HOME
ListMoto - Post-Byzantine Art


--- Advertisement ---



(i) (i) (i) (i) (i) (i) (i) (i) (i) (i) (i)

Cretan School
Cretan School
describes an important school of icon painting, under the umbrella of post- Byzantine
Byzantine
art,[1] which flourished while Crete was under Venetian rule during the late Middle Ages, reaching its climax after the Fall of Constantinople, becoming the central force in Greek painting during the 15th, 16th and 17th centuries. The Cretan artists developed a particular style of painting under the influence of both Eastern and Western artistic traditions and movements; the most famous product of the school, El Greco, was the most successful of the many artists who tried to build a career in Western Europe, and also the one who left the Byzantine
Byzantine
style farthest behind him in his later career.

Contents

1 15th century 2 16th century

2.1 16th-century artists

3 17th century 4 Gallery 5 See also 6 Citations 7 References

7.1 General 7.2 El Greco

8 External links

15th century[edit]

Our Lady of Perpetual Help, probably an early Cretan work of 13th or 14th century.

Deposition, Lamentation and Resurrection triptych by Nikolaos Zafouris, c. 1490s (National Museum, Warsaw).

There was a substantial demand for Byzantine
Byzantine
icons in Europe throughout the Middle Ages
Middle Ages
and, as a Venetian possession since 1204, Crete
Crete
had a natural advantage and soon came to dominate the supply. A probable early example is the famous icon of the Virgin
Virgin
in Rome
Rome
known as Our Mother of Perpetual Help, which was certainly well known in Rome
Rome
by 1499. At this date there is little to distinguish Cretan work from other Byzantine
Byzantine
icons stylistically, and the quality of work is lower than that associated with Constantinople. This period also saw considerable numbers of wall-paintings in local churches and monasteries - altogether some 850 from the 14th and 15th centuries survive in Crete, far more than from earlier or later periods.[2] By the late 15th century, Cretan artists had established a distinct icon-painting style, distinguished by "the precise outlines, the modelling of the flesh with dark brown underpaint and dense tiny highlights on the cheeks of the faces, the bright colours in the garments, the geometrical treatment of the drapery, and, finally the balanced articulation of the composition",[3] or "sharp contours, slim silhouettes, linear draperies and restrained movements".[4] The most famous artist of the period was Andreas Ritzos
Andreas Ritzos
(c. 1421–1492), whose son Nicholas was also well known. Angelos Akotantos, until recently thought to be a conservative painter of the 17th century, is now, after the discovery of a will dated 1436, seen to have been an innovative artist in fusing Byzantine
Byzantine
and Western styles, who survived until about 1457, when the will was actually registered. Interestingly, the will was made in anticipation of a voyage to Constantinople; several icons were bequeathed to church institutions, some Catholic but mainly Orthodox, and the disposition of his stock of pattern drawings was carefully specified.[5] Andreas Pavias (d. after 1504) and his pupil Angelos Bizamanos, and Nicholas Tzafuris (d. before 1501) were other leading artists.[6] Even before the fall of Constantinople
Constantinople
there is evidence that leading Byzantine
Byzantine
artists were leaving the capital in order to settle in Crete. The migration of Byzantine
Byzantine
artists to Crete
Crete
continued increasingly the next years and reached its peak after the fall of Constantinople
Constantinople
in 1453, when Crete
Crete
became "the most important centre of art in the Greek world", influencing artistic developments in the rest of the Greek world. Cretan icons were commissioned for monasteries on Mount Athos
Mount Athos
and elsewhere.[7] The Cretan school had a smaller rival; until it fell to the Turks in 1522, Rhodes
Rhodes
also had a community of artists, but not so large or significant.[8] The Venetian archives preserve considerable documentation on the trade of artistic icons between Venice
Venice
and Crete, which by the end of the 15th century had become one 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
Byzantine
style. The order was placed with three artists by two dealers, one Venetian and one from mainland Greece, and the time between contract date and delivery was set at only forty-five days. Probably the quality of many such commissioned icons was fairly low, and the dismissive term Madonneri was devised to describe such bulk painters, who later practised in Italy also, often using a quasi- Byzantine
Byzantine
style, and apparently often Greek or Dalmatian individuals. Production of icons at these levels seems to have led to a glut in the market, and in the following two decades there is much evidence that the Cretan trade declined significantly, as the European demand had been reduced.[9] But at the top end of the market Cretan icons were now the finest in the Byzantine
Byzantine
world. 16th century[edit]

