14th 15th Century European Art and Its Relevance

Way of Greek religious painting during the Renaissance

Cretan School describes an of import school of icon painting, under the umbrella of mail service-Byzantine art,^[one] which flourished while Crete was under Venetian rule during the tardily Heart Ages, reaching its climax after the Fall of Constantinople, condign the primal force in Greek painting during the 15th, 16th and 17th centuries. The Cretan artists developed a item fashion of painting under the influence of both Eastern and Western artistic traditions and movements; the virtually famous production of the school, El Greco, was the virtually successful of the many artists who tried to build a career in Western Europe, and also the one who left the Byzantine manner uttermost behind him in his later on career.

15th century [edit]

There was a substantial demand for Byzantine icons in Europe throughout the Middle Ages and, as a Venetian possession since 1204, Crete had a natural advantage and soon came to boss the supply. A likely early example is the famous icon of the Virgin in Rome known as Our Mother of Perpetual Aid, which was certainly well known in Rome by 1499. At this appointment there is little to distinguish Cretan piece of work from other Byzantine icons stylistically, and the quality of piece of work is lower than that associated with Constantinople.

This period also saw considerable numbers of wall-paintings in local churches and monasteries - birthday some 850 from the 14th and 15th centuries survive in Crete, far more than than from earlier or later periods.^[2]

By the late 15th century, Cretan artists had established a singled-out icon-painting style, distinguished by "the precise outlines, the modelling of the flesh with dark brown underpaint and dumbo tiny highlights on the cheeks of the faces, the bright colours in the garments, the geometrical treatment of the curtain, and, finally the counterbalanced articulation of the composition",^[three] or "sharp contours, slim silhouettes, linear draperies and restrained movements".^[4] The about famous artist of the period was Andreas Ritzos (c. 1421–1492), whose son Nicholas was too well known. Angelos Akotantos, until recently thought to be a bourgeois painter of the 17th century, is now, after the discovery of a will dated 1436, seen to have been an innovative creative person in fusing Byzantine and Western styles, who survived until about 1457, when the will was really registered. The volition was made in anticipation of a voyage to Constantinople; several icons were bequeathed to church institutions, some Cosmic but mainly Orthodox, and the disposition of his stock of design drawings was advisedly specified.^[5] Andreas Pavias (d. after 1504) and his educatee Angelos Bizamanos, and Nicholas Tzafuris (d. before 1501) were other leading artists.^[6]

Even earlier the fall of Constantinople in that location is evidence that leading Byzantine artists were leaving the capital in order to settle in Crete. The migration of Byzantine artists to Crete continued increasingly during the following years and reached its peak after the fall of Constantinople in 1453, when Crete became "the most of import eye of art in the Greek world", influencing artistic developments in the residuum of the Greek world. Cretan icons were commissioned for monasteries on Mount Athos and elsewhere.^[7] Until it barbarous to the Turks in 1522, the Cretan school was rivalled past the smaller and less meaning customs of artists in Rhodes.^[8]

The Venetian athenaeum preserve considerable documentation on the trade of artistic icons between Venice and Crete, which by the end of the 15th century had become ane of mass production. There is documentation of a specific order in 1499, of 700 icons of the Virgin, 500 in a Western style, and 200 in Byzantine manner. The guild was placed with iii artists past 2 dealers, i Venetian and one from mainland Greece, and the fourth dimension between contract date and commitment was set at simply forty-v days. Probably the quality of many such commissioned icons was adequately depression, and the dismissive term Madonneri was devised to describe such bulk painters, who later practised in Italia also, ofttimes using a quasi-Byzantine style, and obviously often Greek or Dalmatian individuals. Production of icons at these levels seems to have led to a glut in the marketplace, and in the following two decades there is much evidence that the Cretan trade declined significantly, as the European demand had been reduced.^[nine] But at the top end of the marketplace Cretan icons were now the finest in the Byzantine world.

