Girl on the Beach by Thaleia Flora Karavia

by 20th century ArtArtGreek ArtNeohellenic ArtPowerpoints
Thaleia Flora Karavia, Greek Artist, 1871 – 1960
Girl on the Beach, 1922-25, Oil on Canvas, 61 x 50 cm, National Gallery, Athens, Greece https://www.nationalgallery.gr/en/artwork/girl-on-the-beach/

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!

Maid of Athens

by 1821-Greek Independence Day19th century ArtArtGreek ArtNeohellenic ArtSocial StudiesStudent ActivitiesWorksheets
Theodoros Vryzakis, Greek Artist, 1814–1878
The Maid of Athens, 1860, oil on canvas, 97,5 x 71 cm, Anthony E. Comninos Foundation, Greece https://www.facebook.com/teloglion/photos/pcb.5776572499028058/5776566092362032

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 of Athens 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 of Athens, 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!

For a Student Activity, please… Check HERE! Lord Byron’s famous Poem Maid of Athens… is also the source of inspiration for a Melody by Charles Gounod… https://www.google.com/search?q=Maid+of+Athens+music+by+Gounod&rlz=1C1GGRV_enGR751GR751&oq=Maid+of+Athens+music+by+Gounod&aqs=chrome..69i57j33i160l3.20210j0j15&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:10334ca8,vid:FEwgmMo0l5c

Study for Ta Kalanta by Nikephoros Lytras

by 19th century ArtArtGreek ArtNeohellenic ArtPowerpoints
Nikephoros Lytras, 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.

Nikephoros Lytras, Greek Artist, 1832 – 1904
Τα Κάλαντα (Carols), 1872, Oil on Canvas, 59×90 cm, Private collection https://commons.wikimedia.org/wiki/File:Lytras_Nikiforos_Carols.jpeg

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!

Swimmers on a Wooden Pier

by 20th century ArtAmerican ArtArtGreek ArtNeohellenic ArtStudent ActivitiesWorksheets
Michael Axelos, Greek Artist, 1877-1965
Swimmers at Palaio Faliro beach, 1935, Oil on plywood, 24.5 x 35.2 cm, Bank of Greece, Athens, Greece
https://www.bankofgreece.gr/PublishingImages/PRESS-RELEASES/2022/Thalassografies_4.jpg.jpg
George Wesley Bellows, American Artist, 1882 – 1925
42 Kids, 1907. Oil on canvas, 106.7 x 152.4 cm, Corcoran Gallery of Art, Washington, DC https://www.nga.gov/collection/art-object-page.134485.html

Michael Axelos’s painting oeuvre attests to his solid technique and undeniable talent. It was not by chance, writes Yannis Stournaras, Governor of the Bank of Greece, that he was the first Greek artist to be entrusted, initially by the National Bank of Greece and subsequently by the Bank of Greece, with the design of banknotes and coins, which he imbued with an aesthetic quality. The Exhibition Michael Axelos (1877-1965) – Between two worlds (December 22, 2015 – July 6, 2017), organized by the Bank of Greece – Centre for Culture, Research, and Documentation, shed new light on both known and unknown aspects of the artist’s life. Going through the Exhibition Catalogue, the painting Swimmers at Palaio Faliro Beach caught my attention, and curiosity… how different, or similar, is the Greek artist’s painting compared to George Wesley Bellows composition 42 Kids? A new BLOG POST, Swimmers on a Wooden Pier, will not give you the decisive answer. Maybe information to reflect upon…    https://www.bankofgreece.gr/MediaAttachments/AXELOS_CATALOGUE.pdf

