View allAll Photos Tagged Parthenis,
Le Frere de Parthenia, 2008.
Structure metallique, platre et resine epoxy,
77 x 29 x 20 cm.
Collection de l'artiste.
From the museum label: The cosmopolitan background of this Alexandrian painter (Italy, Vienna, Paris) may well account for his idiosyncratic eclecticism. Parthenis succeeded, however, in incorporating these various influences into his own unparalleled style, marked by idealism, a certain "musicality" and rhythm, and the spiritual sublimation of the pictorial matter. His paintings executed in Vienna and in Greece during his first sojourn (1903-1907) reveal his strong attraction towards the Sezession, the Viennese version of Symbolism and Art Nouveau, and particularly Gustav Klimt. After his contact with the Parisian avant-garde (1909-1911) and his return to Greece, Parthenis interpreted the Greek light through brighter colors, influenced by postimpressionist painters and the Fauves. The French symbolists, such as Puvis de Chavannes and, in particular, Maurice Denis, appear to have influenced the religious compositions and the idealistic allegories, which are prominent in the artist's creations of the interwar period. In these works, we can also trace the impact of Cubism. Parthenis' mature paintings present us with an ideal vision of mythical and historical Greece, where Olympian deities, Byzantine saints and the heroes of the Greek War of Independence coexist in harmony within the ideological horizon of the "Generation of the Thirties" Parthenis' mature works recall supernatural acts and divine epiphanies. His ideal figures are suspended in a type of transcendental space, where time has been abolished and the remains of the visible world have turned into platonic archetypes, with the help of an impalpable technique.
From the museum label: Nikos Hadjikyriakos-Ghika went to Paris at a very early age, at the beginning of the Twenties. European modernism had already completed its consecutive revolutions through a series of movements that developed in various directions. This was a period of syncretism and acceptance. The Post-WWI optimism, the intellectual tolerance, the exuberant artistic ambience of Paris, defined the climate which had a formative influence on young Ghika. His master Konstantinos Parthenis had prepared him through his "linear, geometric and methodical teaching" to comprehend Cubism and Geometric Abstraction without much effort. Furthermore, this contemplative and educated painter would soon discover the same principles in Byzantine art as well. "In Paris, which was the foremost artistic center of the time", he said, "I was spontaneously drawn to the most austere form of art, Cubism, or rather its second period, Synthetic Cubism". While Analytical Cubism sought the reduction of the visible to conceptual shapes, Synthetic Cubism returned to their sources, to the senses, to a new acquaintance with the things themselves, which finally led to Collage. Hadjikyriakos-Ghika was initiated on his own behalf in both these variants, but from nature, and through Greek light and color.
Le Frere de Parthenia, 2008.
Structure metallique, platre et resine epoxy,
77 x 29 x 20 cm.
Collection de l'artiste.
From the museum label: The cosmopolitan background of this Alexandrian painter (Italy, Vienna, Paris) may well account for his idiosyncratic eclecticism. Parthenis succeeded, however, in incorporating these various influences into his own unparalleled style, marked by idealism, a certain "musicality" and rhythm, and the spiritual sublimation of the pictorial matter. His paintings executed in Vienna and in Greece during his first sojourn (1903-1907) reveal his strong attraction towards the Sezession, the Viennese version of Symbolism and Art Nouveau, and particularly Gustav Klimt. After his contact with the Parisian avant-garde (1909-1911) and his return to Greece, Parthenis interpreted the Greek light through brighter colors, influenced by postimpressionist painters and the Fauves. The French symbolists, such as Puvis de Chavannes and, in particular, Maurice Denis, appear to have influenced the religious compositions and the idealistic allegories, which are prominent in the artist's creations of the interwar period. In these works, we can also trace the impact of Cubism. Parthenis' mature paintings present us with an ideal vision of mythical and historical Greece, where Olympian deities, Byzantine saints and the heroes of the Greek War of Independence coexist in harmony within the ideological horizon of the "Generation of the Thirties" Parthenis' mature works recall supernatural acts and divine epiphanies. His ideal figures are suspended in a type of transcendental space, where time has been abolished and the remains of the visible world have turned into platonic archetypes, with the help of an impalpable technique.
In Partheni/Evia visiting Nicola Adami and his Beehives, Did you know that bees, in order to protect themselves from killing-wasps, built the entrance of their hives small enough to allow only one bee to get through? Genius!! what an exbeerience!
Le Frere de Parthenia, 2008.
Structure metallique, platre et resine epoxy,
77 x 29 x 20 cm.
Collection de l'artiste.
From the museum label: Nikos Hadjikyriakos-Ghika went to Paris at a very early age, at the beginning of the Twenties. European modernism had already completed its consecutive revolutions through a series of movements that developed in various directions. This was a period of syncretism and acceptance. The Post-WWI optimism, the intellectual tolerance, the exuberant artistic ambience of Paris, defined the climate which had a formative influence on young Ghika. His master Konstantinos Parthenis had prepared him through his "linear, geometric and methodical teaching" to comprehend Cubism and Geometric Abstraction without much effort. Furthermore, this contemplative and educated painter would soon discover the same principles in Byzantine art as well. "In Paris, which was the foremost artistic center of the time", he said, "I was spontaneously drawn to the most austere form of art, Cubism, or rather its second period, Synthetic Cubism". While Analytical Cubism sought the reduction of the visible to conceptual shapes, Synthetic Cubism returned to their sources, to the senses, to a new acquaintance with the things themselves, which finally led to Collage. Hadjikyriakos-Ghika was initiated on his own behalf in both these variants, but from nature, and through Greek light and color.
