Unravelling the identity of Women and Nations through Art: the Case of Greece
Village Girl with Basket, by K. Panorios (1885-90).
The emergence of the Nation-State about three centuries ago led to the gradual crumbling of the empires and the rise of numerous new countries that comprise the global map today. The peoples’ need to consolidate – administratively and culturally – around some common ground that includes language, religion, traditions, and history, led not only to rallying cries about independence and freedom but also to an unprecedented quest for identity which is unfolding to our days. These newly-founded nationalistic sentiments forced each country to gravitate towards its ancient past, initially finding inspiration and solace in stories, legends, and achievements of bygone eras.
Many nations – especially those that surfaced from the disintegration of the Ottoman Empire – appear to remain trapped in the glory of their antiquity. And yet, despite their struggle and dilemmas in moving forward, their psyche is slowly crafted and revealed, the rough edges are sanded off, and the core is chiselled, all following the subtle pace of any creative process. These changes are usually so slight and delicate that they seem to be imperceptible within one’s life span; however, when examining the unravelling from a distance, one understands more clearly who we have become so far and, most importantly, who we can be in the future. Despite the acute nationalistic passion that characterises our days, such a study invariably reveals that we, as a human race, do not move towards segregation but, instead, towards a unification that is touching, tender, and surprisingly solid.
The recent exhibition “Scent of a Woman in Greek Painting” at the B.& M. Theocharakis Foundation offered an excellent opportunity to observe the evolution of the Greek society from the inception of the modern state in the 1830s to the present. Very aptly themed around the Woman, the exhibition works at three levels, presenting the changes in the women’s role and status over the past 200 years, the broader developments in the Greek society, and, at a more profound level, the transformation of the arts – the glue that holds the fragments of our souls together – over the same time range.
For thousands of years, the female figure has been standing as an everlasting source of inspiration. A multi-facet symbol of innocence, elegance, beauty, passion, wilderness, mystery, and fertility, the woman not only creates life, she is life, and there is no artist who has not used her form to personify the higher qualities which we all aspire to embrace. Interestingly enough, though, despite these undeniable aretes, until the 20th century, women were not considered capable of producing qualitative art – an idea that was popular not only in Greece but around the world. The traits of the goddess had always been acknowledged to some extent, and, yet, for thousands of years women were almost banished from real life, kept secluded in obscurity. It is only after the efforts of many pioneering ladies, the bloodshed of the two World Wars, and the evolution of an economy that does not depend anymore on physical strength that the global society has finally recognised – again, only to some extent – the potential of the women in areas which, until recently, were off-limits. And, although this campaigning about gender equality has, for the time being, created a new imbalance as women tend to compete with men instead of embracing their uniqueness, we are definitely living in exciting times.
These changes in the women’s role both reflected and forged the broader structures that define our society today, leading to frameworks that appear revolutionary. The female factor brings forth new energy which, many believe, will put a stop to old patterns that do not serve us anymore, helping to co-design the foundation of a future that will hopefully resolve the challenges we currently face. We often believe that for such reforms to be serious and substantial, they should be incorporated in our legal and political systems but, in reality, they always sprout from within, and it is this internal force that ultimately leads the way towards the necessary transformation. There lies the real role of Art as well, for it has the incredible power to wake people up and make meaningful change.
Portrait of the Artist’s Wife, by Dimitris Biskinis (1921). One of my favourite portraits of the exhibition.
The “Scent of a Woman” exhibition was organised in three sections, each touching, directly or indirectly, on all the above points, taking the visitor on an aesthetic, historical, and emotional journey.