Michael Axelos, an artist of exceptional skill, whose significant output spanned different genres, was a graduate of the Athens Law School and of the Athens School of Fine Arts. From 1911 to 1914 he continued his studies in Paris, at the Académie Julian and the Académie de la Grande Chaumière where his rather conservative initial training was infused with the new artistic developments, on one hand, Fauvism, and on the other hand Cubism, as presented in the Salons of 1910 and 1911. Axelos devoted a large part of his life and work to the Bank of Greece, where he designed banknotes, coins, and security documents. His retirement in 1846 starts a new period in his artistic life. Without changing his style radically, his painting becomes somehow liberated, is less strict, and escapes from the conservative framework where he had consciously placed it. https://museum.bankofgreece.gr/en/exhibitions/5/–18771965—–?ctx=9b1ea4a74a6d7c70df84ae52cbab3c959873d6f8&idx=4

Michael Axelos, Greek Artist, 1877-1965
Swimmers at Palaio Faliro beach, 1935, Oil on plywood, 24.5 x 35.2 cm, Bank of Greece, Athens, Greece
https://www.bankofgreece.gr/PublishingImages/PRESS-RELEASES/2022/Thalassografies_4.jpg.jpg

In 1935, while still working for the Bank of Greece, Axelos painted Swimmers at Palaio Faliro beach, one of my favorite, most charming paintings. Palaio Faliro is a coastal suburb of Athens and a popular destination for beachgoers. Axelos’ painting depicts a group of swimmers, with the blue sky, the sea, and the not-so-distant Athenian coast, forming a prominent part of the composition. The swimmers are portrayed in a gestural and loose manner, emphasizing movement and dynamism. They take advantage of the well-constructed wooden piers and enjoy a typical Greek summer day, diving into the sea, splashing with joy in the water, and sunbathing. Axelos’ use of tints and little shade, expressive brushstrokes, and direct sunlight, creates a delightful, persuasive composition of a classic Greek summer morning.

George Wesley Bellows was an American artist known for his depictions of New York City life. He was born in Columbus, Ohio, and studied at the Ohio State University before moving to New York City in 1904 to study at the New York School of Art under Robert Henri. Bellows quickly became known for his bold and expressive style, which captured the energy and dynamism of the city. His early work focused on the working-class neighborhoods of New York, depicting scenes of tenement life, street vendors, and labor strikes. He was a member of the Ashcan School, a group of artists who sought to depict the realities of modern life in their work. Tragically, Bellows died at the age of 42 from a ruptured appendix. Despite his short career, he left a lasting impact on American art and is considered one of the most important artists of the early 20th century.

George Wesley Bellows, American Artist, 1882 – 1925
Forty Two Kids, 1907. Oil on canvas, 106.7 x 152.4 cm, Corcoran Gallery of Art, Washington, DC https://www.nga.gov/collection/art-object-page.134485.html

In August 1907 Bellows painted Forty-Two Kids, which depicts a band of nude and partially clothed boys engaged in a variety of antics—swimming, diving, sunbathing, smoking, and possibly urinating—on and near a dilapidated wharf jutting out over New York City’s East River. https://www.nga.gov/collection/art-object-page.134485.html

In terms of aesthetics, Bellows has used bold brushstrokes and vibrant colors to capture the energy and excitement of the children. The figures are depicted in dynamic poses that convey their movement and joy. The composition is carefully balanced, with the rough wooden pier stretching out to the right of the canvas, and the water and sky occupying the upper two-thirds of the painting. The use of color is particularly striking in this painting. The boys’ gangly bodies are loosely painted and brightly lit from the upper left. Most are nude, and Bellows employs hues of bright, cream white to medium brown to capture their skin tones. For the rest of the painting, the river in particular, Bellows uses intense shades of blue, emerald green, and yellow that convey a sense of summertime and warmth. The reflections of the children in the water create a sense of depth and perspective, and the overall effect is one of a moment frozen in time, capturing the exuberance of roaming young boys from New York’s Lower East Side tenements. https://www.nga.gov/collection/art-object-page.134485.html

Do you see similarities or differences? The decision is yours…

For a Student Activity, titled Swimmers on a Wooden Pier, please… Check HERE!

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!

