CHRISTOS CARRAS (BORN 1930)
CHRISTOS CARRAS (BORN 1930)
La naissance d'une nouvelle Aphrodite signé en grec et daté '1964' (en bas à gauche); daté (au revers) huile sur toile
89 x 114cm (35 1/16 x 44 7/8in).
signed in Greek and dated (lower left); dated (on the reverse) oil on canvas
Littérature
M. Tsikouta, Les Influences dans la Peinture Grecque après 1945, doctoral dissertation, Université de Paris-Sorbonne, 1991, vol. II, p. 298 (discussed), illustrations vol. III, fig. 543 (catalogued and illustrated).
"In the work The Birth of a New Aphrodite from 1964, we see the real birth of a human figure, which appears in the middle of a flat surface and undefined forms. The organisation of the composition is based on the vertical and the accentuation of the centre. A vertical division creates two parts, the light part on the right and the dark part on the left.
In the latter, the genesis of the new Aphrodite takes place. She is presented in a frontal position and gives the impression that the lines of her body are schematised in the swirl of wide or thick patches, welldefined or erased lines and light or dark shapes. Abstraction gives way to a figurative expressionism. It is a transitional work that announces the victory of the figure over the informal."1 1 M. Tsikouta, Les Influences dans la Peinture Grecque après 1945, doctoral dissertation, Université de Paris-Sorbonne, 1991, vol. II, p. 298.
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CHRISTOS CARRAS (BORN 1930)
La naissance d'une nouvelle Aphrodite signé en grec et daté '1964' (en bas à gauche); daté (au revers) huile sur toile
89 x 114cm (35 1/16 x 44 7/8in).
signed in Greek and dated (lower left); dated (on the reverse) oil on canvas
Littérature
M. Tsikouta, Les Influences dans la Peinture Grecque après 1945, doctoral dissertation, Université de Paris-Sorbonne, 1991, vol. II, p. 298 (discussed), illustrations vol. III, fig. 543 (catalogued and illustrated).
"In the work The Birth of a New Aphrodite from 1964, we see the real birth of a human figure, which appears in the middle of a flat surface and undefined forms. The organisation of the composition is based on the vertical and the accentuation of the centre. A vertical division creates two parts, the light part on the right and the dark part on the left.
In the latter, the genesis of the new Aphrodite takes place. She is presented in a frontal position and gives the impression that the lines of her body are schematised in the swirl of wide or thick patches, welldefined or erased lines and light or dark shapes. Abstraction gives way to a figurative expressionism. It is a transitional work that announces the victory of the figure over the informal."1 1 M. Tsikouta, Les Influences dans la Peinture Grecque après 1945, doctoral dissertation, Université de Paris-Sorbonne, 1991, vol. II, p. 298.
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