![]() Philotheos Skoufos was a witness for Poulakis in a legal matter around 1666. According to the contract, Tzorzi had to follow Poulakis anywhere he went including Venice. He signed a six-year contract to teach painting to Marinos Damistras son Tzorzi. ![]() Poulakis was a member of the Greek Brotherhood of Venice in 1654. Famous Greek painters Philotheos Skoufos, Emmanuel Tzanes, Konstantinos Tzanes, and Ioannis Moskos were all living in Venice around that time. ![]() His son was baptized in Venice in 1646 and his daughter two years later. He stayed there for thirteen years until 1657. By the age of twenty-four, he was living in Venice. He was married and had two children Vittirous and Eleni. Over 130 of his paintings have survived and can be found all over the world. Poulakis works exhibit qualities of the Venetian school. Poulakis's works are likened to Andreas Pavias and Georgios Klontzas. Stephanos Tzangarolas was another famous painter in Corfu around the same period. Candia finally fell after twenty years of siege in 1669. Emmanuel Tzanes and Poulakis were active painters of the Cretan School until Candia, went to war with the Ottomans around 1649. Poulakis was a member of the Cretan School, his contemporary was Emmanuel Tzanes. He is considered the father of the Heptanese School and one of the most prolific painters of Venetian Crete. Matthiopoulos, curator and writer Adam Szymczyk, and dramaturge and scholar Dorota Sajewska, and a project by artist and architect Andreas Angelidakis.Theodore Poulakis ( Greek: Θεόδωρος Πουλάκης 1622–1692) was a Greek Renaissance painter and teacher. It features English translations of Tsarouchis’s writings and poetry, essays by Yannis Tsarouchis Foundation president Niki Gripari, art historian Evgenios D. Yannis Tsarouchis: Dancing in Real Life includes numerous works spanning the artist’s career, including his thirteen-year exile in Paris, showing how he absorbed and transformed such influences as Greek folk traditions ancient Greek and early Christian art Byzantine mosaics, frescoes, and icon painting the Greek shadow theater of Karaghiozis and even the new languages of modern art (cubism, fauvism, and surrealism). ![]() His works establish their own symbolic universe, mixing personal memory, loss, and desire, pointing to the negotiation and transgression of limits between art and the everyday that were central to his work and philosophy. Portraying solitary young men in interiors-daydreaming, gazing pensively, reclining, relaxing, and enjoying their own company-Tsarouchis formulated a unique artistic language. The foundation of Tsarouchis’s artistic sensibility involved negotiating the difference between the promise of modernization and the spell of tradition, as well as the gradual elaboration of this difference in his personal politics, which aimed at subverting the gender binary. The show brings together over two hundred paintings, drawings, watercolors, stage designs, and photographs, including portraits of anonymous youths, homoerotically charged mise-en-scènes, and major allegorical paintings referencing religious iconography augmented with contemporary costumes and props. This catalogue is published on the occasion of the first major survey of his work outside of his home country, which is also the first exhibition in the United States devoted to his work. More than three decades after his death in 1989, the artist’s rich oeuvre remains relatively unknown outside of Greece, where he is recognized as one of the most important painters of the twentieth century. Yannis Tsarouchis was a Greek painter whose multifarious practice spanned seven decades, from the 1920s to the 1980s. On Yannis Tsarouchis’s career: his thirteen-year exile in Paris, and his absorption and transformation of Greek folk traditions, ancient Greek and early Christian art, shadow theater, and modern art.
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