Konstantinos Paleokapas | |
|---|---|
 | |
| Born | Around 1600 |
| Died | After 1640 |
| Nationality | Greek |
| Known for | Iconography and hagiography |
| Notable work | Crucifixion |
| Movement | Cretan School |
Konstantinos Paleokapas (Greek: Κωνσταντίνος Παλαιοκαπάς, 1600 – after 1640) was a Greek painter active during the 17th century. He was active in Crete. His contemporaries were: Elias Moskos, Leos Moskos, Victor (iconographer), Franghias Kavertzas and Ieremias Palladas. His style was similar to his contemporaries, the artists were part of the Cretan School. The art was heavily influenced by Venetian art. His remaining work testifies to the style of the region. Six of his works have survived. His most notable work is the Crucifixion of Christ. His Crucifixion is comparable to the Ioannis Moskos Crucifixion and The Crucifixion (Pavias) by Andreas Pavias. His Crucifixion lacks the unique Impenitent thief found in many followers of Pavias's style. His Crucifixion mostly resembles Ioannis Moskos. Paleokapas had a unique style. Most of his work is at the Gonia Monastery in Crete.[1][2][3][4][5]
History
He was born in Chania Crete. Not much is known about his life. Historians have dated his activity between 1620-1645. The island was an epicenter for painters during this period. His work resembles local masters. His works include paintings of Deesis created in 1635. This piece is in Agios Georgios Afentis in Vroulidia Sifnos. His paintings of Nicolaos Enthroned 1637, The Crucifixion, and Neilos are at the Gonia Monastery in Chania Crete. His signature is on four of his works. His most prevalent signature is χείρ Κωνσταντίνου Παλεοκάπα. His style influenced countless painters both Greek and Italian. Other artists who are also known to have painted the Crucifixion in a similar style are: Theophanes the Cretan, Frangos Kontaris, Emmanuel Lambardos, and Georgios Margkazinis.[2]
Gallery
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Nicholas Enthroned
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Saint Peter and Paul
References
- ^ Eugenia Drakopoulou (September 15, 2021). "Palaiokapas Konstantinos". Institute for Neohellenic Research. Retrieved September 15, 2021.
- ^ a b Hatzidakis & Drakopoulou 1997, pp. 266–267.
- ^ Glykatzi, Helen (1988). Patmos: Treasures of the Monastery. Athens, Greece: Metropolitan Museum of Art. p. 123.
- ^ Staff Writers (1989). Greece. New Amsterdam, New York: Larousse Harrap Publishers. p. 419. ISBN 9780941533638.
- ^ Alexandra, Kouroutaki (2020). Byzantine tradition and western influences on the iconography of the Divine Passion in religious paintings at the Prefecture of Chania (17th-20th century). Athens, Greece: Ministry of Foreign Affairs,Secretariat General for Public Diplomacy,Hellenic Republic. p. 419.
Bibliography
- Hatzidakis, Manolis; Drakopoulou, Evgenia (1997). Έλληνες Ζωγράφοι μετά την Άλωση (1450-1830). Τόμος 2: Καβαλλάρος - Ψαθόπουλος [Greek Painters after the Fall of Constantinople (1450-1830). Volume 2: Kavallaros - Psathopoulos]. Athens: Center for Modern Greek Studies, National Research Foundation. hdl:10442/14088. ISBN 960-7916-00-X.
This page was last edited on 30 May 2023, at 02:50