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EXHIBITION

MUSEUM OF CONTEMPORARY ART - ANDROS

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FROM THE CONTEMPORARY TO THE TIMELESS

1 JULY – 30 SEPTEMBER 2018

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1ΑΠΟΣΠΑΣΜΑΤΑ ΑΠΟ ΤΟΝ ΤΥΠΟ

The curator of the exhibition Marie Koutsomallis-Moreauwith Charikleia Mytara, the artist’s wife

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costumes and stage designs for the Theatro Technis and the National Theatre of Northern Greece. The element of violence gradually enters his images. Fragmented ancient statues testify decay and the threat of the coup by the colonels, realistic documents from newspaper photographs with stern men wearing hats and glasses, express the atmosphere of repression and non-freedom during the junta. Indeed, he was called to the police station and cautioned for these works … “Its best if you don’t paint any more of these”. Large scale portraits with wild dogs but also roads that “invade” the natural landscape, succeed evocative funerary steles and expressive women in front of mirrors. Despite his reputation as a portraitist, Mytaras stated repeatedly that most people didn’t like their portraits because they didn’t flatter them… “My best works are portraits which no one commissioned” he would add. The great painter who died a year ago used to say that “Paintings probably belong more to those who feel them and less to those who understand them”. This exhibition however, makes us both feel them and understand them.

Pari Spinou, Εfsyn newspaper, 3/7/2018

View of the “Dictatorship” section of the exhibition

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The exhibition catalogue

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RETROSPECTIVEOF THE ANDROS MUSEUM

Although short, his creative career was fertile and imaginative in innovative ideas and techniques, which elevated him to become one of the greatest painters of the previous century. In his work, the female figure in all its forms and manifestations will always dominate, prevailing and imposing. The myth he has created for them with such honesty, sensitivity, humanity and tenderness, almost like archetypal figures, has gained a gravitas equal to the conformity of social reputation, which destined them for extinction and oblivion.

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B E Goulandris Foundation

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