The “Generation of the Thirties” is a widely used, albeit controversial, term to describe the arts field in Greece during the interwar period. It was initially used in literature to describe a group of Greek intellectuals, mainly poets and authors, who aspired to introduce European avant-garde movements in Greek literature. Seferis, Elytis, Engononopoulos and Embiricos are considered the most prominent figures of this group.
The term was subsequently extended to include visual artists during the Interwar period in Greece. It should be noted, though, that this was not an art movement in the strict sense, as the artists didn’t share a common artistic style or aspirations; each artist developed their own visual identity. What defined their artistic creation was their conscious estrangement from the School of Munich -which had determined the style, priorities and forms of Greek painting in the 19th century- and their pursuit of a Greek identity in arts in tandem with European modernism. What they all had in common was that they moved away from the dogmatism of the past and seeked to establish a new, authentically Greek, approach based on pure colors and sublimity, fit to depict the particular quality of the Greek light and nature.
At the turn of the century, esthete Pericles Yannopoulos sets forth the idea that Greek painters should seek an authentic depiction of the ethereal Greek light attributing to it a sense of spirituality.
In his essays “The Hellenic Line” (1903) and “The Hellenic Color” (1904), he lays out the fundamental characteristics for a new direction in Greek arts. He denounces European art and preaches the return to Greek tradition and the Greek nature. He highlights the unique brightness of the Greek light and argues that the Greek Line is characterized by spirituality, clarity, purity, grace and harmony. Maleas, Parthenis, Economou and Papaloukas fulfilled this goal by creating the first authentic Greek landscape painting, reminiscent of French post-impressionist movements, the Fauves and the Nabis. Influenced by German expressionism, Nikolaos Lytras also moves in the same direction, simplifying the form, and using pure and bright colors.
Two Diaspora Greeks were the first to bring the much-desired renewal to Greek painting at the turn of the century: Konstantinos Parthenis and Konstantinos Maleas. Their education, the cosmopolitan environment of their native cities, Alexandria and Constantinople respectively, and their European studies strongly influenced how they perceived the “spirituality” of Greek light and nature.
Konstantinos Parthenis (1878-1967) draws inspiration from Byzantium. Despite the obvious influences of French Symbolism and cubism, he exemplifies the purity of the Greek light. His spiritual allegories and idealistic visions create a visual world where the Antiquity meets Byzantium, fulfilling Yiannopoulos’ boldest expectations for the creation of authentic Greek painting.
Konstantinos Maleas (1879-1928) was influenced by Impressionism and post-impressionism. He studied architecture at the Polytechnic School of Constantinople. From 1901 to 1908 he lived in Paris, where studied under neo-impressionist Henri Martin and at the School of the Decorative Arts. He mainly produced landscapes, dominated by powerful and pure colors.
Spyros Papaloukas (1892-1957) studied at the School of Fine Arts (1909-1916) under professors Spyros Vikatos, Georgios Iakovidis, and Georgios Roilos. In 1917 he went to Paris where he continued his studies until 1921. He worked as a painter, icon painter and decorator. From 1943 to 1951 he taught drawing at the Architectural School of the National Technical University and in 1956 was elected professor to the painting studio of the School of Fine Arts. He painted portraits and still life, but landscape is what dominated his art incorporating Byzantine art and certain post-impressionistic elements such Pointillism.
Along with Stratis Doukas, Nikos Hadjikyriakos-Ghikas, Dimitris Pikionis and Sokratis Karantinos he actively participated in the publication of the avant-garde Greek magazine “The Third Eye” (1935-1937). He was also a founding member of the Art Group.
Fotis Kontoglou (1896-1965) follows his lonesome path, declaring the return to Byzantium and tradition. Originating from Asia Minor, Kontoglou is the typical representative of the ‘return to the roots’ movement and firmly supported the idea of the authenticity of Greek artistic expression. Byzantine and folk elements defined his work. Kontoglou consciously rejected Parisian avant-garde, which he knew very well since he was in the French capital from 1915 to 1919, to seek inspiration from tradition. He played a leading role for a whole generation of artists who defined Greek art. Henceforth, Greek artistic creation takes a new turn that culminates with the legendary generation of the 1930s. Except for Kontoglou, the rest of the group aspires to revise the concept of tradition through modernism and takes the lead toward the modernization of Greek art.
The Art Group
The creation of the “Art Group” signals the birth of modernism in Greece. It was the first attempt to bring together the most progressive artists of the time and it is no coincidence that it was supported by the Liberal government.
The group was created in 1917 by Nikos Lytras (1883-1927), who at the age of 34 had already established himself as a modern painter with bold innovations in his work. Lytras studied at the School of Arts (1902- 1906) under his father Nikephoros Lytras and Georgios Iakovidis. In 1907 he moved to the Bavarian capital where he interacted with German expressionism and the Blue Rider group. His work is infused with a mild Mediterranean expressionism and vivid colors. He was a founding member of the Art Group. In 1923 he was elected professor at the School of Fine Arts. After his death, retrospectives of his work were organized in 1929 at the Zappeion Hall and in 1936 at the Venice Biennale. Along with Parthenis and Maleas, Lytras revitalized Greek art at the beginning of the 20th century. He influenced the development of Greek painting both through his teaching at the School of Fine Arts and his pioneering art work.
The first exhibition of the Group was held on Christmas Eve 1917 and was inaugurated by Prime Minister Eleftherios Venizelos himself in the presence of the young King Alexander. Most European avant-garde movements (Fauvism, Expressionism, Cubism, Futurism, Abstraction, Russian avant-garde, Constructivism, Suprematism, Dadaism) had already completed their revolutionary trajectory.
The main goal of the Group was to consciously move in a different direction and break free from the academicism of the School of Munich. At the same time, it was inevitably influenced by European modernism and it made a breakthrough in depicting the bright Greek light through a distinct impressionistic approach.
The last exhibition of the Group took place in Paris in September 1919 and was once again inaugurated by Eleftherios Venizelos, who was in the French capital for the Peace Conference. The exhibition included 200 works of painting, engraving and sculpture. Maleas and Parthenis exhibited 30 paintings each and Kogevinas 45 works.
Read also in Greek News Agenda: Konstantinos Parthenis: The “Poet’ of Modern Greek Art; Exploring the Enigma of Painting through Spyros Papaloukas’ work; Fotis Kontoglou, The Greatest Icon-Painter of Modern Greece; The Munich School, the first artistic current in the modern Greek state
Dora Trogadi (Intro Photo: Konstantinos Parthenis Bathers)
TAGS: ARTS
