Footnotes

Provenance
D. Taktikos collection, Mytilene.
Private collection, Athens.

Expositions
Athens, Hellenic American Union, An Exhibition of Murals and Paintings by Theophilos, March 17 - April 10, 1970, no. 49 (listed in the exhibition catalogue).

Littérature
The Painter Theofilos on Mytilene, exhibition catalogue, Mytilene 1962 (mentioned).


*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'exposition à Athènes, du 8 au 10 novembre 2023. Cette œuvre restera à Athènes pendant la vente aux enchères.

*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 8-10 November 2023. This work will be located in Athens during the auction.



One of the few surviving murals by Theofilos, rescued from destruction or decay in the 1960s thanks to the efforts of prominent intellectuals and collectors, this signature work was transferred onto canvas from its original wall in a coffee-shop in the village of Komi on the island of Mytiline and restored with great care. The restoration project was a challenging one, since in addition to the ravages of time it had to overcome a 30-year accumulation of soot and smoke residue from the coffee-shop's stove, gas cooker and cigarette smoking patrons.

Showing a predilection for history, Theofilos pays homage to one of the most beloved figures of Greek tradition, Constantine XI (1448-1453), the last emperor of the Palaiologos dynasty¹ who died a heroic death in defence of Constantinople on 29 May 1453, shedding a last ray of beauty on the closing scene of Byzantine history.

Mighty, regal and handsome as an Olympian god, his golden armour flashing lightning, the king on horseback is clad in the attire of a Roman emperor, including a short blue tunic, gold breastplate and helmet and crimson red cloak, recalling the artist's representations of Alexander the Great. Τhe correlation between Alexander and Constantine shows how Theofilos, with his instinctive knowledge and keen sense of historical past, could easily migrate from one era to another, capturing bygone glory and heroism as a form of eternity constantly reborn in the present. As noted by critic and writer R. Crichton, "Theofilos presents an unconscious synthesis of the Greek spirit—a lesson to historians who wilfully separate the various periods of Greek history."²

History is filtered through the artist's rich imagination and transformed into the enthusiasm sparked in him by Constantine's valour and heroic achievement.
The emperor holds his sword raised and his spear in readiness, while his white steed is about to rush the enemy. The vehemence with which they prepare to attack is expressed by the dynamic design, especially by the fluttering cloak and the vividness of colour.³ Not obscured by intervening enemies or friendlies, Constantine is portrayed full length and well in view, presented in such a manner as to show his figure to the best advantage. Much like a Byzantine icon painter, Theofilos is aiming at an interpretation of the historic event adjusted to a time-honoured scale of values.

The hero's grandeur is emphasized by a battle scene between Ottoman janissaries and Byzantine guards whose figures are much smaller in size despite being in the extreme foreground and, consequently, much closer to the viewer's eye. Abolishing the rules of perspective that could impede his creative zeal and rejecting the illusion of depth was a deliberate choice made by Theofilos. Especially when he painted murals in stores or coffee-shops frequented by many people, he knew that his work shouldn't undermine the wall's optical stability by penetrating its surface through the use of deep, illusionistic perspective.

Around 1926, after a forty-year odyssey, Theofilos returned to his native island and humbly took up his profession as an itinerant painter, welcomed by simple people who allowed him to decorate their stores, houses or coffee shops.⁴ "In Mytiline he enjoyed a very creative and prolific period, during which he painted some of his best works."⁵ In his murals the outlines are boldly drawn, the chiaroscuro is strong and the details and trimmings of costumes are rendered with rapid brushstrokes.⁶ Most of these masterpieces are long lost. "Those that were rescued are now owned by genteel and wise people who appreciate their value and bless the humble painter for the gifts he gave them -feasts for the senses and true delights to the eye."<sup>7

1</sup> Constantine Palaiologos is Theofilos's only subject drawn from Byzantine history.
² R. Crichton, "Theofilos", Orpheus magazine, vol. II, London 1949, p. 151.
3. See E. Diamantopoulou, Theofilos in Mt. Pelion [in Greek], Alexandria editions, Athens 207, p. 75.
⁴ See E. Georgiadou-Kountoura, "Theofilos: the Artist and the Legend", in Theofilos, exhibition catalogue, Municipal Art Gallery, Thessaloniki, 1998, p. 32.
⁵ N. Matsas, The Tale of Theofilos [in Greek], Estia publ., Athens 1978, p. 153.
⁶ K. Makris, "The 'Relevance' of Theofilos" in Theofilos, exhibition catalogue, National Gallery, Athens, 1983, translated in Zygos Annual Edition on the Hellenic Fine Arts, vol. III, 1984, p. 98.
⁷ Matsas, p. 153.