GEORGIOS BOUZIANIS (1885-1959) Homme avec chapeau
GEORGIOS BOUZIANIS (1885-1959)
Homme avec chapeau
signé et daté "Busianis / 933" en bas à droite;
signé et daté "Jo Busianis / Munchen 933" en bas á droite sur le passe-partout et titré "Man mit Hut" en bas à gauche sur le passe-partout
aquarelle sur papier
62 x 46 cm. (24 7/16 x 18 1/8in.)
signed and dated "Busianis / 933" lower right;
signed and dated "Jo Busianis / Munchen 933" lower right on the mat and titled "Man mit Hut" lower left on the mat
watercolor on paper
Provenance
Acquis directement auprès de l'artiste par la grand-mère de l'actuel propriétaire.
In an article published in the Leipziger Abendpost daily on September 6, 1928, Dr. Hebert Hoffmann noted that Bouzianis's watercolours make him one of the greatest artists of his time, while art critic M. Schwimmer, reviewing his 1932 exhibition in Leipzig, remarked: "Employing the most frugal means, Bouzianis conveys powerful and insightful impressions, a sense experience of form and colour more intense than any offered by even the best watercolours by Nolde or Kirchner."1 In an essay prefacing the artist's 1965 posthumous retrospective in Athens, art critic G. Mourelos noted that Bouzianis's watercolours constitute a monumental accomplishment in contemporary European art. These expressive visions capture the essence of his subjects, displaying a fusion of line and colour, light and shadow, fluidity of matter and evocativeness of form in a masterly way.2
As noted by Professor D. Deliyannis, who wrote the artist's monograph, one of the key characteristics of Bouzianis's portraiture is the frontal pose. He breaks away from ancient Greek vase painting tradition while retaining a close relationship with the Byzantine style.3 The frontality of the portrait, set against a barren background, is akin to the perception governing icon painting and endows it with a symbolic dimension, as if it were the image of a modern saint.
1. Leipziger Volkszeitung daily, December 23, 1932.
2. See G. Mourelos, preface to Bouzianis - Watercolours [in Greek], exhibition catalogue, Greek-American Union, Athens 1965.
3. See D. Deliyannis, Bouzianis [in Greek], Adam editions, Athens 1996, pp. 38, 39.
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GEORGIOS BOUZIANIS (1885-1959)
Homme avec chapeau
signé et daté "Busianis / 933" en bas à droite;
signé et daté "Jo Busianis / Munchen 933" en bas á droite sur le passe-partout et titré "Man mit Hut" en bas à gauche sur le passe-partout
aquarelle sur papier
62 x 46 cm. (24 7/16 x 18 1/8in.)
signed and dated "Busianis / 933" lower right;
signed and dated "Jo Busianis / Munchen 933" lower right on the mat and titled "Man mit Hut" lower left on the mat
watercolor on paper
Provenance
Acquis directement auprès de l'artiste par la grand-mère de l'actuel propriétaire.
In an article published in the Leipziger Abendpost daily on September 6, 1928, Dr. Hebert Hoffmann noted that Bouzianis's watercolours make him one of the greatest artists of his time, while art critic M. Schwimmer, reviewing his 1932 exhibition in Leipzig, remarked: "Employing the most frugal means, Bouzianis conveys powerful and insightful impressions, a sense experience of form and colour more intense than any offered by even the best watercolours by Nolde or Kirchner."1 In an essay prefacing the artist's 1965 posthumous retrospective in Athens, art critic G. Mourelos noted that Bouzianis's watercolours constitute a monumental accomplishment in contemporary European art. These expressive visions capture the essence of his subjects, displaying a fusion of line and colour, light and shadow, fluidity of matter and evocativeness of form in a masterly way.2
As noted by Professor D. Deliyannis, who wrote the artist's monograph, one of the key characteristics of Bouzianis's portraiture is the frontal pose. He breaks away from ancient Greek vase painting tradition while retaining a close relationship with the Byzantine style.3 The frontality of the portrait, set against a barren background, is akin to the perception governing icon painting and endows it with a symbolic dimension, as if it were the image of a modern saint.
1. Leipziger Volkszeitung daily, December 23, 1932.
2. See G. Mourelos, preface to Bouzianis - Watercolours [in Greek], exhibition catalogue, Greek-American Union, Athens 1965.
3. See D. Deliyannis, Bouzianis [in Greek], Adam editions, Athens 1996, pp. 38, 39.
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