Papaloukas' profound appreciation and reverence for the beauty of the Greek countryside started at a young age, the artist himself stating: 'Ever since I was a small boy in my village, I explored my homeland inch by inch. I strolled the hills and vales, wandered along the paths, over the mountains with their gorges and streams, with their snows and rainfalls' (quoted by Marina Lambraki-Plaka, 'The Painting of Paploukas: A Spiritual Adventure', Spyros Papaloukas, Athens, 2007, p. 11). The traumatic experience of the Asia Minor Campaign had created a need for national self-affirmation in Greece, which was expressed in literature and the visual arts through a turn to tradition. A member of the Generation of the Thirties, Papaloukas was no exception, and sought comfort in a return to the Byzantine tradition while striving to combine it with contemporary ideas on painting. Following Papaloukas' return from his four-year stay in Paris in 1921, the artist focused on painting the landscape and people of his homeland, incorporating the maxims and elements of the aesthetic of the Cubists, Impressionists, Nabis and Fauves.
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