Georgios Jakobides

Olga Metzafou-Polyzou, Georgios Jakobides, Athens, 1999, pp. 116 & 342, no. 100, illustrated
Olga Metzafou-Polyzou, Jakobides Retrospective, Athens, 2005, pp. 147, 162, 301, no. 50, incorrectly illustrated 

Jakobides' time in Munich had impressed upon him the value of academic Realism, and through this time in Germany he became closely acquainted with other Continental trends including the Naturalism being promoted in France.

In Maternal Affection the figures are instilled with a luminous, almost ethereal quality, differing intentionally from the staunchly temporal and roughly realistic characteristics of the earthenware bowl on the tabletop behind. The sharpness of line, the acute attention to detail and the delicacy of palette, expanded beyond Jakobides' habitual rich earth-tones, highlight the painting's academic qualities. The bright sprigs of flowers embroidered on the woman's shawl contrast with the gently glowing light and smooth texture of her fastidiously-rendered eyelashes and soft hair, loosening from its plait. Conversely, the French-inspired naturalism is in the expression that can be read in the curves of the sweet-faced young mother's countenance, turned away from the viewer and smiling fondly at the plump infant, as well as her comfortable and unselfconscious stance. Jakobides' characteristically neutral background palette and texture is present in Maternal Affection, though this is a more contemplative theme, illustrating the joys of motherhood.

Like Nicholas Gysis and Nikiforos Lytras, Jakobides is known to have repeated his most popular compositions. Another version of the present work, larger in size, is in a private collection in Athens, and the image gained national importance when it was circulated as a postage stamp (fig. 1).

FIG. 1, Greek stamp with the image of Maternal Affection
140D08100_3MRPM