The Girl with the Pigeons

by 19th century ArtArtGreek ArtNeohellenic ArtStudent ActivitiesWorksheets
Polychronis Lembesis, Greek Artist, 1849-1913
The Girl with the Pigeons, 1879, Oil on Canvas, 120×80 cm, Averoff Museum of Neo-Hellenic Art, Metsovo, Greece
https://upload.wikimedia.org/wikipedia/commons/4/48/Lembesis_Polychronis_The_girl_with_the_Pigeons.jpg

The Girl with the Pigeons is a famous Greek painting by Polychronis Lembesis in the Collection of the Averoff Museum of Neo-Hellenic Art in Metsovo. It reminds me of a poem I read by  Ustav Shah… With the onset of the sun in the horizon, the little creatures awake / And dance and sing melodies tantamount to a group of chortling people / Oh, how I wish such convivial sights be captured / And played back on repeat everytime you feel low     /     As vagabonds they fly in search of food and shelter / And when the sun does set, off they disappear in their nests / Robbing the nature of its beauty… Lembesis definitely captured the vagabonds’ convivial sight, their dance, and singing melodies… https://hellopoetry.com/words/pigeon/

Polychronis Lembesis, one of Greece’s most important 19th-century painters, is a distinguished representative of the so-called “School of Munich”, the major 19th-century Greek Art Movement. Born on the Island of Salamis, graced with ‘smiling shores and calm pine-covered slopes,’ Lembesis spent a humble early life near his father’s flock. Distinguishing himself as a student, he was granted a scholarship by the politician Dimitrios Voulgaris (“Tsoumpes”) to study painting at the Athens School of Fine Arts, firstly, and then, in 1875, at the Royal Academy of Fine Arts of Munich. His teachers in Munich were Wilhelm Lindenschmidt and Ludwig von Löfftz; his best friend was the already-known Greek painter Nicholaos Gyzis.

Returning to Greece, in 1880, the artist settled in the Thision area of Athens, where he established a Studio, becoming well-known as a Portraitist, a teacher of painting (Prime Minister Stefanos Dragoumis’s children were his students), and a Hagiographer. He participated in many group exhibitions in Athens, the 1903 International Exhibition of Paris, and the International Exhibition of Athens, in 1904. Polychronis was a gentle, humble, and quiet man throughout his life, wrote Nikos Zias. Disappointed by the Athenian artistic ‘disputes’ Polychronis Lembesis chose to retire to the island of his birth, Salamis, where he lived “in obscurity” and poverty.https://www.nationalgallery.gr/en/painting-permanent-exhibition/painter/lembesis-polychronis.html and https://www.tovima.gr/2008/11/24/opinions/o-pio-spoydaios-ellinas-zwgrafos-2/

Polychronis Lembesis, Greek Artist, 1849-1913
The Child with the Rabbits, 1879, Oil on Canvas, 130z103 cm, National Gallery, Alexandros Soutsos Museum, Evripidis Koutlidis Foundation, Athens, Greece https://www.nationalgallery.gr/en/painting-permanent-exhibition/painting/the-bourgeois-class-and-its-painters/genre-painting/the-child-with-the-rabbits.html

The artist was an accomplished Portraitist, using the dark background of the painting, to brightly project the sitter’s head. He was an excellent landscape painter, connecting the composition of each painting with either the historicity of the place he depicts or with ethnographic references. Lembesis is also an exemplary painter of everyday scenes in a Greek village, not with the arrogance of the scholarly observer as Nikos Zias writes, but with the simplicity of the man who lives in it. https://www.tovima.gr/2008/11/24/opinions/o-pio-spoydaios-ellinas-zwgrafos-2/

Every time I visit the Epirote village of Metsovo, I feel it is my duty to check on the Averoff Museum of Neo-Hellenic Art and stand, once more, in front of The Girl with the Pigeons. I like how the artist captured the ‘moment’ without being an Impressionist, with his free, broad brush strokes, and warm colours. I enjoy the ‘energy’ he creates around a standing young girl who feeds the boisterous vagabonds and tries to protect herself at the same time… I can almost hear their overexcited melodies…

For a Student Activity, please… Check HERE!