sight came to impress and surprise our spirit. A Scythian appeared all at once in our midst. A Scythian who had seen Philip ascend to the throne of Macedonia, witnessed the heroism of liberty fighting political genius over twenty-two years, seen democratic Greece, dormant in its own glory, fall into the hands of this king, and his son Alexander, heralding in the Battle of Chaironeia the destruction of the Persian empire. -
Vlassis Caniaris
www.TeamGallery.com Vlassis Caniaris 1928 Born Athens, Greece Lives and works in Athens, Greece Education: 1959 School of Fine Arts, Rome, Italy 1950-1955 School of Fine Arts, Athens, Greece (studios of Umberto Argyros, Yiannis Pappas, Panos Sarafianos and Yiannis Moralis) 1949-1950 University of Athens, School of Medicine, Greece One Person Exhibitions: 2010 Galerie Giti Nourbakhsch, Berlin, Germany, As it was before the day before yesterday, so it will be the day after the day after tomorrow Art 41 Basel, Basel, Switzerland, Art Feature, Vlassis Caniaris (under the auspices of the Breeder) 2009 The Breeder, Athens, Greece Arnados School, Tinos, Greece, Genethlion Kalfayan Gallery, Athens, Greece, Arrivederci-Wilkommen 2008 Benaki Museum, Athens, Greece, Anniversary 2004 Municipal Art Gallery of Chania, Crete, Greece Zina Anastasiadou Gallery, Thessaloniki, Greece 2003 Foundation for Hellenic Culture, New York, United States 2000 State Museum of Contemporary Art, Thessaloniki, Greece, Retrospective Zina Anastasiadou Gallery, Thessaloniki, Greece 1999 National Gallery, Athens, Greece, Retrospective 1996 Aria Gallery, Argostaoll, Kefalona Island, Greece 1993 Galerie 3, Athens, Greece Team gallery, inc., 83 grand st New york, ny 10013 tel. 212.279.9219 fax. 212.279.9220 www.TeamGallery.com 1992 Staatliche Kunsthaus, Berlin, Germany 1991 Cultural Center Vafopoulou, Thessaloniki, Greece Paratiritis Gallery, Thessaloniki, Greece Karl Ernst Osthaus-Museum, Hagen, Germany 1989 Titanium Gallery, Athens, Greece Municipal Gallery, Patras, Greece -
New Evidence on the Origin of the Influence of Nietzsche and of the Idea of Immanent
fig. 1 G. de Chirico, Scatola di cerini e sigarette, ca 1904-1906 13 New Evidence on the Origin of the Influence of Nietzsche and of the Idea of Immanent Myth in Giorgio de Chirico: Mavìlis, Palamàs and the Early XX Century Athens Literary Scene Fabio Benzi There have been many attempts at identifying an influence of the Greek milieu on the young Gior- gio de Chirico. From his birth (1888) to his late adolescence, the artist lived in Greece, in Volos and especially Athens, until he moved to Munich in October 1906. So, he spent the first eighteen years of life – undoubtedly a formative moment for any young intellectual – mostly in Athens, where he also completed his first artistic studies in the Academy of Fine Arts of the Polytechnic School. As might be expected, research aimed at contextualizing and furthering the knowledge of pos- sible Hellenic influences on de Chirico’s artistic activity has focused so far on the specific analysis of the local painting scene, although with little or less than significant results. To be sure, we are not aware of any extant early painting from his Greek period, except for a negligible, small still life painted on cardboard, depicting a box of matches with a lit cigarette leaning against it (fig. 1); the verso shows an earlier copy of a detail of a chromolithography by Bel- gian painter Jan van Beers (Lier, 27 March 1852-Fay- aux-Loges, 17 November 1927), which we have iden- tified here (figs. 2, 3).1 If this copy is an example of the nearly photographic unyielding adherence by a young artist who might have not yet attended the academy, the small oil is actually a genre exercise, probably painted while de Chirico was still a student. -
The Greek Sale
athens nicosia The Greek Sale thursday 8 november 2018 The Greek Sale nicosia thursday 8 november, 2018 athens nicosia AUCTION Thursday 8 November 2018, at 7.30 pm HILTON CYPRUS, 98 Arch. Makarios III Avenue managing partner Marinos Vrachimis partner Dimitris Karakassis london representative Makis Peppas viewing - ATHENS athens representative Marinos Vrachimis KING GEORGE HOTEL, Syntagma Square for bids and enquiries mob. +357 99582770 mob. +30 6944382236 monday 22 to wednesday 24 october 2018, 10 am to 9 pm email: [email protected] to register and leave an on-line bid www.fineartblue.com viewing - NICOSIA catalogue design Miranda Violari HILTON CYPRUS, 98 Arch. Makarios III Avenue photography Vahanidis Studio, Athens tuesday 6 to wednesday 7 november 2018, 10 am to 9 pm Christos Panayides, Nicosia thursday 8 november 2018, 10 am to 6 pm exhibition instalation / art transportation Move Art insurance Lloyds, Karavias Art Insurance printing Cassoulides MasterPrinters ISBN 978-9963-2497-2-5 01 Yiannis TSAROUCHIS Greek, 1910-1989 The young butcher signed and dated ‘68 lower right gouache on paper 16.5 x 8.5 cm PROVENANCE private collection, Athens 1 800 / 3 000 € Yiannis Tsarouchis was born in 1910 in Piraeus, Athens. In 1928 he enrolled at the School of Fine Art, Athens to study painting under Constantinos Parthenis, Spyros Vikatos, Georgios Iakovides and Dimitris Biskinis, graduating in 1933. Between 1930 and 1934, he also studied with Fotis Kondoglou who introduced him to Byzantine painting. In 1935, Tsarouchis spend a year in Paris, where he studied etching at Hayterre studio; his fellow students included Max Ernest and Giacometti. -