16th century [edit]

• Works by El Greco

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  St Luke painting the Virgin (1560–67), Benaki Museum

• 

About 120 artists can be documented working in Candia (the Venetian proper noun of Chandax, present day Herakleion), in the menstruation 1453–1526, and they had organized a Schuola di San Luca painter's guild, based on the Italian model.^[10] The blending of the Eastern and the Western traditions, and a relaxed interchange between Greek Orthodox and Roman Cosmic rites led to the "Cretan Renaissance", a golden menstruum for the arts on the isle, where both literature and painting flourished. Some of these painters chose to continue the Byzantine tradition of Constantinople, while others were influenced by the masters of the Venetian Renaissance, such as Giovanni Bellini and Titian.^[11] Afterward Veronese was to be a particular influence. Works by these masters or copies were in monasteries and churches of the island, while examples of Early Netherlandish painting decorated the Catholic churches of Candia or were to be found in the individual collections of rich Venetians and Greeks.^[12] In particular, Candia contained a large Franciscan church and a big Orthodox monastery, a daughter-house of Saint Catherine's Monastery, both of which had strong collections from their corresponding traditions.

Gimmicky documents refer to two styles in painting: the maniera greca (alla greca, in line with the Byzantine idiom) and the maniera Latina (alla Latina, in accordance with Western techniques), which artists knew and utilized according to the circumstances; as a consequence some kind of "eclecticism" appeared.^[thirteen] Indeed, sometimes both styles could be found in the same icon, the i right side by side to the other.^[12] The fame of the near prominent Cretan painters spread throughout Greece, the Mediterranean and Europe. After the starting time of the 16th century, the Cretan artists once again had more than commissions and their works were avidly sought, since they had started to utilize new motives and to adjust their iconography to the new trends of their era. To an extent quantity was probably replaced by quality compared with the previous century.

16th-century artists [edit]

Apart from El Greco, the most famous Cretan artists during the century were Theophanis Strelitzas (Θεοφάνης Στρελίτζας), known as Theophanes the Cretan, Michael Damaskenos (Μιχαήλ Δαμασκηνός), and Georgios Klontzas (Γεώργιος Κλόντζας).^[eleven] Diverse members of the Lambardos family were also pregnant artists. Fortunately for fine art historians, many Cretan painters adopted the practice, mayhap as early on as Western painters, of signing their piece of work, which was non a traditional Byzantine practice.^[14]

Theophanes the Cretan was a relatively conservative Cretan artist, whose start dated work is from 1527, and all of whose known works were washed on the mainland or smaller islands. He was the most important Greek wall painter of his day, incorporating some Western iconographic and stylistic elements, but remaining substantially Byzantine in spirit.

The intellectual and creative personality of the immature El Greco was formed in this creative surround. In 1563, at the age of twenty-two, El Greco was described in a document as a "master" ("maestro Domenigo"), meaning he was already an enrolled main of the local guild, presumably in charge of his own workshop.^[xv] He left for Venice a few years later, and never returned to Crete. His Dormition of the Virgin, of before 1567 in tempera and gold on panel (61,iv x 45 cm, Holy Cathedral of the Dormition of the Virgin, Hermoupolis, Syros) was probably created near the end of El Greco's Cretan menstruation. The painting combines post-Byzantine and Italian Mannerist stylistic and iconographic elements, and incorporates stylistic elements of the Cretan School.

• Styles in the work of Michael Damaskenos

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  Holy Liturgy, an Orthodox limerick, though showing Western stylistic and iconographic influence, for case in depicting God the Father

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  Decapitation of Agia Paraskevi, conceived in Venetian style

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  Last Supper

During the 2d half of the 16th century, many Cretan artists went to Venice, in the hope of gaining commissions and recognition. Unlike El Greco, the other Cretan painters who moved there did not substantially alter their styles or working methods. They only incorporated more Italian motifs into a consistent Byzantine framework. Jonathan Brown provides a perceptive analysis of the ways that El Greco distinguished himself from other Cretan artists active in Venice, while Richard Mann argues that "none of these painters accepted Renaissance ideas about the relevance of change to the cosmos of fine art works".^[16] Michael Damaskenos returned to Crete afterward iii years, and remained there for the residual of his life.

