These are the 38 most famous Easter paintings

Here is a video with the 38 most famous Easter paintings.

The video contains the following paintings:

  1. The Crucifixion, Andrea Mantegna, 1457–1459, The Louvre, Paris
  2. The Resurrection, Carl Heinrich Bloch, 1881, Public Collection
  3. Christ carried to the Tomb, Sisto Badalocchio, After 1609, National Gallery, London
  4. Christ contemplated by the Christian Soul, Diego Velazquez, 1628-9, The National Gallery, London
  5. The Entombment of Christ, Caravaggio, 1602–1603, Pinacoteca Vaticana, Vatican City
  6. Ecce Homo, Rembrandt van Rijn, 1634, The National Gallery, London
  7. Resurrection of Christ and the Women at the Tomb, Fra Angelico, 1440, Museo del Convento di San Marco
  8. Resurrection of Christ, Giovanni Bellini, 1475-79, Staatliche Museen, Berlin
  9. Harbingers of the Resurrection, Nikolay Gay, 1867, The Tretyakov Gallery Moscow, Russia
  10. The Last Supper, Juan de Juanes, ca. 1560, Museum Museo del Prado, Madrid
  11. Children Rolling Easter Eggs, Nikolai Koshelev, 1855, Courtesy Russian State Museum, Saint Petersberg, Russia
  12. Noli me Tangere, Titian, 1514, National Gallery, London
  13. Christ Risen, Peter Paul Rubens, 1577 – 1640, Palazzo Pitti, Florence
  14. The Resurrection of Christ, Peter Paul Rubens, 1611
  15. Entombment, Raphael, 1507, Museo Galleria Borghese, Rome, Italy
  16. The Pilgrims at Emmaus or The Supper, Rembrandt van Rijn, 1648, Musée du Louvre ,Philippe Fuzeau
  17. Resurrection of Christ, Raphael, 1499–1502, São Paulo Museum of Art
  18. The Resurrection, Sir Anthony Van Dyck, 1631-2, Wadsworth Atheneum Museum of Art
  19. The Agony in the Garden, Andrea Mantegna, 1458-60, National Gallery, London
  20. The Denial of Saint Peter, Caravaggio, 1610, Metropolitan Museum of Art
  21. The Entombment, Michelangelo, 1500-1, National Gallery, London
  22. The Mond Crucifixion, Raphael, 1502-3, National Gallery, London
  23. The Resurrection, El Greco, 1577-79, Church of Santo Domingo el Antiguo, Toledo
  24. The Resurrection of Christ, Rembrandt van Rijn, 1635-39, Alte Pinakothek – Bayerische Staatsgemäldesammlungen
  25. The Supper at Emmaus, Caravaggio, 1601, National Gallery London
  26. The Last Supper, Última Cena, Leonardo da Vinci, 1495–1498, Santa Maria delle Grazie
  27. The Resurrection, Sandro Botticelli, 1490, Beaverbrook Art Gallery – Fredericton, NB
  28. Easter Te Deum, Vladimir Egorovic Makovsky, 1887, Museum of Art, Serpukhov, Russia
  29. Easter Eggs, Geralis Apostolos, 1938, Municipal Gallery of Athens – Τα αυγά της Λαμπρής, Γεραλής Απόστολος, 1938, Πινακοθήκη Δήμου Αθηναίων
  30. The Ressurection, Constantinos Pathenis, – Η Ανάσταση, Κωνσταντίνος Παρθένης, 1917-19, Εθνική Πινακοθήκη, Δωρεά Σοφίας Παρθένη
  31. Resurrection, El Greco, 1584-94, Museo del Prado, Madrid, Spain
  32. Epitaph Flowers, Nikiforos Lytras, Άνθη Επιταφίου, Νικηφόρος Λύτρας, 1901, Εθνική Πινακοθήκη
  33. The Easter Egg, Nikiforos Lytras, Το ωόν του Πάσχα, Νικηφόρος Λύτρας, 1874-1875
  34. The Ressurection, Oumbertos Argiros, Ανάσταση, Ουμβέρτος Αργυρός, 1932
  35. Easter, Marc Chagall, 1968, Private Collection
  36. Easter Morning, Μaurice Denis, 1891, Private Collection
  37. Easter Food, Constantin Stahi, 1916
  38. Easter Eggs, Christos Garoufalis, Bank of Attica Collection, Πασχαλινά Αυγά, Χρήστος Γαρουφαλής, Συλλογή Τράπεζας Αττικής

