476 Argyro Loukaki УДК: 7.036 ББК: 85.103(4)6 А43 DOI: 10.18688/aa188-5-46 Argyro Loukaki Cultural and Physical Space as a Condition of Artistic Vision: The Aegean in Greek Artists Maleas, Ghikas and Tetsis The Aegean1 The Aegean is the matrix of Greek civilization and art. Homer’s ‘wine-dark’ sea is the hub of the uninterrupted, vast sequence of Greek civilizations as their referential and imaginary space. Here the Greek language, thought and social constitution through poetry, philosophical logos, art, architecture, the organization of space following the polis model as a civilizing and participatory condition, plus theatrical experience were cultivated. Civilizing factors facilitated communication and security, which were enhanced by the continuous sight of land within the Aegean ‘garden’, thence mutual observation that promotes dialectical thought, the facility of trade, the visual and psychological sense of isolation and, yet, of easy contact, the availability of fine materials like Parian marble, the temperate climate, plus the landscape plasticity and the geometric precision of strong outlines and colour contrasts. Given this wealth, it is proposed that, to account for the formation of the mental, visual and spatial reflexes, codes, and conventions of three important Modern Greek artists, Konstantinos Maleas (1879–1928), Nikos Hadjikyriakos Ghikas (1906–1994) and Panagiotis Tetsis (1925– 2016), nurturing parameters such as the Aegean and poetry, psychoanalytic aspects of unconscious roots in time and space, personal cultural geographies, and artistic interactions with both the West and the East should be added to the usual analysis of style and iconography. The Generation of the 1930s, to which Ghikas belonged, and which included two Nobel prize winners, the poets George Seferis and Odysseus Elytis, emphasized the importance of the Aegean to Greek culture and poetry, in itself a privileged record of Greek sensitivity and aesthetics. Poets developed dialogues with fellow poets, both contemporary and ancient. The enjoyment of observing and narrating space is present throughout, from Homer to ekphrasis, a Byzantine literary genre with ancient roots, and beyond. The creative gaze translates and reconfigures the sensible in ways which supersede by far the mere transcription of the retinal image [14; 18]. The ancient visual exploration included space plasticity. Contouring and the effects of light were seen as divine symbols and metaphysical identifications between matter and spirit since Homer’s brilliant horizons, Sappho’s sparkling fires, and the calculated effect of 1 Figures relevant to this paper can be accessed on the net through the addresses provided in the footnotes. All figures were last accessed on June 13, 2018. The site of the National Gallery (Athens), where the reader can find many works of the three artists, was under reconstruction during the revision of this paper. Мировое искусство XX–XXI веков. Модернизм и современность 477 gold reflections in Byzantine mosaics. Philosophical principles and political processes shaped a visual insight that was multi-perspectival, multi-faceted, intuitive and participatory, plus a clear and immediate spatial feeling [14]. The poetic phenomenology and the purifying power of the Aegean light in Elytis peaks as the transparent mystery of an Aegean summer noon which inundates and evaporates volumes. The Aegean worlds were an unconscious archetype to 20th-century modernism, both Western and Greek, inspiring authors like Nikos Kazantzakis and Henry Miller, architects like Le Corbusier and artists like Fernand Léger, to name but a few. Many, but not all of these artists moved in the context of the 4th CIAM (Congrès International d’ Architecture Moderne / International Congress of Modern Architecture) which took place in 1933 in Athens and aboard the liner Patris II. A number of Aegean islands were visited2. Besides, artists like Bran- cusi, Giacometti and Modigliani were influenced by the morphological purity of the Cycladic idols. Le Corbusier described the Aegean landscapes as charming and dreadful, powerful and pure; he was fascinated by archetypal island architecture. What remains less known is that there had already been indigenous modern responses, creative and conjectural, to the plastic values of the Aegean: during the 4th CIAM, Anastasios Orlandos, Dean of the Faculty of Architecture at the National Technical University of Athens, drew participants’ attention to traditional Ae- gean architecture as the archetype of modernism. Painters like Maleas and Spyros Papaloukas had started painting the Aegean around ten years earlier. The islands are mountainous and dry, their slopes terraced to secure valuable soil for culti- vation. Settlements are adjusted to the