The artist who painted this work, Theodoros Vryzakis, was left an orphan in the War of Independence, when his father was hanged by the Turks. He studied in Munich and became the main exponent of historical painting.
This major painting evokes one of the most tragic and renowned episodes in the Greek struggle for independence – the heroic exodus of the inhabitants of the town of Missolonghi during the night of April 10, 1826. The composition is arranged along a perpendicular axis, without depth, split into two sections: the heavenly and the earthly one. In the heavenly section, on the axis, that is, in the centre of the composition, is seen the enthroned God in a golden cloud, blessing the fighters, while angels with laurel leaves and wreaths are preparing to coronate the heroes. The Greeks believed that their rightful cause enjoyed Christ’s blessing. In the earthly section, on a wood bridge, Greek fighters are seen brandishing their swords, storming out of the wall gate. One of them is waving in his left hand the Greek flag with the cross on the pole. Some have already been wounded. Women and children follow. Mothers and children have fallen in the ditch underneath the bridge. Some are already dead, others lie dying. The fully armed Turks are waiting for the heroic fighters. Some of them are climbing up the walls on a ladder. Uproar, tension, drama prevail. It is as if we could almost hear the noise of weapons and the cries of the wounded. The painter has depicted the scene in great accuracy and meticulousness. This painting is romantic in spirit but academic, calligraphic, careful in implementation. A brown and gold tonal palette of black, white and red prevails.
This excellent work, acquired in 2002 by the National Gallery, may be considered as one of Volanakis’ most free “impressionistic” achievements. Painted in Munich, it depicts fishermen pulling the nets at sunrise. The boat and the fishermen are shown as silhouettes, as the light is coming from behind, from the background. The sky and the waves are flooded with light, which is rendered in orange and violet tones. The brushwork is free, and the entire work pulsates with life.
The “Crucifixion” of Christ and the two thieves, the good and the bad, was painted by Andreas Pavias in the latter half of the 15th century, using egg tempera on a wood panel, that is, adhering to the traditional Byzantine iconography process.
The scene is dramatically narrated in many episodes, against a flat golden background. Reminding us that we are dealing with an idealistic rather than a realistic painting, in Byzantine art the golden background denotes the sky; the figures are divine, transcendental, existing outside of time and place, in the infinite space-time. The figures seem lit from within themselves rather than by an external source of light. The scene is arranged in three levels, leading the eye upward, without perspective or depth. On the bottom left is depicted the resurrection of the dead, who can be seen rising from their graves; on the right hand side, the painter has portrayed the soldiers, playing dice for Christ’s crimson robe. In the middle ground, there is the colourful crowd, witnessing the tragic event; the main scene shows the Madonna fainting, supported by the Holy Women and St John, while St Magdalene is throwing her arms around the Holy Cross in lament. A colourful crowd in exotic costumes and hats, horses and a wealth of details complete the scene. On the upper, third section, in which the crosses with the bodies of Christ and the two thieves are portrayed, angels are flying about, in deep lamentation, while others are collecting the Saviour’s sacred blood in chalices. In the background on the left, an angular building structure evokes the Church of the Holy Sepulchre. There is a multitude of always meaningful detail, such as the stork above the Holy Cross, piercing its own breast in order to feed its young ones – a symbol of Christ’s sacrifice in order to save Humanity from the original sin.
