How does this artwork elucidate its Analysis?
This work of Yannis Moralis brings together a number of key features that seem of interest and concern to the artist since the early 1950s. It manifests the experimentation taking place in the broader displacement of Greek painting in the 1950s and 1960 to formalities.
The subject of the composition is a farewell scene with clear references to thematic and component level to the ancient columns as he acknowledges: "The first to have correlated these works with ancient monuments and the tombstone was Manolis Hatzidakis, Angelos Prokopios, Elias Petropoulos, George Savvides. They followed other analyzes, more scientific. Seferis says, [...] the interpretation of each project is the interpretation of ourselves. But, it is true that there is in these works a sense of death that was taught by ancient monuments." The same had decisively affect the Pompeian painting ..
Even Xenagontas' students of the Athens School of Fine Arts, in the course of their visit to the National Gallery rooms in 1988, will stop in front of the particular project and referring to it will say: "Here the common denominator is the background color, preparation (ocher, black). the use as color, like a shadow, like the Byzantine and post the protroplasm. We work piecemeal, but must not lose the image of the whole. and do not hesitate to sacrifice. You start to paint when you start sacrifice, as he and Delacroix. Emotionally you can start from a detail. but another motivation and another how will the symbol. The painting is a language finite, like all languages. There can be everything we want to say. When you accept this the contract in a strange way, liberate. And you learn to read your works, after making them. This will help you a lot."
George Savvides Delacroix Angelos Prokopios Athens School of Fine Arts Elias Petropoulos National Gallery Athens