17th century [edit]

The 1600s were characterized as the final period of the Cretan School. The movement featured many artists. The Tardily Cretan School was characterized past prototypes fix forth by Michael Damaskinos and Georgios Klontzas. During that menses Damaskinos'south Beheading of John the Baptist and the Stoning of Stephen were copied by countless Cretan artists. Some included Philotheos Skoufos.^[17]

Georgios Klontzas was another Cretan painter copied by many artists of the Belatedly Cretan Schoolhouse. Both his In Thee Rejoiceth and his The Concluding Judgment prepare the standard for painters of the Late Cretan School. Theodore Poulakis was a prominent member of the Late Cretan Schoolhouse. His version of Klontzas'south painting was also called In Thee Rejoiceth. Both paintings are very similar. Many other painters also created their own version of Klontzas's In Thee Rejoiceth. ^[18]

The Last Judgement was covered past artists of the Greek-Italian Byzantine mode. Klontzas created his own unique version of the painting. Klontzas's Last Judgment was copied past artists of the Belatedly Cretan Schoolhouse. Notable versions include Moskos'south Last Judgment and Kavertzas's Concluding Judgment.^[19]

One of the most important artistic advancements of the Tardily Cretan Schoolhouse was the work of Ieremias Palladas. Palladas was a Sinaitic monk. He painted Catherine of Alexandria with a cycle and a burning bush-league for the iconostasis of the god-trodden Saint Catherine's Monastery. The painting was copied past numerous artists of the Late Cretan Schoolhouse and serves as a prototype for the depiction of Saint Catherine of Alexandria until today. Painters of the Tardily Cretan Schoolhouse as well created their own version of the Crucifixion. Notable version were Ioannis Moskos'south Crucifixion and Georgios Markazinis'southward Crucifixion.^[xx]

Some other major representative of the Cretan School during the 17th century was famous Greek painter Emmanuel Tzanes, 130 of his works survived. Cretan icon painters continued to flourish, until the mid-century. Venetian art was not the merely influence of the Cretan School. The Late Cretan School was characterized by the influence of flemish engravings namely that of engraver January Sadeler I. Sadeler had a workshop in Venice. His piece of work influenced Konstantinos Tzanes and Georgios Markazinis.

The Ottoman Turks occupied all the island except for Candia, which finally fell after twenty years of siege in 1669.^[21] After the Ottoman occupation of Crete, the centre of Greek painting moved to the Ionian Islands, which remained under Venetian rule until the Napoleonic Wars. A new artistic motility was created called the Heptanese School which was by and large influenced past Western European creative trends. Many Cretan artists migrated to the Heptanese or Western Europe to enjoy the creative freedom. Few artists connected to flourish in Crete after the occupation. Some of them were Michael Prevelis, Ioannis Kornaros and Georgios Kastrofylakas. A successive occupation of the Ionian islands by the French and the British allowed the Heptanese to remain the centre of Greek Fine art until the independence of Greece in 1830.

Enquiry [edit]

The Institute of Neohellenic Research published three Encyclopedias outlining the records of endless artists from the Fall of the Byzantine Empire until the onset of mod Greece. It is the beginning time in history Greek painters were listed on this scale and magnitude. The work resembles Giorgio Vasari's Lives of the Most Splendid Painters, Sculptors, and Architects and Bernardo de' Dominici's Vite dei Pittori, Scultori, ed Architetti Napolitani.^[17]

The books feature thousands of paintings, frescos, and other artistic works. The encyclopedias feature hundreds of painters. The three volumes are currently only available in Greek and entitled Έλληνες Ζωγράφοι μετά την Άλωση (1450-1830) or Greek painters after the fall (1450-1830). Eugenia Drakopoulou and Manolis Hatzidakis were the major contributors. The volumes were published in 1987, 1997, and 2010. The books feature many artists from the Cretan Schoolhouse or Greek Renaissance period. Drakopoulou continues her research with the institute until today.^{[22] [23]}

The program'southward purpose is to build an archive of Greek painters after the fall of Constantinople (1450-1830). It features biographical details and an index of creative works. The Institute of Neohellenic Research catalogs portable icons, church frescoes, and or any other artistic works. This is the first time in history a systematic record was accumulated in Greece representing the period.^[24]

