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latter as Creto-Venetian. This distinction may not always be easily applicable, since more often than not it would be based on purely stylistic criteria, and should be reserved for those cases where internal evidence is quite strong.02 This distinction docs not hold within it a qualitative judgment, though usually Creto-Venetian work is of lesser quality than Cretan work, since it is the product of artists who absorbed the Cretan style "second hand" in a foreign milieu. Whether a particular Creto-Venetion icon should be attributed to an Italian or a Greek will have to remain a matter of speculation since, to my knowledge, no Creto-Venetian icons are signed. However, I would be inclined to think that more often than not these apprentices and students of the Cretan masters were young Greeks. In terms of the above definition, the icon of the Hodegetria in the Oberlin Collection (fig. 1) is a Creto-Venetian work. Though it clearly belongs within the Cretan tradition of icon painting, both coloristically and technically, it also exhibits certain characteristics that show it to be the work of an artist trained on Italian soil. The Virgin's deep wine-red maphorion and her medium-blue tunic (it now appears to be green because of chemical changes in the azurite), the Child's ochre garment with its gold striations and the gold background, belong to the color scheme common in Cretan icons of the Virgin and Child.03 02 Chatzidakis divides the Cretan painters active in Venice during the period of 1570-1640, into those who came from Crete as mature painters (lcones, pp. 51-90) and those who were formed in Venice under the guidance of "professors of Greek painting" (ibid., pp. 91-105). He based this division on material found in the archives of the Confraternity and stylistic and qualitative criteria. The painters of the second group, he points out, although they do not depart from the consecrated manner and the established types, lose the feeling of that inner rhythm which is characteristic of the best Cretan work. As a result of this loss the repetition of traditional technical procedures in the work of this second group becomes a superficial characteristic without real foundation. 03 The use of deep wine-red, approximating purple for the Virgin's maphorion and medium or dark blue for her tunic is common in Cretan icons (e.g., figs. 3, 9-11). The colors of the Child's garments vary. Usually, in icons of the Virgin of the Passion and the Glykophilousa, He wears a bluish-white chiton (i.e., tunic) and an ochre himation with gold striations (e.g., figs. 3, 9); in icons of the Hodegetria sometimes He wears an ochre chiton and a dark blue himation, both with gold striations, (e.g., fig. 10) and at other times both an ochre chiton and an ochre himation witb gold striations (fig. 11). I am indebted to Mr. Richard Buck, director of the Intermuseum Laboratory in Oberlin, for a very thorough technical report on the Oberlin icon. Beside the change of azurite into green, it may be of interest to mention that the ochre 76
Object Description
Title | Allen Memorial Art Museum bulletin |
Description | volume 25, number 2 |
Alternate Title | Bulletin of the Allen Memorial Art Museum of Oberlin College |
Creator | Allen Memorial Art Museum |
Subject | Museum exhibits -- Ohio -- Oberlin |
Museum Director/Acting Director | Spencer, John R. (John Richard) |
Contributors |
Gouma-Peterson, Thalia Tacha, Athena, 1936- |
Contents | A Problematic Siamese Stucco Head; Crete, Venice, the 'Madonneri' and a Creto-Venetian Icon in the Allen Art Museum |
Artists |
Andreas Rico (Greek, active 16th century) Lambardos, Emmanuel (Greek, 1587-1631) |
List of Illustrations | Siamese Stucco Head. Oberlin; Siamese Stucoo Head, profile. Oberlin; Buddha head, stone. Bangkok; Standing Buddha, bronze. Maryland; Buddha head, bronze, Sukhodaya, 14th c. Bangkok; Buddha head, stucco, Sukhodaya, 15th c. Tonburi; Seated Buddha (det.), bronze, Sukhodaya. Boston; Buddha head, bronze, Northern Siamese, 13th - 14th c., Lampun; Buddha head, bronze, Northern Siamese, 13th - 14th c., Bangkok; Hodegetria. Oberlin; Hodegetria. Sinai; Andre Ritzos. Virgin of the Passion. Fiesole; Virgin of the Passion. Princeton; Andreas Ritzos. Dormition of the Virgin. Turin; Glykophilousa. Leningrad; Virgin and Child. Leningrad; Eleousa. Leningrad; Emmanuel Lambardos. Glykophilousa. Athens; Emmanuel Lambardos. Hodegetria; Hodegetria. Athens; Hodegetria. Leningrad |
Month/Season | Winter |
Year | 1968 |
Type | Journal |
Format | text; image |
Publisher | Oberlin College. Library |
Language | English |
Relation | http://obis.oberlin.edu/record=b1749012~S4 |
Rights | For research and educational use only. For all other uses please contact Allen Memorial Art Museum |
Description
Title | page 76 |
Transcript | latter as Creto-Venetian. This distinction may not always be easily applicable, since more often than not it would be based on purely stylistic criteria, and should be reserved for those cases where internal evidence is quite strong.02 This distinction docs not hold within it a qualitative judgment, though usually Creto-Venetian work is of lesser quality than Cretan work, since it is the product of artists who absorbed the Cretan style "second hand" in a foreign milieu. Whether a particular Creto-Venetion icon should be attributed to an Italian or a Greek will have to remain a matter of speculation since, to my knowledge, no Creto-Venetian icons are signed. However, I would be inclined to think that more often than not these apprentices and students of the Cretan masters were young Greeks. In terms of the above definition, the icon of the Hodegetria in the Oberlin Collection (fig. 1) is a Creto-Venetian work. Though it clearly belongs within the Cretan tradition of icon painting, both coloristically and technically, it also exhibits certain characteristics that show it to be the work of an artist trained on Italian soil. The Virgin's deep wine-red maphorion and her medium-blue tunic (it now appears to be green because of chemical changes in the azurite), the Child's ochre garment with its gold striations and the gold background, belong to the color scheme common in Cretan icons of the Virgin and Child.03 02 Chatzidakis divides the Cretan painters active in Venice during the period of 1570-1640, into those who came from Crete as mature painters (lcones, pp. 51-90) and those who were formed in Venice under the guidance of "professors of Greek painting" (ibid., pp. 91-105). He based this division on material found in the archives of the Confraternity and stylistic and qualitative criteria. The painters of the second group, he points out, although they do not depart from the consecrated manner and the established types, lose the feeling of that inner rhythm which is characteristic of the best Cretan work. As a result of this loss the repetition of traditional technical procedures in the work of this second group becomes a superficial characteristic without real foundation. 03 The use of deep wine-red, approximating purple for the Virgin's maphorion and medium or dark blue for her tunic is common in Cretan icons (e.g., figs. 3, 9-11). The colors of the Child's garments vary. Usually, in icons of the Virgin of the Passion and the Glykophilousa, He wears a bluish-white chiton (i.e., tunic) and an ochre himation with gold striations (e.g., figs. 3, 9); in icons of the Hodegetria sometimes He wears an ochre chiton and a dark blue himation, both with gold striations, (e.g., fig. 10) and at other times both an ochre chiton and an ochre himation witb gold striations (fig. 11). I am indebted to Mr. Richard Buck, director of the Intermuseum Laboratory in Oberlin, for a very thorough technical report on the Oberlin icon. Beside the change of azurite into green, it may be of interest to mention that the ochre 76 |
Identifier | AMAM_Bulletin_025_002_0038.tif |
Rights | For research and educational use only. For all other uses please contact Allen Memorial Art Museum |
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