When Crisis Becomes Form: Athens As a Paradigm Theophilos Tramboulis and Yorgos Tzirtzilakis
When Crisis Becomes Form: Athens as a Paradigm Theophilos Tramboulis and Yorgos Tzirtzilakis Documenta 14 in Athens: a glossary Documenta 14 (d14) was an undoubtedly important exhibition which triggered endless debate and controversy that continues today.1 The choice of Athens as a topological paradigm by Adam Szymczyk, an ingenious curator with expected and unexpected virtues, initially fired people’s appetite and enthusiasm. Yet what it ultimately managed to do was demythicize the event itself in a way, as well as demonstrate a series of dangers in the operation of the institution. At the same time it brought to light a series of innate ailments and fantasies of contemporary culture in Greece, which manifested themselves in a distorted and sometimes aggressive fashion. This is not without significance, since it functioned complementarily to—rather than independently of—the exhibition. In short, d14 served as a kind of double mirror with which we could see the cultural relation of Greece with Europe and the world, but also the reverse: that of Europe with Greece. So what was d14 in Athens? For now we must necessarily sidestep its contribution to making Athens and Greek culture a temporary center of international attention in order to focus on what must not be overlooked. The series of arguments below can be read individually or successively as a network of alternating commentary, but also through their diagonal intersections, ruptures, disagreements, and connections, where meaning is produced in a syncretic or dialectical way. D14 is the symptom from which all discourse around it begins. 1/11 A political metonymy The critical reception of d14 in Greece focused mainly on the institution and its operation; on its discursive and political context rather than the works, concerts, or lectures— generally speaking, the actual art and discourse presented by the exhibition. -
The Greek Sale Nicosia Tuesday 24 May 2016
The Greek Sale nicosia tuesday 24 may 2016 The Greek Sale nicosia tuesday 24 may 2016 athens london nicosia The Greek Sale nicosia tuesday 24 may 2016 2 managing director Ritsa Kyriacou AUCTION marketing & sales director Marinos Vrachimis Tuesday 24 May 2016, at 8 pm auctioneer John Souglides 14 Evrou Street, Strovolos Nicosia, 2003 london representative Maro Limnios athens representative Michalis Michael viewing - NICOSIA CYPRIA , 14 Evrou Street, Strovolos, Nicosia, 2003 for bids and enquiries Tel. +357 22341122/23 Mob. +357 99582770 wednesday 18 to monday 23 may 2016, 10 am to 9 pm Fax +357 22341124 tuesday 24 may 2016, 10 am to1 pm Email: [email protected] to register and leave an on-line bid www.cypriaauctions.com catalogue design Miranda Violari english text Marinos Vrachimis Eleni Kyriacou photography Christos Panayides printing Cassoulides MasterPrinters ISBN 978-1-907983-11-5 6 01 Alexandros ALEXANDRAKIS Greek, 1913-1968 Maternity I signed and dated 24.VIII.53 lower right pencil on paper 35 x 49 cm PROVENANCE estate of the artist, Athens private collection, London LITERATURE Alexandrakis, The Nude, Gallery K, London, 1998, p. 70, illustrated 1 500 / 2 000 € Alexandrakis graduated from The School of Fine Art, Athens in 1937, having won all the major art awards; those of Portrait, Nude, Semi-nude and Composition. His achievements are considered unique in the history of the annual prize of the school. Alexandrakis is an artist of international repute, having forged a strong reputation in the USA where he regularly submitted work to The Guggenheim in New York for its annual exhibition. -
2020 Adoptions
Dimitris Arvanitakis: Head of the Publications Department Born in Zakynthos, Dimitris Arvanitakis is a graduate of the Department of Byzantine and Modern Greek Studies of the University of Athens. As a fellow of the Academy of Athens from 1995 to 1999, he conducted research for his doctoral dissertation at Istituto di Studi Bizantini e Postbizantini of Venice, which was successfully defended at the Ionian University in Corfu (1999). His scientific interests span a wide range of topics: social history, history of ideas and intellectual history, history of literature and historiography, Modern Greek and Italian history, and the formation of national states. Since 2000, he has been working at the Benaki Museum and since 2006 he has been in charge of the Publications Department. In his capacity as Head of Publications, he has overseen and coordinated the publication of a great number of the Museum’s exhibition and collections catalogues and has been scientific editor of many books, including the series Benaki Museum Library. Dimitris Arvanitakis has taught in postgraduate seminars in Greece and Italy, has organized scientific conferences and has edited a number of scientific volumes. Moreover, he has published many articles in scientific volumes, journals and conference proceedings. He is a member of the Editorial Secretariat of the Greek journal Ta Istorika and the Italian journal Periptero, member of the Review Team of the journal Giornale Storico della Letteratura Italiana, Scientific Director of the Casa di Ugo Foscolo / Hugo Foscolo’s House (Zakynthos), and since 2009 he has been a Member and Coordinator of the Scientific Committee which oversees the publication of Andreas Kalvos’ Works by the Benaki Museum.