![]() ![]() He moved to his native Germany by 1836 to work at the Royal museum in Berlin. Panofka returned to Paris and issued his research on Greek pottery, his Recherches sur les véritables noms des vases grecs. ![]() There Panofka cataloged the vases of the museum and Gerhard the classical sculpture. Panofka journeyed to south Italy where he became engaged with the antiquities of the Museo Nazionale in Naples. When the Hyperborean union transformed itself into the Instituto di Corrispondenza Archeologica in 1829, Panofka was named secretary for the members in Paris. Panofka remained with the duke upon his return to Paris in 1828. In Rome, Panofka's intellect attracted the attention of the antiquities collector, Pierre-Louis-Jean-Casimir, the duc de Blacas d'Aulps (1770-1839). Among them were the painter Otto von Stackelberg (1787-1837), the art writer and collector August Kestner and the classical art historian Eduard Gerhard. In 1823 he traveled to Rome to be part of a group of northern European scholars who studied classical ruins, calling themselves the "Hyperboreans" (Hyperboreisch-römische Gesellschaft). Panofka studied at the university in Berlin, pursuing classical philology, beginning in 1819. He was born in Breslau, Silesia, Prussia which is present-day Wroclaw, Poland. Matthiopoulos, curator and writer Adam Szymczyk, and dramaturge and scholar Dorota Sajewska, and a project by artist and architect Andreas Angelidakis.Early systematic scholar Greek vases one of the founders of the institution later to become the German Archaeological Institute (Deutsches archäologisches Institut). It features English translations of Tsarouchis’s writings and poetry, essays by Yannis Tsarouchis Foundation president Niki Gripari, art historian Evgenios D. Yannis Tsarouchis: Dancing in Real Life includes numerous works spanning the artist’s career, including his thirteen-year exile in Paris, showing how he absorbed and transformed such influences as Greek folk traditions ancient Greek and early Christian art Byzantine mosaics, frescoes, and icon painting the Greek shadow theater of Karaghiozis and even the new languages of modern art (cubism, fauvism, and surrealism). His works establish their own symbolic universe, mixing personal memory, loss, and desire, pointing to the negotiation and transgression of limits between art and the everyday that were central to his work and philosophy. Portraying solitary young men in interiors-daydreaming, gazing pensively, reclining, relaxing, and enjoying their own company-Tsarouchis formulated a unique artistic language. The foundation of Tsarouchis’s artistic sensibility involved negotiating the difference between the promise of modernization and the spell of tradition, as well as the gradual elaboration of this difference in his personal politics, which aimed at subverting the gender binary. The show brings together over two hundred paintings, drawings, watercolors, stage designs, and photographs, including portraits of anonymous youths, homoerotically charged mise-en-scènes, and major allegorical paintings referencing religious iconography augmented with contemporary costumes and props. This catalogue is published on the occasion of the first major survey of his work outside of his home country, which is also the first exhibition in the United States devoted to his work. More than three decades after his death in 1989, the artist’s rich oeuvre remains relatively unknown outside of Greece, where he is recognized as one of the most important painters of the twentieth century. Yannis Tsarouchis was a Greek painter whose multifarious practice spanned seven decades, from the 1920s to the 1980s. On Yannis Tsarouchis’s career: his thirteen-year exile in Paris, and his absorption and transformation of Greek folk traditions, ancient Greek and early Christian art, shadow theater, and modern art.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |