Δομήνικος Θεοτοκόπουλος, ο Έλληνας : Ένα υστερόγραφο
Part of : Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας ; Vol.35, 1994, pages 375-380
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375-380
Parallel Title:
Domenikos Theotokopoulos as El Greco : A Postscript
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Articles
Abstract:
This paper, preceded by another currently at the press("Proceedings of the First International Congress on ElGreco", Herakleion 1990) aims to reassure the followingpoints regarding the problem of "Hellenism" and/or"Byzantinism" in the painter's later artistic production:1. In Greece, the dispute between those who have defended the Byzantine/post-Byzantine origins of ElGreco and those who have denied them is based onargumentation imported mostly from abroad.2. A personal stance in such a controversy presupposesa sufficient acquaintance with both Byzantine andWestern painting, something which was not the case inGreece earlier.3. The rejection of El Greco's Byzantinism in post-WarGreece down to 1990 was exclusively based on an obsolete paper by Manolis Chatzidakis (1950), even thoughhe himself has in the meantime changed, albeit indirectly, his initially negative opinion.4. In no less a significant manner, the dispute of thisprimarily art-historical problem was soon shrouded inideological terms: the exponents of Greco's Byzantineorigins were reproached for being conservative or evenchauvinist! Furthermore, a certain misuse of art criticism instead of art history (e.g. by Alex. Xydis) has ledto consider contemporary Byzantinists, who insist almost una voce on Greco's Byzantinism, as subjected toFachpatriotismus!5. During the last decades, our improved knowledge ofthe early period of El Greco's life in Crete (1541-1567),along with advances in the study of Late Byzantine andearly post-Byzantine painting in Crete in particular, hasled a considerable number of art historians — perhapsthe majority — to reconsider the problem and take asgranted that his art is surely rooted in Byzantium. Tomention but a few amongst these, who were experts inboth Byzantine and Western painting, the author citesOtto Demus (1902-1990) and his pupil Doula Mouriki(1936-1991). They both interpreted Theotokopoulos' artistic heritage in a new manner, undoubtedly anchoredin that of his original heritage, i.e. Byzantium.6. Evidence for his lifelong connection with the spiritualheritage of his native land has recently been considerablyaugmented. Hence, one is justly tempted to reverse thequestion: does not a denial of this fact indicate ideological prejudice, trapped by idées-fixes, and of so littlehelp in understanding the internal evolution of such aneminent artist?7. The periodical revival of interest in Theotokopoulos'work coincides with times of spiritual crisis, a reflectionthat El Greco himself was a genuine metaphysical artist,just as were his ancestors in Crete, in Byzantine Greece!
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