The first section focused on the 19th-century and more specifically the years that followed the establishment of the modern Greek state. During that period the echo of the independence war was still strong, the impact of the foreign art schools dominant, and the portrayed women frequently played a decorative role, showcasing the colourful national dresses, and various oriental cultural elements. Some scenes of ethnographic character indicate the poverty of the era, the commonplace death of young mothers, the submissive role of women, their confinement in the house, their marriage with significantly older men, but, also, the first hints of the dawn of a new age full of opportunities and knowledge. Portraits were frequently commissioned but, naturally, only by the more affluent families of the Greek diaspora (as evident by the ensembles of the portrayed women) or by international clients with a taste for the Orient. Given the Bavarian origins of Greece’s first King, the German school of arts found a wide acceptance among the Greek artists, not because it was the only available one – on the contrary, many Greeks were educated in Italy, France, Austria, and Belgium – but, mainly, because its strict academic philosophy felt more familiar to the artistic circles who, after centuries of occupation, were somewhat conservative and lacked the courage to experiment with the new trends of their era. Still, we are happy to observe the first, timid experimentations of the painters who, using their wives as models (that is, in their non-commissioned works), they ventured into unchartered territories, paving the way for the next generations.
Hydriote Noble Lady, by Andreas Kriezis (1847). The portrait reveals the prestige and social status of the woman, while also highlighting the colours and beauty of her national dress. Note the effort to add perspective and colour in the background, while the headscarf of the woman has elements influenced by the Byzantine art and the folkloric tradition of Greece. The artist has studied abroad but does not forget his cultural heritage.
Portrait of a Lady, by Dionysios Tsokos (1860). The woman – obviously from a prosperous family – wears the costume introduced by Queen Amalia (a mixture of European and local elements), known ever since as the “Amalia costume”.
Portrait of Lady, by Aristides Oikonomou (1849). Note the influence of the Munich School of Arts expressed in the dark colours of the background, the fine, porcelain-like skin of the woman, and the quality in presenting the texture of her clothes.
Lady holding a small bouquet, by Georgios Avlichos (1886). Unlike most other portraits of the period, this one (depicting a lady in the Ionian islands of Greece) has a light-coloured background, largely influenced by the Italian education of the artist.
The first slap, by Theodoros Rallis (1908-09). After the 1870s, an ethnographic and oriental trend emerges in the Greek paintings. These works of art are meant to entertain and educate showing aspects of everyday life. Despite their focus on difficult issues (like, here, domestic violence with the title indicating there will be more slaps soon), the artists are not making a social comment, they do not judge: they just portray the reality of the times. The timid posture of the young woman, the crude stool which she uses vs the chair reserved for the man, all show her place in the house and society. Still, there are no signs of violence on her face, keeping the painting pleasant and enjoyable.
The prisoner, by Theodoros Rallis. Similarly here, another scene of everyday life is presented – the significantly older husband behind the bars being a common practice at the time.
The Girl from Megara, by Georgios Iakovidis (1870-77). The women from Megara were considered to be very beautiful and were often used as models in paintings. Here we see the transition from childhood to adolescence, the gaze indicative of the girl’s timidity, and her tiny earring a hint of coquetry.
Foster Mother, by Nikolaos Gyzis (1882-83). Women dying while giving birth was a common phenomenon, and the desolation of the young girl dressed in black is evident. The baby is also covered in black. The light-coloured background and the white sheet in the foreground lighten the mood, creating balance.
Peek-a-boo, by Nikolaos Gyzis (1882). Women were mostly confined at home, taking care of the kids. The scene, however, is playful and fun, showing all the talent of the artist in the portraits, the synthesis, and the details of the house. The interior is not that of a Greek household; instead, it is a Bavarian one (the artist studied in Germany and never moved back to Greece); however, there is an icon on the wall to indicate the Orthodox Christian element that is typical in Greece.
Awaiting, by Nikephoros Lytras (1895-1900). A tender theme of an oriental flair (which was highly welcomed by international clients). The white dress and the lily symbolise the innocence of the youth (note the talent of the artist in painting the dress, considering that white is one of the most difficult colours to use). The open window also symbolises the new opportunities opening up for the women at the time (or for a young person with life unfolding in front of her).