Works by El Greco

Pieta (1566), Benaki Museum

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

Dormition of the Virgin
Virgin
(before 1567), Ermoupoli

About 120 artists can be documented working in Candia (the Venetian name of Chandax, present day Herakleion), in the period 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 Catholic rites led to the "Cretan Renaissance", a golden period for the arts on the island, where both literature and painting flourished. Some of these painters chose to continue the Byzantine
Byzantine
tradition of Constantinople, while others were influenced by the masters of the Venetian Renaissance, such as Giovanni Bellini
Giovanni Bellini
and Titian.[11] Later 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
Early Netherlandish painting
decorated the Catholic churches of Candia or were to be found in the private collections of rich Venetians and Greeks.[12] In particular, Candia contained a large Franciscan church and a large Orthodox monastery, a daughter-house of Saint Catherine's Monastery, both of which had strong collections from their respective traditions. Contemporary documents refer to two styles in painting: the maniera greca (alla greca, in line with the Byzantine
Byzantine
idiom) and the maniera Latina (alla Latina, in accordance with Western techniques), which artists knew and utilized according to the circumstances; as a result some kind of "eclecticism" appeared.[13] Indeed, sometimes both styles could be found in the same icon, the one right next to the other.[12] The fame of the most prominent Cretan painters spread throughout Greece, the Mediterranean
Mediterranean
and Europe. After the beginning of the 16th century, the Cretan artists once again had more commissions and their works were avidly sought, since they had started to use 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]

Scenes of Christ's passion triptych by Georgios Klontzas (the right wing is lost)

Apart from El Greco, the most famous Cretan artists during the century were Theophanis Strelitzas (Θεοφάνης Στρελίτζας), known as Theophanes the Cretan, Michael Damaskenos
Michael Damaskenos
(Μιχαήλ Δαμασκηνός), and Georgios Klontzas (Γεώργιος Κλόντζας).[11] Various members of the Lambardos family were also significant artists. Fortunately for art historians, many Cretan painters adopted the practice, perhaps as early as Western painters, of signing their work, which was not a traditional Byzantine practice.[14] Theophanes the Cretan
Theophanes the Cretan
was a relatively conservative Cretan artist, whose first dated work is from 1527, and all of whose known works were done 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 essentially Byzantine
Byzantine
in spirit. The intellectual and artistic personality of the young El Greco
El Greco
was formed in this artistic environment. In 1563, at the age of twenty-two, El Greco
El Greco
was described in a document as a "master" ("maestro Domenigo"), meaning he was already an enrolled master of the local guild, presumably in charge of his own workshop.[15] He left for Venice
Venice
a few years later, and never returned to Crete. His Dormition of the Virgin, of before 1567 in tempera and gold on panel (61,4 x 45 cm, Holy Cathedral of the Dormition of the Virgin, Hermoupolis, Syros) was probably created near the end of El Greco's Cretan period. The painting combines post- Byzantine
Byzantine
and Italian Mannerist
Mannerist
stylistic and iconographic elements, and incorporates stylistic elements of the Cretan School.

Styles in the work of Michael Damaskenos

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

Decapitation of Agia Paraskevi, conceived in Venetian style

Last Supper

During the second 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 simply incorporated more Italian motifs into a consistent Byzantine framework. Jonathan Brown provides a perceptive analysis of the ways that El Greco
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 creation of art works".[16] Michael Damaskenos
Michael Damaskenos
returned to Crete
Crete
after three years, and remained there for the rest of his life. 17th century[edit]

Icon
Icon
by Emmanuel Tzanes
Emmanuel Tzanes
(Paul and Alexandra Kanellopoulos Museum, Athens).

Prominent representatives of the Cretan School
Cretan School
during the 17th century were Father Emmanuel Tzanes
Emmanuel Tzanes
(Εμμανουήλ Τζάνες, 1610–1690), Emmanuel Lambardos and Theodoros Poulakis (Θεόδωρος Πουλάκης, 1622–1692). The Cretan icon painters continued to flourish, until the mid-century, when the Ottoman Turks occupied all the island except for Candia, which finally fell after twenty years of siege in 1669.[17] 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 movement was created called the Heptanese
Heptanese
School which was mostly influenced by Western European
Western European
artistic trends. Many Cretan artists migrated to the Heptanese
Heptanese
or Western Europe
Western Europe
to enjoy the artistic freedom. A successive occupation of the Ionian islands by the French and the British allowed the Heptanese
Heptanese
to remain the centre of Greek Art
Greek Art
until the independence of Greece
Greece
in 1830. Gallery[edit]

