Nicholaos Lytras

Greece (18831927 ) - Artworks
LYTRAS Nicholaos Portrait Of A Woman

William Doyle /Nov 13, 2012
4,711.06 - 7,066.58
2,559.70

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Artworks in Arcadja
33

Some works of Nicholaos Lytras

Extracted between 33 works in the catalog of Arcadja
Nicholaos Lytras - View Of Galatsi

Nicholaos Lytras - View Of Galatsi

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Lot number: 14
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Nikolaos Lytras (Greek, 1883-1927) View of Galatsi signed in Greek (lower left) oil on canvas 55.5 x 35 cm. Footnotes Provenance Given by the artist to Othon Pervolarakis thence by descent to the present owner. Exhibited Athens, Zappeion Hall, exhibition of Paintings by Nikolaos Lytras 1902-1927 , April 1929 (illustrated in an exhibition photograph). Literature Nikos Lytras, Painting with Light and Colour , Exhibition catalogue, National Gallery - A. Soutzos Museum, Athens 2008, p. 294. Considered long lost, known only through a black and white photograph of Lytras's 1929 posthumous retrospective at Zappeion Hall where it hung next to the famous Portrait of a boy now at the collection of the Athens National Gallery, View of Galatsi captures the inner rhythm, eternal structure and timeless canon of the age-old Greek land, seeking not only to identify its unique character but also to interpret its very soul. Rocky terrain, rolling hills and distant mountains, rendered in broad, long, continuous brushstrokes, are handled as powerful means of communicating the artist's acute perception and intense experience of their primordial volumes. The fluid rhythm of the execution becomes the means by which the artist not only records but shares in this field of energy in search of a deeper pictorial truth. The powerful, pronounced diagonal of the hillslopes, the large, triangular shapes and the overall development of oblique, undulating lines build up a rhythmically articulate series of formal elements, welding the image into such a compelling entity that even the artist's signature on the lower left seems organically integrated in the pictorial surface, as if it were an 'indigenous' part of the landscape. The simplified surfaces with their syncopated rhythm, the Cezannesque corporeality of the picture plane and the sweeping, energetic brushwork in the vein of van Gogh betray the sure hand of a master expressionist and assert the freedom of his pictorial gesture, while conveying to the viewer a sense of immediacy and an impression of a first-hand experience. As noted by A. Kouria and D. Portolos, who prepared the artist's monograph 1 , Lytras's landscape views are stripped of the often idealised descriptiveness of traditional naturalistic renderings. His landscapes are rugged, frugal, without beautifying tricks or decorative framings, lending the Greek landscape a new formal identity and meaning. 1 .See A. Kouria, D. Portolos, Nikos Lytras, Building Form with Color and Light [in Greek], exhibition catalogue, National Gallery - A. Soutzos Museum, Athens 2008, pp. 107-109, 113.
Nicholaos Lytras - Aghios Sozon, Tinos

Nicholaos Lytras - Aghios Sozon, Tinos

Original 1923
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Lot number: 6
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Nikolaos Lytras (Greek, 1883-1927) Aghios Sozon, Tinos signed in Greek (lower left) oil on canvas 56 x 45 cm. Footnotes Painted in 1923. A true find, this wonderful painting hitherto unpublished and unknown to art historical scholarship was given as a gift by Lytras to his friend, the mozaic artist Polychronis Renieris. In 1923, when he was appointed professor at the Athens School of Fine Arts, Nikolaos Lytras visited Tinos, the native island of his father, the great 19th c. painter Nikiforos Lytras, in search of an interpretative approach to nature and a deeper pictorial truth resulting from powerfully expressive juxtapositions. His fatherland, with its sparse, jugged terrain and sculptural quality of both its natural environment and traditional Cycladic architecture, offered Lytras many pictorial challenges posed by stark contrasts. It should be noted that in all of his Tinos paintings, which represent the culmination of his landscape work, Lytras consistently avoided general or panoramic views of the island's village complexes. Usually, only some scattered structures, identified by their solid, cube-like volumes, are juxtaposed with the wavy lines and flowing rhythms of the natural environment. 1 Like a white dove on a rocky outcrop ready to fly into the blue cloudless sky, Lytras's dazzling Cycladic chapel captures the power and brilliance of the Aegean archipelago. Vibrant form, painterly, Cezannesque technique and energetic brushwork in the vein of van Gogh support the liberation of properties intrinsic to the medium, asserting the freedom of the artist's pictorial gesture over his original subject. The tactility of the textured surfaces and, especially, the use of thick impasto lend a corporeal presence to the pictorial space. As perceptively noted by A. Kouria who curated the artist's major retrospective at the Athens National Gallery in 2008, "in Lytras's views of Tinos the very materiality of paint becomes the materiality of the landscape itself." 2 This sense of immediacy and substance is enhanced by the prominence of the foreground rocks, these 'immortal sculptures' 3 , as Y. Tsarouchis once called them, that eternally define the character of the Greek land, conveying to the viewers an impression of a first-hand experience, as if they were actually part of the landscape. The painting unfolds with upward undulating rhythms like an abstract interplay of successive volumes, welding the rugged terrain and the whitewashed chapel into such a compelling entity that even the artist's signature on the lower left seems organically integrated in the pictorial surface, as if it were an 'indigenous' part of the landscape. 1 . See A. Kouria, D. Portolos, Nikos Lytras, Building Form with Colour and Light [in Greek], National Gallery-A. Soutzos Museum & Hellenic Literary and Historical Archive, Athens 2008, pp. 115-119. 2 . Ibid, p. 118. 3 . Y. Tsarouchis, The Obsession with Greenery , Kathimerini daily, 7.9.1975.
Nicholaos Lytras - The Meadow (tinos)