Gallery [edit]

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  Triptych by Andreas Ritzos

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  Birth of Christ by Theodoros Poulakis

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  St Theodora past Emmanuel Tzanes

See also [edit]

• Greek scholars in the Renaissance
• Benaki Museum
• National Gallery (Athens)
• Vitsentzos Kornaros

Citations [edit]

1. ^ Spratt, Emily Fifty. (2012). "Toward a Definition of "Mail-Byzantine" Art: The Angleton Collection at the Princeton University Art Museum". Record of the Fine art Museum, Princeton University. 71/72: 2–19. JSTOR 24416383.
2. ^ Manolis Chatzidakis, in From Byzantium to El Greco, p.42, Athens 1987, Byzantine Museum of Arts
3. ^ Nano Chatzidakis, in From Byzantium to El Greco, p.49, Athens 1987, Byzantine Museum of Arts
4. ^ Anne Met-Graavgard in Mail service-Byzantine fine art, Grove Art Online, accessed January 31, 2008
5. ^ Robin Cormack; Painting the Soul; pp. 182-191; 1997; Reaktion Books, London; ISBN 1-86189-001-Ten. For the older view, encounter D. Talbot-Rice, Byzantine Art
6. ^ Manolis Chatzidakis in The Icon, 1982, Evans Brothers Ltd, London, p. 311-12, ISBN 0-237-45645-one
7. ^ Nano Chatzidakis, op cit, p. 48
8. ^ Robin Cormack in Byzantium to El Greco, p.27, Athens 1987, Byzantine Museum of Arts
9. ^ Maria Constantoudaki-Kitromilides in From Byzantium to El Greco, p.51-ii, Athens 1987, Byzantine Museum of Arts
10. ^ Manolis Chatzidakis in The Icon, 1982, Evans Brothers Ltd, London, p. 310, ISBN 0-237-45645-ane
11. ^ ^{a b} Thousand. Tazartes, El Greco, 23-24
12. ^ ^{a b} G. Lambraki-Plaka, El Greco—The Greek
13. ^ M. Lambraki-Plaka, El Greco-The Greek, twoscore-41
    * Thousand. Tazartes, El Greco, 23-24
14. ^ David Talbot-Rice, Byzantine Art, 3rd edn 1968, Penguin Books Ltd, p. 384. Come across too Cormack, 1997, op cit., pp.172-4 & passim
15. ^ Due north.One thousand. Panayotakis, The Cretan Period of Doménicos, 29
16. ^ J. Brown, El Greco and Toledo, 76-78
    * R.M. Mann, Tradition and Originality in El Greco's Piece of work, 88
17. ^ ^{a b} Hatzidakis, Manolis (1987). Έλληνες Ζωγράφοι μετά την Άλωση (1450-1830). Τόμος 1: Αβέρκιος - Ιωσήφ [Greek Painters after the Fall of Constantinople (1450-1830). Volume 1: Averkios - Iosif]. Athens: Middle for Modern Greek Studies, National Enquiry Foundation. pp. 241–254. hdl:10442/14844. ISBN960-7916-01-eight.
18. ^ Speake, Graham (2021). Georgios Klontzas Encyclopedia of Greece and the Hellenic Tradition. London And New York: Rutledge Taylor & Francis Grouping. p. 893. ISBN9781135942069.
19. ^ Siopis, Ioannis (2016). Το Θέμα της Δευτέρας Παρουσίας στις εικόνες [A Detailed History of the 2d Coming (Terminal Judgment) in Greek Paintings (Greek)] (PDF). Thessaloniki, Hellenic republic: Aristotle University of Thessaloniki School of Philosophy Division of Archeology and History. p. 51-53.
20. ^ Vafea, Flora (2017). The Astronomical Instruments in Saint Catherine's Iconography at the Holy Monastery of Sinai The Almagest Book 8, Issue 2 . Paris, France: University of Paris. p. 85-106. doi:10.1484/J.ALMAGEST.five.114932.
21. ^ Ten. Papaefthimiou, Popular Aspects of the Greek Iconography Archived 2012-05-24 at archive.today
22. ^ Hatzidakis, Manolis & Drakopoulou, Eugenia (1997). Greek painters after the fall (1450-1830) Volume B. Athens, GR: Centre for Mod Greek Studies Eastward.I.E. pp. 10–15.
23. ^ *Drakopoulou, Eugenia (2010). Greek painters later the autumn (1450-1830) Volume C. Athens, GR: Center for Modern Greek Studies Eastward.I.Due east. pp. one–twenty.
24. ^ Eugenia Drakopoulou (August 15, 2021). "Χριστόδουλος Καλλέργης (Καλέργης)". Plant for Neohellenic Research. Retrieved August xv, 2021.