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  1. The Crucifixion, Andrea Mantegna, 1457–1459, The Louvre, Paris
  2. The Resurrection, Carl Heinrich Bloch, 1881, Public Collection
  3. Christ carried to the Tomb, Sisto Badalocchio, After 1609, National Gallery, London
  4. Christ contemplated by the Christian Soul, Diego Velazquez, 1628-9, The National Gallery, London
  5. The Entombment of Christ, Caravaggio, 1602–1603, Pinacoteca Vaticana, Vatican City
  6. Ecce Homo, Rembrandt van Rijn, 1634, The National Gallery, London
  7. Resurrection of Christ and the Women at the Tomb, Fra Angelico, 1440, Museo del Convento di San Marco
  8. Resurrection of Christ, Giovanni Bellini, 1475-79, Staatliche Museen, Berlin
  9. Harbingers of the Resurrection, Nikolay Gay, 1867, The Tretyakov Gallery Moscow, Russia
  10. The Last Supper, Juan de Juanes, ca. 1560, Museum Museo del Prado, Madrid
  11. Children Rolling Easter Eggs, Nikolai Koshelev, 1855, Courtesy Russian State Museum, Saint Petersberg, Russia
  12. Noli me Tangere, Titian, 1514, National Gallery, London
  13. Christ Risen, Peter Paul Rubens, 1577 – 1640, Palazzo Pitti, Florence
  14. The Resurrection of Christ, Peter Paul Rubens, 1611
  15. Entombment, Raphael, 1507, Museo Galleria Borghese, Rome, Italy
  16. The Pilgrims at Emmaus or The Supper, Rembrandt van Rijn, 1648, Musée du Louvre / Philippe Fuzeau
  17. Resurrection of Christ, Raphael, 1499–1502, São Paulo Museum of Art
  18. The Resurrection, Sir Anthony Van Dyck, 1631-2, Wadsworth Atheneum Museum of Art
  19. The Agony in the Garden, Andrea Mantegna, 1458-60, National Gallery, London
  20. The Denial of Saint Peter, Caravaggio, 1610, Metropolitan Museum of Art
  21. The Entombment, Michelangelo, 1500-1, National Gallery, London
  22. The Mond Crucifixion, Raphael, 1502-3, National Gallery, London
  23. The Resurrection, El Greco, 1577-79, Church of Santo Domingo el Antiguo, Toledo
  24. The Resurrection of Christ, Rembrandt van Rijn, 1635-39, Alte Pinakothek – Bayerische Staatsgemäldesammlungen
  25. The Supper at Emmaus, Caravaggio, 1601, National Gallery London
  26. The Last Supper (Última Cena), Leonardo da Vinci, 1495–1498, Santa Maria delle Grazie
  27. The Resurrection, Sandro Botticelli, 1490, Beaverbrook Art Gallery – Fredericton, NB
  28. Easter Te Deum, Vladimir Egorovic Makovsky, 1887, Museum of Art, Serpukhov, Russia
  29. Easter Eggs, Geralis Apostolos, 1938, Municipal Gallery of Athens – Τα αυγά της Λαμπρής, Γεραλής Απόστολος, 1938, Πινακοθήκη Δήμου Αθηναίων
  30. The Ressurection, Constantinos Pathenis, – Η Ανάσταση, Κωνσταντίνος Παρθένης, 1917-19, Εθνική Πινακοθήκη (Δωρεά Σοφίας Παρθένη)
  31. Resurrection, El Greco, 1584-94, Museo del Prado, Madrid, Spain
  32. Epitaph Flowers, Nikiforos Lytras, Άνθη Επιταφίου”, Νικηφόρος Λύτρας, 1901, Εθνική Πινακοθήκη
  33. The Easter Egg, Nikiforos Lytras, Το ωόν του Πάσχα”, Νικηφόρος Λύτρας, 1874-1875
  34. The Ressurection, Oumbertos Argiros, Ανάσταση, Ουμβέρτος Αργυρός, 1932
  35. Easter, Marc Chagall, 1968, Private Collection
  36. Easter Morning, Μaurice Denis, 1891, Private Collection
  37. Easter Food, Constantin Stahi, 1916
  38. Easter Eggs, Christos Garoufalis, Bank of Attica Collection, Πασχαλινά Αυγά, Χρήστος Γαρουφαλής, Συλλογή Τράπεζας Αττικής

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dimitris Mytaras (June 1934 – 16 February 2017)

Dimitris Mytaras  was a Greek artist who is considered one of the important Greek painters of the 20th century.

His work was mainly inspired by the human figure, and a combination of naturalism and expressionism. From the 1960s onward, Mytaras moved in the direction of naturalism, while from 1975 an expressionistic approach became more and more marked in his output.