Portrait of Zinovia Psycha, by Georgios Iakovidis (1885). After 1875, a middle class emerges in Greece as a result of the economic development of the country. The portraits (this time of ladies living in Greece and not of the diaspora) are large and the frames elaborate, indicating the new status of the women. The forms are not outlined but, instead, they are created with consecutive brushes of paint (indicating that the painter was already influenced by the Impressionistic trends in Europe).
The Artist’s Wife, by Nikephoros Lytras (1885). A study in white. The Impressionists of the late 19th-c were focusing on mastering this colour, and the painter here experiments himself, using his wife as a model. The fact that his wife is portrayed as a painter at a time women were still not accepted by the artistic circles of the world, is an additional point of interest.
Flower Seller with a Basket, by Perikles Pantazis (1874). A very innovative portrait of the artist’s wife. Such a portrait would never be accepted by a paying client, having the woman sharing the foreground with a bouquet of flowers. The influence of Manet is evident.
Portrait of Miss M. Horsch, by Nikos Lytras (1916-17). The son of Nikephoros Lytras takes a bold step painting his wife (one of the first women to study arts in the university) in a very innovative way. Her dark dress and the dark background highlight her personality which is further reinforced by her short hair and confident gaze. The forms are created with numerous brushes of paint and not with outlines. The non-realistic drawing of her hands and the subtractive form of the chair provoked many negative reactions by the rigid, academic circles of Greece at the time. Paintings already turn from an objective presentation of reality to the subjective presentation of an individual perspective.
The second section of the exhibition explored the period spanning from the end of the 19th-century until the first decades of the 20th. The economic development and industrialisation experienced by the country led to the creation of a middle class – a bourgeoisie that had never existed before on Greek grounds. Women were still mostly connected with the household chores, yet, they got educated, as it is clearly indicated by a series of paintings where the models are portrayed next to libraries and secretaires, engaged in reading books and writing letters. A few female painters emerged, mostly in the cases where they had the opportunity to live and study abroad or to be supported by enlightened families of a western mentality. Otherwise, in Greece – like in France, Italy, and elsewhere – women were still not accepted as qualified creators, and art was believed to emanate only from the talent of men. Still, the women in Greece enjoyed a social power that was not found in several other European nations. This was because the strongly nautical economy of the country had allowed the women – especially those living in the islands and main ports – to play, since the ancient times, a chief role in the house, taking initiatives and having a certain level of independence imposed by the lengthy absence of the male figure. This was gradually reflected in the personality of the women who rose in social status thanks to their financial means and education, aligned – though not directly – to the suffragette movement that was unfolding at the same time in Europe. The artists of the period are assimilating the influences and knowledge of all new trends, liberating their art and giving permission to themselves to experiment with new forms, often against the rigid academic status quo.
On the left: Lady reading at her desk (by I. Oikonomou). On the right: The Letter (by G. Iakovidis). The colours become lighter, as the influence from the Impressionistic trends in Europe replaces the stricter rules of the Munich School of Art. The models do not look at the visitor but, instead, they are engaging in discovering the world through their own eyes. They remain polished and well-dressed.
Women Ironing, by Emmanuel Zairis. One of the few works of that era that makes a subtle comment on the difficult working conditions of women at home. The style reminds of the paintings of Degas.
On the left: The Actress Kyveli (by Nikos Lytras). On the right: The Actress Kyveli (by Thaleia Flora Karavia). Both artists choose the same model (a famous Greek actress of the time) but follow a different approach. On one hand, Lytras allows the personality of the model to emerge through the minimalistic background (the painting looks almost half-finished, which is a bold move and a sign of modernity). On the other hand, Flora Karavia (one of the first Greek women painters) remains more traditional, chooses a heavy and elaborate background to complement the personality of the model. The painting is technically excellent but not as effective.
Lady with a Dog, by Paul Mathiopoulos (1899). Mathiopoulos was the cosmographer of the Athenian society of the time. He worked with pastel, and this specific artwork is possibly the largest pastel painting in the world. The Athenian ladies of the upper class flooded his atelier where they would be portrayed in the Parisian Belle Epoque style. Artistically, the paintings are excellent, as pastel is a very difficult means to work with and Mathiopoulos was a true master.