slopes through close dialogues with the rock and the in- terpenetration of architecture and nature, which result in sculptural prisms and curvatures with irregular or polygonal base lines. The character of site produced the form of town by mutual adjustment of building and its receptacle. Communal bonds of cooperation were necessary for survival, as occupation of the Aegean by foreign powers, pirate attacks, and earthquakes were coupled by poverty. Social solidarity was registered sculpturally in the architecture of the settle- ments which were often fortified and organized around churches and squares. Urban forms are determined by dwelling units and churches, cubic and round, respectively. Alleys offer cooling breezes and open infinite vanishing points, though slanting and the limited size of land plots make them unsuitable for perspective rendering, advancing instead a non-perspectival out- look, and the ‘spirit of stairs’. A balance was pursued between limited economic resources and building materials, natural assets of the site and climate, plus architectural recycling of earlier forms. Elytis explores the multiple dimensions of the Least, a notion which is subjected to all kinds of metaphorical and literal folds as the trademark of a sophisticated Greekness. However, de- spite these evocative sightings, the value of the Least is founded on the desire for the Absolute. Among the islands that attracted the interest of the artists in question, and many other islands which pioneered the influx of tourism from the 1970s onwards, Santorini and Hydra loom large. 2 The 4th CIAM, initiated by Le Corbusier and organized by Christian Zervos, took place in the summer of 1933 and was an arena for debate on modern urbanism. Among the participants were important architects, critics and artists, European and Greek( see [13, p. 39] for details). See fig. available at: https://s-media-cache- ak0.pinimg.com/564x/e0/7c/85/e07c85656d46e06d3d09d253d8a6c381.jpg 478 Argyro Loukaki Santorini Santorini, a Cycladic island, is to many an awe-inspiring, unique marvel [6; 9] as it dramat- ically fuses Aegean geology and history. The largest crescent-shaped fragment called Thera or Santorini is part of the group of islands located around a gulf created by the huge explosion of a still active volcano. Possibly, Plato’s legend of Atlantis reflects this eruption and its physical and metaphysical role in the formation of Greek culture and consciousness. The caldera walls, which are actually a colossal geological section, the product of heat from the molten rock, are uniquely coloured. The spectacle is awe-inspiring and breathtaking as earth and rock colours, combined with turquoise waters, witness the succession of natural violence3. Archaeological excavations uncovered a thriving city with strong Minoan features. The pre- historic houses of Akrotiri parallel Santorini’s present-day settlements in planning and scale, accentuating the continuity of human habitation through the millennia. Centuries later, An- cient Thera was founded in the 9th century BC on the ridge of a steep mountain and was inhab- ited until 726 AD. The prehistoric and the contemporary merge in settlements Fira, Merovigli, and Oia nested in the backbone of the caldera atop layers of volcanic ash and pumice at a height of 300 meters from sea level, forming a white pinnacle to the polychrome face of the caldera cliffs. The Latin rule, starting from the 13th century, produced a number of fortified settlements, deserted after piracy had declined [16, p. 318]; their ruins on precipitous rocks of limited sur- face confirm the archetypal Aegean spirit of place (genius loci), prevailing despite temporary conquerors: being creative through full appropriation of the Least. Hydra Hydra’s main geographical characteristics, a round centripetal port and the natural beauty of a barren, waterless rock of pure and wild perfection, are both photogenic and inspirational to artists; yet, this island remained on the margins of history. Deprived of the archaeological heritage of other Aegean islands, Hydra is close to Athens and quite unique as it has made a special contribution to Modern Greek history due to the daring spirit of its people. Hydra profited from trade during the 17th and 18th centuries and was instrumental in the Greek Rev- olution of 1821 against the Ottoman Empire. The immaculate amphitheatric town has one of the most impressive ports of the Aegean and is a pure morphological and architectural great- ness drenched in sunlight [16, p. 55]4. Its forms are intermittently dismantled and enhanced as the rapidly changing light-shadow interplay devours forms and produces chromatic sequences moving from brilliance to muteness. As everywhere in the Aegean archipelago, Hydra is densely