John Rush Art
"Allegory" – Oil
MALCOLM T. LIEPKE paintings
"Elisabeth" by Daniela Astone
"Quiet Afternoon" by Ben Long
"Brooks Apple" by Ben Long
"…to speak truly, all is idea, all is symbol. So the form
and the attitude of a human being reveal the emotions of its soul.
The body always expresses the spirit whose envelope it is."
—Auguste Rodin
"Vermillion Sari" by Kamille Corry
Kevin Rolly Photography
“La Seine Reve”
View from the Alexandre Bridge – Paris
“I didn’t mean to come here
I didn’t mean to forget your name
or the precious things
entrusted to memory
which whispered away
on the Paris train
You deserved better than I
and so to this river I gave up
our secrets
A vomit of the recollections
of dust and wine and candles never to be lit
I heard then the secret doors of the air shut
as the Seine drank in my confessions
and I pull a feather from the stones
and imagine the angels weeping”
“The true philosopher and the true poet are one, and a beauty, which is truth,
and a truth, which is beauty, is the aim of both”.
Ralph Waldo Emerson
Mains ouvertes
La main tendue 2
Adrian Porman Photography
Irenne Hoppe photography
pararse photography
“Oceanidi” by Dor Gustave-Paul
Sir Edward Coley Burne-Jones (1833-1898)
“I mean by a picture, a beautiful romantic dream of something that never was, never will be – in a better light than any light that ever shone – in a land that no-one
can define or remember, only desire – and the forms divinely beautiful” – Edward Coley Burne-Jones
1) “Evening Star” (1870) 2) “The rock of doom” – (1885)
3) Sea Depth” 4) “Night”
Dante Gabriel Rossetti
“Sea Spell” 
“Lady Lilith”
“la toilette” by Fernando Botero (1932 -)
BOTERO Art
An indispensable figure on many international art and social scenes in at
least three continents, Botero‘s "persona" might be compared to that of
one of the 17th Century artists he so much admires, Peter Paul Rubens. Rubens
represents the epitome of the standard notions of the "Baroque". His own fleshy,
eroticized figures, exist in a world exuberance and plenitude in both the realms
of the sacred and the profane. Like Rubens, Botero is an individual whose
intense engagement with the world around him enriches his perceptions, heightens
his discernment of both the material and spiritual nature of specific things,
places and people.
Yvonne De Rosa Photography
Brenda Ferrimani Art
Angela FerreiraPaintings
Peggy Guggenheim Museum – Venezia, Italia
The Peggy Guggenheim Collection is the most important museum
in Italy for European and American art of the first half of the 20th century.
"The Surrealist" Oil
by Victor Brauner
Casa Buonarotti – Firenze, Italy
Visiting the museum of the Casa Buonarroti
arouses, first of all, the emotion of admiration for several early works by
Michelangelo contained within its walls. These very famous works by
Michelangelo of extreme artistic importance include the "Madonna of the Stairs"
and the "Battle of the Centaurs". But for those who pass through the main
entrance of the lovely seventeenth century building located at Via Ghibellina
70, Florence, it is even more interesting to relate the Michelangelo
masterpieces housed there with the long story of the Buonarroti family. The
family did all it could to enlarge the dwelling and make it more attractive,
while preserving a precious cultural heredity and assembling a precious art
collection at the same time….
Hellenic paintings through the years….
Constantinos Parthenis (1878-1976)
[..one of my favorite Masters]
Fotis Kontoglou (1896-1965)
He is the leader of the movement for the
revival of Byzantine tradition in Greece, an artist who worked towards this end
in practice as well as in theoretical texts. Born in Aivali of Asia Minor, he
brings with him to Greece a relatively long tradition, which he tries to revive
not only as an artist but also as a writer. His works Byzantine Landscape,
Portrait of Papadiamantis and Captain Aivali, all of which belong to the
Municipal Art Gallery, are some of the best examples of his work, and indeed
they belong to those in which Kontoglou used all his powers of renewal and
revival. Later, he entered a period of rather conservative reproduction of
Byzantine artistic style. In Byzantine Landscape we see the way depth is created
according to the Byzantine tradition. The rocks are rendered in the same
fashion, and we see the replacement of reproductive exactitude, either with the
artistic simplicity of popular art or the codes of Byzantine art.