St George by Angelos Akotandos (15th century)

"Two scenes from the life of St John the Divine" by Andreas Ritzos (15th, Benaki Museum)

Triptych by Andreas Ritzos

St George Dragon Slayer by Georgios Klontzas (16th)

Crucifixion by Emmanuel Lambardos (17th)

Archangel Michael by Theodoros Poulakis (17th)

Nativity of Christ by Theodoros Poulakis

St Mark the Evangelist by Emmanuel Tzanes
Emmanuel Tzanes
(17th)

St Theodora by Emmanuel Tzanes

Resurrection by Ilias Moskos (17th)

Martyrdom of Saint Stephen by Filotheos Skoufos (17th)

Mary Magdalene by Constantin Tzanes (17th)

See also[edit]

Part of a series on the

History of Greek art

Greek Bronze Age

Cycladic art Minoan art Mycenaean art

Ancient Greece

Archaic Greek art Ancient Greek art Ancient Greek architecture Ancient Greek pottery Ancient Greek sculpture Hellenistic art see also: Greco-Buddhist art

Medieval Greece

Byzantine
Byzantine
art Macedonian art

Post- Byzantine
Byzantine
Greece

Cretan School Heptanese
Heptanese
School

Modern Greece

Modern Greek art Modern Greek architecture Munich School Contemporary Greek art

v t e

Byzantine
Byzantine
scholars in Renaissance Benaki Museum National Gallery (Athens)

Citations[edit]

^ Spratt, Emily L. (2012). "Toward a Definition of "Post-Byzantine" Art: The Angleton Collection at the Princeton University Art Museum". Record of the Art Museum, Princeton University. 71/72: 2–19.  ^ Manolis Chatzidakis, in From Byzantium to El Greco,p.42, Athens 1987, Byzantine
Byzantine
Museum of Arts ^ Nano Chatzidakis, in From Byzantium to El Greco,p.49, Athens
Athens
1987, Byzantine
Byzantine
Museum of Arts ^ Anne Met-Graavgard in Post- Byzantine
Byzantine
art, Grove Art Online, accessed January 31, 2008 ^ Robin Cormack; Painting the Soul; pp. 182-191; 1997; Reaktion Books, London; ISBN 1-86189-001-X. For the older view, see D. Talbot-Rice, Byzantine
Byzantine
Art ^ Manolis Chatzidakis in The Icon, 1982, Evans Brothers Ltd, London, p. 311-12, ISBN 0-237-45645-1 ^ Nano Chatzidakis, op cit, p. 48 ^ Robin Cormack in Byzantium to El Greco,p.27, Athens
Athens
1987, Byzantine Museum of Arts ^ Maria Constantoudaki-Kitromilides in From Byzantium to El Greco,p.51-2, Athens
Athens
1987, Byzantine
Byzantine
Museum of Arts ^ Manolis Chatzidakis in The Icon, 1982, Evans Brothers Ltd, London, p. 310, ISBN 0-237-45645-1 ^ a b M. Tazartes, El Greco, 23-24 ^ a b M. Lambraki-Plaka, El Greco—The Greek ^ M. Lambraki-Plaka, El Greco-The Greek, 40-41 * M. Tazartes, El Greco, 23-24 ^ David Talbot-Rice, Byzantine
Byzantine
Art, 3rd edn 1968, Penguin Books Ltd, p. 384. See also Cormack, 1997, op cit., pp.172-4 & passim ^ N.M. Panayotakis, The Cretan Period of Doménicos, 29 ^ J. Brown, El Greco
El Greco
and Toledo, 76-78 * R.G. Mann, Tradition and Originality in El Greco's Work, 88 ^ X. Papaefthimiou, Popular Aspects of the Greek Iconography Archived 2012-05-24 at Archive.is

References[edit] General[edit]

Various authors, From Byzantium to El Greco, Athens
Athens
1987, Byzantine Museum of Arts Chatzidakis, Manolis, in The Icon, 1982, Evans Brothers Ltd, London, 1981, ISBN 0-237-45645-1 Cormack, Robin (1997). Painting the Soul; Icons, Death Masks and Shrouds. Reaktion Books, London.  David Talbot-Rice, Byzantine
Byzantine
Art, 3rd edn 1968, Penguin Books Ltd

El Greco[edit]

Bray, Xavier; El Greco; 2004; National Gallery Company, London (dist Yale UP);ISBN 1-85709-315-1 Brown, Jonathan (1982). " El Greco
El Greco
and Toledo". El Greco
El Greco
of Toledo (catalogue). Little Brown. ASIN B-000H4-58C-Y.  Lambraki-Plaka, Marina (1999). El Greco-The Greek. Kastaniotis. ISBN 960-03-2544-8.  Mann, Richard G. (2002). "Tradition and Originality in El Greco's Work" (PDF). "Journal of the Rocky Mountain". The Medieval and Renaissance Association. 23: 83–110.  Panayotakis, Nikolaos M. (1986). ""The Cretan Period of the Life of Doménicos Theotocópoulos". Festschrift In Honor Of Nikos Svoronos, Volume B. Crete
Crete
University Press. 