Portrait of the Artist’s wife, Frosso Skoumpourdi, by Pericles Vyzantios (1928). After two decades during which the artists focused mostly on landscapes, they turn once more towards portraits. Anyway, Greek art, since ancient times, has been anthropocentric; abstract art never worked very well in the country. Note the differences in this painting as opposed to previous portraits: the woman is dressed in everyday clothes, her face reminds of Byzantine portraits, the minimalistic tones, the simplicity, the short hair, the natural pose, they all highlight the personality of the woman. The artists are no longer interested in the realistic representation. Instead, they dive into the psyche of the model.
Portrait of Aristovouli Lopresti, by Konstantinos Parthenis (1933). This is a truly spiritual portrait. The colours are transparent, the hands and body translucent, the whole emphasis is on the face and the personality of the model.
Female form with the two fingers in the hands united, by Giorgios Gounaropoulos. There is a dialogue between reality and dream. Still, the figure is distinguishable, while the style reminds of the drawings on the ancient Greek pottery.
Actress, by Giorgios Bouzianis (1954). This painting is influenced by Expressionism (a trend that did not become very popular in Greece). Unlike other Expressionistic paintings, this one maintains a clearly distinguishable figure; even the colour of the skin remains “realistic”. There is an emphasis on the female fertility through the body and the breasts. It is truly an ode to the Woman.
The final section of the exhibition focused on the second half of the 20th century: the modern era. The catastrophic wars in Asia Minor, the thousands of refugees that flooded Greece, and the obligatory relinquishing of the “Great Idea” forced the Greeks to delve deep into their heritage instead of relying on external factors. The artists – especially from the Generation of the 1930s onwards – took on a decisive role in this transformation, carrying on their shoulders the weight of the inner work that needed to be done – a task that the majority of the nation is still reluctant to undertake. There are no specific trends in art, and the experimentation is personal, limitless, and wild. There is a broader turn towards the individual though, an anthropocentric tendency that is evident in all the western world. The portraits aim to explore the creases of the woman’s soul, the same way that humanity searches within in an attempt to recover from the annihilation of values experienced after the devastating world wars. The ancient Greek and Byzantine traditions find a new channel of expression, always having as a goal healing and self-discovery at a personal and national level.
Despina in a lacy t-shirt, by Yannis Tsarouchis (1968). The style is inspired by the Fayum mummy portraits of Egypt. Here lies also the difference between a photograph and a painting. The photograph captures a specific moment in time, while the painting offers a comprehensive portrayal of a person. Like in the Fayum, a person remains eternal as the memory survives death.
Three Graces, by Christos Karas (1974). The three graces have descended from their pedestals and engage in a timeless dialogue both with the ancient past (represented by the helmet on the right) and the viewer.
Untitled, by Michalis Manoussakis (1953). The body of the woman is carved in the wood. It indicates the attempt of the artist to go beyond the surface and reach the molecular composition of the woman’s psyche. The two boats symbolise the journey through life and self-discovery.
Portrait of Marina Psalti, by Panayiotis Tetsis (1985-86). A study on light and shadow. Note how strong the light is through the white background and skirt of the woman, and, on the other hand, how imposing is the shadow on the right part of the painting.
My Mother (diptych), by Sotiris Sorogas (1982). On the left (part A) is the memory of the mother as a young woman. On the right (part B) is the absence, indicated by the empty mirror.
Nude, by Maria Filopoulou (2009). I chose to finish this article with this painting that emanates joy: a joy for life itself. The sparkling waters of the sea, the female naked body caressed by the sun, the relaxed and carefree pose, they all represent the Woman within as well as my homeland.
Note: Special thank to Ms Lambrini Karakourti-Orphanopoulou, curator of the exhibition, who, during her presentation, shed light to many points that would have remained unnoticed by me.
Photo credits: © Konstantina Sakellariou
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