Dimitris Mytaras was born in 1934 in Chalkis. From 1953 till 1957, Mytaras studied at the Athens School of Fine Arts under Yiannis Moralis. Later on he studied stage design at the Ecole Nationale Superieure des Arts Decoratifs in Paris. From 1964 till 1972, he directed the Interior Decoration Workshop of the Athens Technological Institute. Since 1975 he has been teaching at the Painting Workshop of the Athens School of Fine Arts. Mytaras has participated in more than 30 international group shows, including the 1972 Venice Biennale. Mytaras died on 16 February 2017 following major health complications, He was 83.

 

Jiannis Kounellis (23 March 1936 – 16 February 2017)

Jannis Kounellis ( was a Greek-Italian contemporary artist based in Rome.He studied in art college in Athens until 1956 and at the Accademia di Belle Arti in Rome.

In 1967, Kounellis became associated with Arte Povera, a movement theorized by curator Germano Celant as a major shift from work on flat surfaces to installations. Kounellis participated in the exhibition ‘Arte Povera – e IM Spazio’ at the La Bertesca Gallery in Genoa curated by Germano Celant, which brought together artists whose work was concerned with the space between art and life, and nature and culture. Examples of artists who substantiated this basis of Arte Povera as a movement include Alighiero Boetti, Luciano Fabro, Giulio Paolini, Pino Pascali and Emilio Prini. To solidify the movement, Germano Celant curated another group show, ‘Arte Povera’, which was exhibited at the De’ Foscherari gallery in Bologna in 1968 with similar artists; . In the same year Kounellis exhibited ‘Senza titolo (Untitled)’, which consisted of raw wool, rope and a wooden structure all leaning against a wall. Finally, Kounellis was also included in ‘RA3 Arte Povera + Azioni povere’ which was organized by Marcello Rumma and curated by Germano Celant.

In 1967, Kounellis installed “live birds in cages along with rose-shaped, cloth cut-outs pinned to canvas” alongside his painting. Through this shift in his work, “Kounellis was more interested in anarchical freedom from linguistic norms and conventional materials. The space of the gallery and the exhibition site in general were transformed into a stage where real life and fiction could join in a suspension of disbelief.”The viewers became part of the scene of these living natural sources of energy within the gallery space. He continued his involvement with live animals later in 1969, when he exhibited twelve living horses, as if they were cars, in the Galleria l’Attico’s new location in an old garage in Via Beccaria. Gradually, Kounellis introduced new materials, such as propane torches, smoke, coal, meat, ground coffee, lead, and found wooden objects into his installations. He also looked beyond the gallery environment to historical (mostly industrial) sites. In 1997, Kounellis installed thirteen wardrobes and two doors that were sealed in lead along a scaffolding ledge that blocked the entry to a central hall. In 1968, in an interview by Marisa Volpi, Kounellis stated that incidental adjustments are certain as aspects that can indicate the human liberty of life.

Source: Wikipedia

V&A || Exhibition: Undressed: A Brief History of Underwear || until 12.03.2017

Discover the evolution of underwear design from the 18th-century to the present day.Undressed: A Brief History of Underwear features over 200 examples of underwear for men and women, highlighting the enduring themes of innovation and luxury. From the custom-made, such as a rare example of home-made ‘stays’ worn by a working woman in England in the 18th-century, to pieces by current designers including Stella McCartney, Rigby & Peller and Paul Smith, the exhibition explores the relationship between underwear and fashion. It covers notions of the ideal body, and the ways that cut, fit, fabric and decoration can reveal issues of gender, sex and morality.

Source: V&A

The Symposium

The Symposium depicts an ancient Greek drinking party, or symposium. It was created from a drinking cup that was made in Athens around 500BCE.

For more vase animations from the Panoply Vase Animation Project and for more about symposiums, visit http://www.panoply.org.uk.

This vase animation was created for Classics in Communities, an organisation based at the University of Oxford’s Faculty of Classics which supports the teaching of ancient languages.

Athenian black-figure footed cup (kylix) (Ashmolean Museum inv. no. AN1974.344), c. 500 BCE. Image © Ashmolean Museum, University of Oxford.

Licensed under Creative Commons: By Attribution 3.0
http://www.creativecommons.org/licens…

This is free for educational use only. Please do not download or add your logo for redistribution.

The 5 best pieces of art inspired by Greek Islands

These are the 5 best pieces of art inspired by Greek Islands.