Georgios Iakovides (1853-1932)
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Dimitris Mytaras (1934 – )
Professor at the Athens School of Fine Arts,
Dimitris Mytaras has exhibited in many of the world’s capitals and has
participated in virtually every important Biennial.
A student of Moralis
and Papaloukas at the AFSA, he later continues his studies in
France, but lives and exhibits mainly in Athens. During the dictatorship he
produces paintings with a realistic – surrealistic dimension, in which parts of
ancient Greek culture were indicatively combined with the frightened figures of
modern people in offices.
Alekos Fassianos Paintings/Prints (1935 – )
The artist’s personal style began to take shape in the early 1960’s, and his
three basic themes remain unchanged throughout the course of his career: man,
nature, the environment. His studies in Greek civilization and his involvement
in engraving and graphic arts have both influenced his painting. One of the most
profound influences on Fassianos has been the way in which G. Tsarouchis
approached the Greek heritage, reinterpreting in his own way the vexed question
of the Greek identity. He was also influenced by Tsarouchis’ choice of subject
matter: ordinary people in the urban setting of Athens between the wars.
Fassianos’ earliest works are dominated by the figure of the military officer,
with his plump, florid cheeks, the dazzling braid of his uniform and the
laughable self-importance of his manner. Gradually the figures begin to move and
take on a life of their own. Couples begin to appear, filling the whole canvas
to an almost claustrophobic degree, barely touching one another yet combined by
the design of the composition into one mass, one extent. They are painted in
white, pinks and yellows, colours he has not used in subsequent work. There
follow intense blues and reds applied in thick layers. The figures begin to lose
their distinct outlines, as if melting and expanding to cover the whole area of
the painting. They are succeeded by figures dressed in hats, as immobile as the
earlier officers, who wait, like sitters posing to be photographed in a
bourgeois photographer’s studio, by a little table with a vase of flowers, to be
immortalized. The decorative motifs grow rarer, a single chromatic tone begins
to dominate each painting. The figures have become solid, dense masses, only a
few key features are etched into the thick layers of paint: a pair of trousers,
collar, sleeves. The subjects are rendered in profile and tend to be associated
with decorative motifs, which now grow more frequent: a lighted cigarette, a tie
or a fluttering scarf, windswept hair, a bicycle, a flock of birds. The
individual figures now detach themselves from the group and move more freely in
space. At the same time female figures appear, usually in supporting roles.
These are the subjects which recur over and over again in his work, although the
sequence is broken by the occasional interval. For a short time he painted men
in striped pajamas, surrounded by schematically rendered apartment blocks, in an
oppressive, stifling atmosphere. There was a phase when gold dominated his work,
like a reminiscence of the Byzantine ground. There are playful reminders of this
phase in later works, too. There was his short sensual period, when figures were
depicted sprawled in lascivious abandon, both sexes combined, but in poses more
narcissistic than charged with passion. Next to appear were the hermaphroditic
young bodies, whose faces, childlike and yet sensual, have remained a recurrent
feature in his work.
The childlike directness of his work conceals below its ingenuous, popularist
surface a more profound and intimate tenderness. Inspired by figures from the
shadow theatre and by the work of Theophilos he creates familiar figures which
for all their ordinariness are endowed by his brush with the monumental stature
of ancient divinities. The scenes he chooses to depict are banal moments from
everyday life: a seated man, smoking; a man standing beside his bicycle or horse;
a plate of fish, a vase of flowers, etc. Yet the immobility of the figures and
the sheer solidity of the structure and expression give the moment a historic
dimension, transforming the personal and the monotonous into the general and
eternal. Common reality is given new shape as a dream-like, fantastic image. The
bodies are rendered to emphasize their weight, using single, intense colours.
They are moulded into life step by step, from the interior outwards, and finally
given a covering of clothes. Although the rendering is schematic, they do not
become mere abstract symbols, nor are they deprived of volume. Robust, sturdy
male and female figures are rendered with curves and compact, single volumes.
The two-dimensional surface is enriched with a thick layer of paint, the details
incised into it. The severe, monochrome surfaces are dominated by the austere
line of the design.
