Painting in Zakynthos

After the Capture of Constantinople by the Turks in 1453, many artists living there were forced to abandon the city and move elsewhere, as the Ionian Islands for example, in order to continue their artistic activities. The works of these great painters of the 15^th century was a model for the generations of painters to come.

Later on, after the Capture of Handakas (Heraklion) in 1669, many great artists settle in the areas under Venetian rule, so that they can work freely. They are actually the last few eminent artists of the Cretan School, and follow this very painting tradition. Simultaneously, many of these artists are influenced by preponderant artistic currents of the West, which gradually lead to the creation of an independent artistic formation in the Ionian Islands, which was virtually a mixture of Cretan and Italian painting.

The Painting of the Ionian Islands, which was shaped on the basis of the influences it received, and was given a great impetus due to the socio-political factors that reigned over the Ionian Islands at the time, flourished during the 17^th and 18^th century.

One of the most important representatives of the Painting developed in the Ionian Islands is Panagiotis Doxaras. He was born in Mani in 1662, and later on moved to Zakynthos with his family, where he apprenticed at Ilias Moskos’ workshop until the age of 27. He was there taught the cretan-venetian technique, and his work following this style is found in the Church of the Lady of Angels (Kiria ton Aggelon) in the town of Zakynthos. Later on he decides to fight along with the Venetians, where he proved to be very successful and is dubbed a knight. Due to his great military performance, many military leaders assign him with the realization of paintings. Thus, Doxaras returns to Zakynthos, where he set himself to work. He no longer applies the standard usage of egg yolk tempera; he brings forward the use of oil painting and perspective depiction, and re-establishes the themes usually painted by artists of the time. One of his apical works is the decoration of the ceiling of the church of Saint Spyridon in Corfu with religious icons. He passed away in Corfu in 1729.

His son Nikolaos Doxaras (Kalamata 1700-Zakynthos 1775) continued the tradition of his painting work. Nikolaos painted the ceiling of the church of Faneromeni in Zakynthos, as well as the church of Saint Minas in Lefkada, that no longer exists.

One of Nikolaos Doxaras’ pupils, Nikolaos Koutouzis, was to turn into a versatile and vigorous personality. Born in Zakynthos in 1741, Kouroutzis marked an era with his versatile work. He was a priest, a writer and a painter. As a writer, he is considered to be forerunner of Solomos; in his works he fulminated against the hypocrisy and corruption of civilians and clergymen. As a painter, he worthily continued the Painting tradition of the Ionian Islands, and drew paintings with religious themes (Zakynthos Byzantine Museum), as well as portraits. In one of his masterpieces, the “Litaneia tou Leipsanou tou Agiou Dionysiou” (Litany of Saint Dionysios’ Relics), he depicted the society of Zakynthos at the time (1776), towards the end of the Venetian rule over the island. His technique was chiefly based on the use of shading, the skilful depiction of the characteristics of each face, and its emotional expression.

Another very important painter of the Painting tradition of the Ionian Islands was Nikolaos Kadounis. He was born in Zakynthos in 1768, and officiated at the church of Euangelistria. He was a member of the Filiki Eteria (i.e. Society of Friends[1]), and from his post he fought for the Liberation of Greece with all possible means. As a painter, he worked on portraits and religious themes. He developed a personal style, incorporating and creatively expressing the influence he received from Koutouzis’ works as well as Fleming painters. He passed away in Zakynthos in 1834.