Still Life with Fish by Vokos NikolaosNational Gallery of Greece - Alexandros Soutsos Museum
The term still life, natura morta, was introduced into Italian art terminology in the 18th century.
Still Life with Flowers (ca 1875 - 1877) by Pantazis PeriklisNational Gallery of Greece - Alexandros Soutsos Museum
At the time, natura morta was still thought to be a second-class category of painting and was juxtaposed to the “noble” natura vivente, the living nature, where man was the protagonist.
Still Life with Fruit (ca 1876-1886) by Kaloudis AlexandrosNational Gallery of Greece - Alexandros Soutsos Museum
Still life enjoyed a particular flourishing in the Low Countries in the 17th century.
In Greece in the last quarter of the 19th century, Still Life developed to meet the demands of the new bourgeois class.
Still Life / Breads (ca 1880) by Gyzis NikolaosNational Gallery of Greece - Alexandros Soutsos Museum
Nikolaos Gyzis (1842 - 1901)
Still Life / Breads, ca 1880
Towards the end of his life, Gyzis produced certain exquisite still lifes in a break from painting large subjects. In this still life, an oval silver plate reflecting a dark light, three well-baked bread loaves and two pieces of pastry are laid on a reddish tablecloth.
An opportunity for the masterful artist to prove his hand in capturing textures and creating compositions of minimal colour, in which dark hues along with red colour and the gold colour of the bread prevail.
Flowers (before 1895) by Gyzis NikolaosNational Gallery of Greece - Alexandros Soutsos Museum
Nikolaos Gyzis(1842 - 1901)
Flowers, before 1895
This transparent vase with peonies, roses, carnations and a fine-stemmed hyacinth has been painted by Gyzis with freedom and artistic sensitivity.
The fine gradation of pink and above all the interplay of light, which makes some of the hyacinth flowers glow, have been captured with the utmost gentleness. The bright colours of the flowers project strongly against a dark brown background.
Still life places an illusory emphasis on material goods, symbolizes prosperity, and is destined to decorate dining or drawing rooms.
Texts: Marina Lampraki-Plaka, Professor Emeritus of the History of Art, ex-Director, National Gallery - Alexandros Soutsos Museum, Athens
Project leader: Efi Agathonikou, Head of Collections Department, National Gallery - Alexandros Soutsos Museum, Athens
Images: Stavros Psiroukis & Thalia Kimpari, Photographic Studio, National Gallery - Alexandros Soutsos Museum, Athens
Digital curation: Marina Tomazani, Art Historian, Curator, National Gallery - Alexandros Soutsos Museum
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