From the museum label: The cosmopolitan background of this Alexandrian painter (Italy, Vienna, Paris) may well account for his idiosyncratic eclecticism. Parthenis succeeded, however, in incorporating these various influences into his own unparalleled style, marked by idealism, a certain "musicality" and rhythm, and the spiritual sublimation of the pictorial matter. His paintings executed in Vienna and in Greece during his first sojourn (1903-1907) reveal his strong attraction towards the Sezession, the Viennese version of Symbolism and Art Nouveau, and particularly Gustav Klimt. After his contact with the Parisian avant-garde (1909-1911) and his return to Greece, Parthenis interpreted the Greek light through brighter colors, influenced by postimpressionist painters and the Fauves. The French symbolists, such as Puvis de Chavannes and, in particular, Maurice Denis, appear to have influenced the religious compositions and the idealistic allegories, which are prominent in the artist's creations of the interwar period. In these works, we can also trace the impact of Cubism. Parthenis' mature paintings present us with an ideal vision of mythical and historical Greece, where Olympian deities, Byzantine saints and the heroes of the Greek War of Independence coexist in harmony within the ideological horizon of the "Generation of the Thirties" Parthenis' mature works recall supernatural acts and divine epiphanies. His ideal figures are suspended in a type of transcendental space, where time has been abolished and the remains of the visible world have turned into platonic archetypes, with the help of an impalpable technique.
HotelsHot www.hotelshot.ru/2017/07/parthenis-riviera-hotel.html
ЗАБРОНИРОВАТЬ
До пляжа можно дойти всего за 3 минуты. Отель Parthenis Riviera находится прямо напротив пляжа Вула, в красивом пригороде города Глифада. К услугам гостей номера для некурящих, а также отличное транспортное сообщение с городом Афины. Среди удобств — двухместные номера с 1 кроватью, семейные номера и апартаменты. Номера всех типов с cобственной ванной комнатой располагают современными удобствами, в числе которых кондиционер. Каждое утро сервируется завтрак в ресторане отеля Parthenis (летом также предлагают блюда греческой кухни). Через дорогу от отеля Parthenis Riviera находится хорошо оборудованный пляж Вула. Дети и взрослые могут заняться водными видами спорта, покататься на разных горках, совершить небольшую прогулку до центра Глифады с прекрасным торговым центром и бурной ночной жизнью. Всего в 50 метрах от отеля Parthenis Riviera расположены автобусная и трамвайная остановки, откуда можно добраться до центра Афин и порта Пирей. Подробнее
Parthenia, 2008.
Structure metallique, platre et resine epoxy, 67 x 12 x 16 cm.
Collection de l’artiste.
From the museum label: Nikos Hadjikyriakos-Ghika went to Paris at a very early age, at the beginning of the Twenties. European modernism had already completed its consecutive revolutions through a series of movements that developed in various directions. This was a period of syncretism and acceptance. The Post-WWI optimism, the intellectual tolerance, the exuberant artistic ambience of Paris, defined the climate which had a formative influence on young Ghika. His master Konstantinos Parthenis had prepared him through his "linear, geometric and methodical teaching" to comprehend Cubism and Geometric Abstraction without much effort. Furthermore, this contemplative and educated painter would soon discover the same principles in Byzantine art as well. "In Paris, which was the foremost artistic center of the time", he said, "I was spontaneously drawn to the most austere form of art, Cubism, or rather its second period, Synthetic Cubism". While Analytical Cubism sought the reduction of the visible to conceptual shapes, Synthetic Cubism returned to their sources, to the senses, to a new acquaintance with the things themselves, which finally led to Collage. Hadjikyriakos-Ghika was initiated on his own behalf in both these variants, but from nature, and through Greek light and color.
From the museum label: Nikos Hadjikyriakos-Ghika went to Paris at a very early age, at the beginning of the Twenties. European modernism had already completed its consecutive revolutions through a series of movements that developed in various directions. This was a period of syncretism and acceptance. The Post-WWI optimism, the intellectual tolerance, the exuberant artistic ambience of Paris, defined the climate which had a formative influence on young Ghika. His master Konstantinos Parthenis had prepared him through his "linear, geometric and methodical teaching" to comprehend Cubism and Geometric Abstraction without much effort. Furthermore, this contemplative and educated painter would soon discover the same principles in Byzantine art as well. "In Paris, which was the foremost artistic center of the time", he said, "I was spontaneously drawn to the most austere form of art, Cubism, or rather its second period, Synthetic Cubism". While Analytical Cubism sought the reduction of the visible to conceptual shapes, Synthetic Cubism returned to their sources, to the senses, to a new acquaintance with the things themselves, which finally led to Collage. Hadjikyriakos-Ghika was initiated on his own behalf in both these variants, but from nature, and through Greek light and color.