Nicholaos Lytras - The Meadow (tinos)

Original
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Lot number: 6
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Nikolaos Lytras (Greek, 1883-1927) The Meadow (Tinos) signed in Greek (lower left) oil on canvas 52 x 71 cm. Footnotes PROVENANCE: Maria N. Lytra collection, Athens. Private collection, Athens. EXHIBITED: Athens, Galerie Stratigopoulou, 1925, no. 15. Athens, Zappeion Hall, Nikolaos Lytras retrospective exhibition , 1929, no. 94. Venice, Biennale, 1936, no. 99 (listed in the exhibition catalogue, p. 283). Athens, National Gallery - A. Soutzos Museum, Nikos Lytras, Building with Colour and Light , March 19 - June 2, 2008, no. 111 (illustrated in the exhibition catalogue, pp. 117,152) LITERATURE: Postcard issued by the Phoenix Insurance company, c. 1960s (illustrated). Y. Papaioannou, Yannis Spyropoulos, Monograph , Yannis and Zoe Spyropoulos Foundation, Athens 2010, no. 75, p. 152 (illustrated). One of the best known and most accomplished works by a pioneer expressionist landscape painter and one of the twenty oils that represented his oeuvre at the 1936 Venice Biennale, Nikolaos Lytras's The meadow (Tinos) captures the power and brilliance of the Cycladic landscape, while demonstrating the artist's interpretative approach to nature. Painterly, Cezannesque technique, intense brushwork in the vein of van Gogh and thick impasto that lends a corporeal presence to the pictorial space support the liberation of properties intrinsic to the artist's medium, asserting the freedom of his pictorial gesture over his original subject. Expressionism had a definitive impact on him during his studies in Munich, at a time when fierce brushwork and bold colour began to acquire greater importance than the fleeting effects of impressionism. As noted by A. Kouria who curated the artist's major retrospective at the Athens National Gallery in 2008, the Bonhams picture is "one of Lytras's best landscapes of Tinos. The island terrain and the chapel in the distance are viewed from a low vantage point with pictorial space developing upwards, like a hanging tapestry, to a very high horizon. The dark, cool-toned areas in the foreground lead the eye to the middleground which is dominated by warm and luminous ochres. The structural handling of the subject conveys to the viewers the impression that they are actually part of the landscape, which unfolds with upward undulating rhythms like an abstract interplay of lines and successive surfaces. This is emphasised by the horizontal markings made on the thick impasto by the pointed rear end of the artist's paintbrush. As in other works by Lytras, the various details are organically integrated in the painting, as is the case with the reclining cow in the fore-middleground which seems to have sprouted from the landscape itself and become an integral part of it." 1 The powerful, pronounced diagonals of the island stone walls, the large, angular shapes and the overall development of meandering lines build up a solid compositional edifice, an architectural organisation of active space and vibrant form without breaking from the world of appearances. The artist achieves this sense of substance by the density and texture of the paint itself, while developing a rhythmically articulate series of formal elements that weld the image and its attendant attributes into a compelling entity. Even the artist's signature on the lower right is treated in a purely formal manner, becoming organically integrated in the pictorial surface, as if it were an 'indigenous' part of the landscape. Animate and inanimate subjects are handled not just as coloured patterns of light and shade in a sequence of receding planes but, rather, as a powerful means of communicating the artist's acute perception and intense experience of their deeper pictorial truth. As noted by Professor C. Christou, "Lytras's landscapes offer a monumental image of the natural environment and express all its inner forces." 2 Much more than displaying an intricate fabric of energetic brushstrokes and textured surfaces that betray the sure hand of a master expressionist, this amazing work aims directly at the essence of things, seeking to capture the inner rhythm, eternal structure and timeless canon of the Greek landscape; seeking, in other words, not only to identify its character but also to interpret its soul. 1 . A. Kouria, D. Portolos, Nikos Lytras, Building Form with Colour and Light [in Greek], National Gallery-A. Soutzos Museum & Hellenic Literary and Historical Archive, Athens 2008, p. 118. 2 . C. Christou, The Mountainous Landscape in Greek Painting [in Greek], To Ergastiri Art Editions, Athens 1991, p. 26.
Nicholaos Lytras - Portrait Of A Woman

Nicholaos Lytras - Portrait Of A Woman

Original
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Net Price
Lot number: 46
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Description:
Lot 46 Nikolaos Lytras Greek, 1883-1927 Portrait of a Woman Signed (ll) Oil on canvas laid to board Oval 23 5/8 x 19 11/16 inches (60 x 50 cm) Provenance: Commissioned from the artist by the mother of the present owner, thence by decent to the present owner C Estimate $6,000-9,000 Frame is broken. Dirty varnish. Frame rubbing. Tiny ding in the sitter's hair; tiny scuff at center right. No apparent restoration. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.
Nicholaos Lytras - Portrait Of A Lady

Nicholaos Lytras - Portrait Of A Lady

Original
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Lot number: 6
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Description:
Nikolaos Lytras (Greek, 1883-1927) Portrait of a lady signed in Greek (upper left) oil on canvas 70.5 x 55 cm. EXHIBITED: Athens, National Gallery and Alexander Soutzos Museum, Nikos Lytras Retrospective , 19 March - 2 June 2008. LITERATURE: A. Kouria - D. Portolos, Nikos Lytras , National Gallery & ELIA Edition, Athens 2008, p. 65, no 23 (illustrated).
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