9
9

PROPERTY FROM A PRIVATE COLLECTION

Spyros Papaloukas
GREEK
BOATYARD AT PANTOKRATOR MONASTERY, MOUNT ATHOS
JUMP TO LOT
9

PROPERTY FROM A PRIVATE COLLECTION

Spyros Papaloukas
GREEK
BOATYARD AT PANTOKRATOR MONASTERY, MOUNT ATHOS
JUMP TO LOT

Details & Cataloguing

20th Century Art – A Different Perspective

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London

Spyros Papaloukas
1892 - 1957
GREEK
BOATYARD AT PANTOKRATOR MONASTERY, MOUNT ATHOS
signed in Greek lower right
oil and pencil on paper laid on canvas
85 by 79cm., 33¼ by 31in.
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Provenance

Private collection, Athens (acquired directly from the artist)

Literature

Manos Kambanis & Agrotiki Pinakothinki, Spyros Papaloukas, Mount Athos, 2003, no. 66 (with incorrect measurements)

Catalogue Note

Mount Athos, the holy mount is set on a peninsula of extraordinary natural beauty and has attracted painters as well as worshippers. Having initially trained as an apprentice to an icon painter, Papaloukas returned to Mount Athos in 1923 to recover from his experiences as a war artist in the Greek army during the Asia Minor campaign, to further his studies of Byzantine iconography, and to paint the local scenery. The present work is a rich example of Papaloukas' finest works from his Mount Athos period.

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.

20th Century Art – A Different Perspective

|
London