External links[edit]

Wikimedia Commons has media related to Cretan School.

National Gallery of Athens Nano Hatzidakis: Velimezis Icon
Icon
Collection Giorgios Klontzas icon in Philadelphia The Origins of El Greco: Icon
Icon
painting in Venetian Crete
Crete
Exhibition in NY, 2009–10 NYT Art Review: 'The Origins of El Greco' Saints at a Cultural Crossroads Byzantium: faith and power (1261–1557), an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on the Cretan School

v t e

Crete

People

Minos Epimenides Nearchus Georgios Chortatzis Vitsentzos Kornaros Marcus Musurus El Greco Cyril Lucaris Dimitrios Kallergis Eleftherios Venizelos Nikos Kazantzakis Konstantinos Mitsotakis Sfakians

History

Ancient Crete Minoan period Mycenaean period Classical and Hellenistic period Creta et Cyrenaica First Byzantine
Byzantine
period Emirate of Crete Second Byzantine
Byzantine
period Kingdom of Candia Revolt of Saint Titus Cretan War (1645–69) Ottoman Crete Greek War of Independence Cretan Revolt (1866–69) Cretan State Theriso revolt Battle of Crete Cretan resistance

Major cities

Agios Nikolaos Chania Heraklion Ierapetra Rethymno Sitia

Gorges

Agia Eirini Gorge Ha Gorge Imbros Gorge Kotsifos Gorge Kourtaliotiko Gorge Milona Gorge Richtis Gorge Samariá Gorge Sarakina Gorge

Landmarks

Ancient

Archanes Gortyn Gournia Knossos Kydonia Lato Malia Phaistos Polyrrhenia Tylissos Zakros

Museums

Archaeological Museum of Chania Cretaquarium Heraklion
Heraklion
Archaeological Museum Nautical Museum of Crete St. Mark Basilica (Museum of Visual Arts)

Religious

Agia Triada Monastery Agios Minas Cathedral Agios Titos, Heraklion Arkadi Monastery Gouverneto Monastery Küçük Hasan Pasha Mosque Moni Toplou St. Catherine, Heraklion St. Peter of Dominicans, Heraklion

Fortresses

Aptera Firkas Fortezza of Rethymno Frangokastello Gramvousa Kazarma Koules Spinalonga

Natural

Cave of Zeus Lasithi Plateau Lefka Ori Matala Messara Plain Mirabello Bay Mount Ida Psychro Cave Vai

Other

Elounda Sfakia Souda

Culture

Cretan Greek dialect Cretan School
Cretan School
(icon painting) Cretan literature Cretan lyra Cuisine (wine) Kri-kri Mantin

.

Time at 25405310.6, Busy percent: 30
***************** NOT Too Busy at 25405310.6 3../logs/periodic-service_log.txt
1440 = task['interval'];
25405860.316667 = task['next-exec'];
25404420.316667 = task['last-exec'];
daily-work.php = task['exec'];
25405310.6 Time.

10080 = task['interval'];
25414500.333333 = task['next-exec'];
25404420.333333 = task['last-exec'];
weekly-work.php = task['exec'];
25405310.6 Time.

1440 = task['interval'];
25405860.35 = task['next-exec'];
25404420.35 = task['last-exec'];
PeriodicStats.php = task['exec'];
25405310.6 Time.

1440 = task['interval'];
25405860.383333 = task['next-exec'];
25404420.383333 = task['last-exec'];
PeriodicBuild.php = task['exec'];
25405310.6 Time.

1440 = task['interval'];
25405860.433333 = task['next-exec'];
25404420.433333 = task['last-exec'];
cleanup.php = task['exec'];
25405310.6 Time.

1440 = task['interval'];
25405860.55 = task['next-exec'];
25404420.55 = task['last-exec'];
build-sitemap-xml.php = task['exec'];
25405310.6 Time.