Nikos Engonopoulos – poet and painter (1910-1985)
He was a pupil of Parthenis
and Kontoglou, and one of the first exponents of surrealism in
Greece. In The Oath the contribution of metaphysical painting of De
Chirico is parent in the composition of the work, as is a certain
degree of classic style. The main feature of Engonopoulos’ work is that the
symbols he uses are not only details taken from his own sub-conscious mind,
according to the model of the Mediterranean surrealists, but mainly symbols from
history and the civilizations which developed here and abroad. The totally
unexpected juxtaposition of the habit with the military
uniform together with the ax and the Minoan
figures, hint in a dreamy fashion at the basic composition which everything can
acquire in our minds
Yannis Tsarouhis (1910-1989)
Tsarouhis is one of the most inspired
exponents of this movement. A student of
Kostantinos Parthenis at the Athens
School of Fine Arts, he also studied with F.
Kontoglou and D. Pikionis, after which he goes
to Paris in 1935, and produces his first major works at the end of the 30’s. The
influences of Pompey’s frescoes, Fayoum or Byzantium, Theophilos and Karayozis,
Renaissance and also Baroque as well as Matisse of Baroque work together within
his art in a unique way, to give us pictures with man at their center. Figures
which are sometimes realistic, sometimes idealized sometimes effusively
decorated, and always with the unique stamp which makes the works of the great
artists who have something important to say, stand out from the rest.
The design in based on masses of color, with linear strikes to stress the
outline. The resultant form confirms the power of the artist to express his
thoughts and his ideological relationship with art itself, together with the
inborn feeling and understanding he has for his native country. Tsarouhis does
not reject anything out of hand, but uses everything which moves him as part of
his work
Yiannis Moralis (1916)
He is another of the consummate creators
born at the beginning of the century. He is an artist who is interested less in
the artistic styles of other periods or the solutions offered by contemporary
Western European art, and more in his own inner relationship with his art, as we
see in the way he portrays his subjects. Especially gifted in his technique,
Moralis insists on depicting the human body realistically, and he succeeds in
this thanks to the discipline and the faith present in his means of expression
Christos Caras Paintings
THE sea was sapphire colored, and the sky / Burned like a heated opal
through the air, / We hoisted sail; the wind was blowing fair / For the
blue lands that to the eastward lie. / From the steep prow I marked with
quickening eye / Zakynthos, every olive grove and creek, / Ithaca’s
cliff, Lycaon’s snowy peak, / And all the flower-strewn hills of Arcady.
/ The flapping of the sail against the mast, / The ripple of the water
on the side, / The ripple of girls’ laughter at the stern, /
The only sounds:- when ‘gan the West to burn, / And a red sun upon the seas to
ride, /
I stood upon the soil of Greece at last!
– Oscar Wilde, From "Flowers of Gold"
"The Kiss", Nikiphoros Lytras (1832-1904)
Nikos Hatzikyriakos-Ghikas Paintings
"The Studio in Hydra", 1960
"View from the Balcony"
"Ανάσταση – Anastasi – Resurrection" c. 1932 by Umberto Argyros
ICONS EXPLAINED – A Guide to Byzantine Icons on the
Internet – from Constantinople
to Macedonia to Russia – in 35 countries around the world
=>
Αγιο Φως – Agio Fws – Holy Light
Nikolaos Gyzis (1842 – 1901) – Paintings
Nikolaos Gyzis was born in 1842 at the island of Tinos. He attended the Athenian
School of Arts during the period 1854-1864. In 1865, Gyzis with Nazos’
help obtained a scholarship from the monastery of Virgin Mary in Tinos, and he
left for Munich. Gyzis, once in Munich, got acquainted with the neoclassical
works of sculpture, as well as with the paintings of the Dutch masters,
including Rembrant, existing in the town’s museum and Old Gallery. …
[one of my favorite hellenic Masters of ‘800]
"Idoy, o Nymfios Erchetai – [Behold, the Bridegroom Cometh]", c. 1895
"Spring Symphony", 1886
"To kryfo scholeio – The Secret School"
Orthodox priest teaching children secretly during the Ottoman era when
learning Greek was forbidden.
The Refugee Girl by George Jakobides
La main
La main tendue
"The Greater Woman Within "
Mick Art 