References [edit]

Full general [edit]

• Various authors, From Byzantium to El Greco, Athens 1987, Byzantine Museum of Arts
• Chatzidakis, Manolis, in The Icon, 1982, Evans Brothers Ltd, London, 1981, ISBN 0-237-45645-ane
• Cormack, Robin (1997). Painting the Soul; Icons, Death Masks and Shrouds. Reaktion Books, London.
• David Talbot-Rice, Byzantine Fine art, tertiary edn 1968, Penguin Books Ltd
• Hatzidakis, Manolis (1987). Έλληνες Ζωγράφοι μετά την Άλωση (1450-1830). Τόμος 1: Αβέρκιος - Ιωσήφ [Greek Painters after the Autumn of Constantinople (1450-1830). Volume 1: Averkios - Iosif]. Athens: Center for Modern Greek Studies, National Inquiry Foundation. hdl:10442/14844. ISBN960-7916-01-8.
• Hatzidakis, Manolis; Drakopoulou, Evgenia (1997). Έλληνες Ζωγράφοι μετά την Άλωση (1450-1830). Τόμος ii: Καβαλλάρος - Ψαθόπουλος [Greek Painters after the Fall of Constantinople (1450-1830). Volume 2: Kavallaros - Psathopoulos]. Athens: Center for Modernistic Greek Studies, National Research Foundation. hdl:10442/14088. ISBN960-7916-00-X.
• Drakopoulou, Evgenia (2010). Έλληνες Ζωγράφοι μετά την Άλωση (1450-1830), Τόμος three: Αβέρκιος - Ιωσήφ (Συμπληρώσεις-Διορθώσεις) [Greek Painters after the Autumn of Constantinople (1450-1830). Volume 3: Averkios - Iosif (Addenda-Corrigenda)]. Athens: Center for Mod Greek Studies, National Inquiry Foundation. hdl:10442/14845. ISBN978-960-7916-94-v.

El Greco [edit]

• Bray, Xavier; El Greco; 2004; National Gallery Company, London (dist Yale Upwardly);ISBN 1-85709-315-1
• Brown, Jonathan (1982). "El Greco and Toledo". El Greco of Toledo (catalogue). Trivial Chocolate-brown. ASIN B-000H4-58C-Y.
• Lambraki-Plaka, Marina (1999). El Greco-The Greek. Kastaniotis. ISBN960-03-2544-8.
• Mann, Richard K. (2002). "Tradition and Originality in El Greco's Piece of work" (PDF). Periodical of the Rocky Mountain. The Medieval and Renaissance Association. 23: 83–110. Archived from the original (PDF) on 2006-09-06. Retrieved 2006-12-12 .
• Panayotakis, Nikolaos Grand. (1986). ""The Cretan Menstruation of the Life of Doménicos Theotocópoulos". Festschrift In Honor Of Nikos Svoronos, Volume B. Crete University Press.

External links [edit]

• National Gallery of Athens
• Nano Hatzidakis: Velimezis Icon Collection
• Giorgios Klontzas icon in Philadelphia
• The Origins of El Greco: Icon painting in Venetian Crete Exhibition in NY, 2009–ten
• New York Times Art Review: 'The Origins of El Greco' Saints at a Cultural Crossroads
• Byzantium: faith and ability (1261–1557), an exhibition itemize from The Metropolitan Museum of Art (fully bachelor online every bit PDF), which contains material on the Cretan Schoolhouse

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Source: https://en.wikipedia.org/wiki/Cretan_School

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