Natalia Mela, Spetses Island, collage 172×220

Natalia Mela, Spetses Island, collage 172x220

Natalia Mela, Spetses Island, collage 172×220

William Roberts, The Isle of Lesbos, 1970 , Graphite and watercolour on paper

William Roberts, The Isle of Lesbos, 1970 , Graphite and watercolour on paper

William Roberts, The Isle of Lesbos, 1970 , Graphite and watercolour on paper

John Craxton, Hotel by the Sea (Poros Island), 1946, Oil paint on canvas

John Craxton, Hotel by the Sea (Poros Island), 1946, Oil paint on canvas

John Craxton, Hotel by the Sea (Poros Island), 1946, Oil paint on canvas

Davide Gentleman, House on the Quayside, 1974, lithograph on paper

 Davide Gentleman, House on the Quayside, 1974, lithograph on paper

Davide Gentleman, House on the Quayside, 1974, lithograph on paper

George Warner Allen, The Return from Cythera 1985–6, Oil paint and tempera on canvas

George Warner Allen, The Return from Cythera 1985–6, Oil paint and tempera on canvas

George Warner Allen, The Return from Cythera 1985–6, Oil paint and tempera on canvas

 

#StoMouseio

B & M Theocharakis Foundation, Athens || Exhibition: Sotiris Sorongas ~ Painting 2010 – 2016 || until 25.09.2016

Text in Greek

 

Ο ευφάνταστος ζωγραφικός κόσμος του Σόρογκα, των τελευταίων χρόνων δουλειάς του, φανερώνει πέρα από την βαθειά ωριμότητα των μορφοπλαστικών του αποτυπώσεων, την ισοδύναμη σχέση τους με το εννοιολογικό τους περιεχόμενο. Ο Χάρης Καμπουρίδης, Τεχνοκριτικός-Σημειολόγος, Μέλος της Academia Europaea αναφέρει για το έργο του διακεκριμένου ζωγράφου: «Καθιερωμένη από νωρίς, η ζωγραφική του Σωτήρη Σόρογκα, ευρύτατα αναγνωρισμένη και τιμημένη από κοινό, θεσμούς και κριτική, διεκδικεί όλο και περισσότερα, όχι τόσο από καλλιτεχνική πρόθεση όσο από τα επάλληλα νοήματα που αναδεικνύει συνεχώς, μ’ όλες τις αλλαγές στις εποχές και στις νοοτροπίες μας εδώ και πενήντα χρόνια. Το αναδρομικό ερμηνευτικό βλέμμα στην πορεία του δημιουργικού έργου, αφενός επιβεβαιώνει ιδιότητες και ερμηνείες και αφετέρου ανακαλύπτει ακόμη περισσότερα μέσα στα μινιμαλιστικά γνωρίσματα του κάθε πίνακα. Η εικαστική γραφή του Σόρογκα είναι πλέον ακόμη πιο ευδιάκριτη και προσωπική. Οι πίνακες στέλνουν γρήγορα το θέμα και την συνάφειά του στο βλέμμα του θεατή, σαν να πρόκειται για λέξεις οπτικές καλά αρθρωμένες, κατασταλαγμένες, προσεκτικά διατυπωμένες, επιγραμματικές.  Από τη σύνθεση απουσιάζουν σχεδόν παντελώς τα χρώματα και οι ελευθεριάζουσες μορφοπλαστικές χειρονομίες, καθώς και κάθε άλλη ρητορική. Στο μεγαλύτερο μέρος της επιφάνειας επικρατεί το λευκό, περικυκλώνοντας και λειαίνοντας το κεντρικό αναγνωρίσιμο θέμα, που κατά κανόνα είναι σκουρόχρωμο, σκοτεινό ή και μαύρο: σωρούς από πέτρες με απροσδιόριστες οπές ανάμεσά τους, ξερολιθιές ή συστάδες από οικοδομική ξυλεία, εξώπορτες, πηγάδια, λαμαρίνες, σκουριασμένα εργαλεία και μηχανήματα, και, παλαιότερα, ανθρώπινες μοναχικές φιγούρες ή άλογα. Πολύ συχνά οι πίνακες μοιάζουν με απλωμένα σεντόνια ή τραπεζομάντηλα πάνω στα οποία έμειναν τα ξεθωριασμένα ίχνη, σαν σωματογραφίες των αντικειμένων που παριστάνονται. »

The exhibition will be open from May 21st 2016 until September 25 2016.

 

Opening hours

Monday: 10:00-18:00
Tuesday: 10:00-18:00
Wednesday: 10:00-18:00
Thursday: 10:00-20:00
(June-September: 10:00-18:00)
Friday: 10:00-18:00
Saturday: 10:00-18:00
Sunday: 10:00-18:00
1- 25 August: Closed

 

Address

9, Vassilissis Sofias Avenue & 1, Merlin Street
106 71, Athens, Greece