Theofrastos Triantafyllidis (Greek, 1881-1955) Mother and child 42 x 33.5 cm.
Lot 14AR
Theofrastos Triantafyllidis
(Greek, 1881-1955)
Mother and child 42 x 33.5 cm.
£18,000 - 25,000
US$ 24,000 - 33,000

The Greek Sale

15 Nov 2017, 14:00 GMT

London, New Bond Street

Lot Details
Theofrastos Triantafyllidis (Greek, 1881-1955)
Mother and child
signed in Greek (upper right)
oil on panel
42 x 33.5 cm.

Footnotes

  • Painted c.1940-45.

    Exhibited
    Nicosia, Cyprus, Hellenic Bank Cultural Centre, The Most Important Greek Painters of the 19th and 20th Century, May 18 - June 2003, no. 24 (illustrated in the exhibition catalogue).

    Literature
    A. Kotidis, Triantafyllidis, another 'Thirties' in Painting, University Studio Press, Thessaloniki, 2002, no. 150, pp. 237-240 (discussed), p. 344 (listed), p. 244 (illustrated, no. 160).


    This evocative image of mother and child ventures beyond the circumstantial and the anecdotal to capture the universal and timeless truth of motherhood. Stripped of time, place or culture specific references, Triantafyllidis's archetypal figures are invested with the symbolic meaning and transcendental import of religious images, recalling the Jesus-cradling Virgins of Italian Renaissance and Byzantine art.

    As noted by Professor A. Kotidis who prepared the artist's monograph, "Triantafyllidis's Mother and Child is akin in spirit to Galanis's Motherhood [Bonhams, Greek Sale, 13.12.07, lot 78], painted in Paris c.1920 at about the time Picasso treated the same subject in a neoclassical style. [Compare P. Picasso, Mother and Child, 1921]. Triantafyllidis's art relies on light much more than that of the other two. What he actually does is he designs the figures and then blots out the brush trail by gently wiping a cloth over the paint to create a different impression: that of light-saturated motifs, of forms acquiring shape in a non-specific, transcendental inner space, enabling the viewer to perceive them as personal experiences."1

    Moreover, the evocative silence and the featureless faces—a surviving symbolist trait also found in the work of Degas and the Nabis—charge the picture with additional psychological overtones, moving it beyond the genre and impressionistic traditions towards German expressionism, which Triantafyllidis had been exposed to during his studies in Munich.

    1. A. Kotidis, Triantafyllidis, another "Thirties" in Painting, University Studio Press, Thessaloniki, 2002, pp. 237-240.
Activities
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