Christ Enthroned (Tzanes)

From Wikipedia, the free encyclopedia
Christ Enthroned
Greek: Ο Χριστός Ένθρονος,
Italian: Cristo in Trono
Icon with Christ enthroned. Painted by Emmanuel Tzanes. 1664. (8384475988).jpg
ArtistEmmanuel Tzanes
Yearc. 1664
Mediumtempera on wood
SubjectChrist Enthroned with the four evangelical symbols
Dimensions106 cm × 66 cm (41.7 in × 25.9 in)
LocationByzantine and Christian Museum, Athens, Greece
OwnerByzantine and Christian Museum

Christ Enthroned is a tempera painting by Emmanuel Tzanes. Tzanes was a Greek painter active for most of the 17th century. His brothers Konstantinos Tzanes and were painters. Marinos was also a famous poet. One hundred thirty works are attributed to Emmanuel. He was a member of the Late Cretan School. Tzanes was originally from Rethymno, Crete. He migrated to Corfu around 1646. He stayed there with his brother Konstantinos Tzanes. Both of them completed works on the island. He finally migrated to Venice in the 1650s. He became the priest of San Giorgio dei Greci.[1]

The theme Christ enthroned was common among Italian and Greek Byzantine painters. Many versions of the theme were created by different painters. Artists of the Cretan School also depicted the four evangelists with Christ. Angelos Akotantos featured the figures in his 15th century painting Christ the Vine. Emmanuel's Christ Enthroned is one of the most notable paintings of the theme featuring symbols of the four evangelists. Artists began to adopt the style in the Heptanese School. The four evangelists appeared with Christ Enthroned in numerous works. Spyridon Ventouras and Stylianos Devaris both featured the symbols of the four evangelists in their rendition of Christ Enthroned. The painting is currently at the Byzantine & Christian Museum.[2][3]

Description[]

The painting is egg tempera and gold leaf on wood. The height is 106 cm (41.7 in) and the width is 66 cm (25.9 in). The work was finished in 1664. The painting is roughly the same height as Angelo's work. The portable icon resembles Angelo's version. The throne presents similar colors. Emmanuel's version features a wider throne. The artist creates more space for the celestial figure. Emmanuel chose to use pink instead of red. The folds of fabric exhibit clear lines, grooves, and edges. Jesus occupies a shallow stage. The artist eloquently constructs his figures with substance, dimensionality, and complexity. The painter adds symbols representing the four evangelists. At the top of the pyramidal wood posts, two creatures appear seated. They are painted symmetrically. The winged animal to our left is the lion of Saint Mark. The creature holds a book symbolizing Saint Mark's evangelical work. The winged ox or bull on our right symbolizes Luke the Evangelist. To our left, above Jesus's shoulder, an angel appears. The angel is the symbol of Matthew the Evangelist. The final evangelical figure is to our right, above Jesus's other shoulder, the eagle of John the Evangelist emerges. The evangelists are all depicted with books. Jesus also has an open book resting on his lap. The four evangelists depicted with Christ in Majesty became popular in the art of the Heptanese School.[4][5]

Gallery[]

References[]

  1. ^ 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. pp. 408–423. ISBN 960-7916-00-X.
  2. ^ Eugenia Drakopoulou (December 24, 2021). "Christ Pantokrator enthroned". Institute for Neohellenic Research. Retrieved December 24, 2021.
  3. ^ Acheimastou Potamianou, Myrtalē (1998). Icons of the Byzantine Museum of Athens. Athens, Greece: Ministry of Culture. p. 232. ISBN 9789602149119.
  4. ^ Richardson, Carol M. (2007). Locating Renaissance Art. New York, NY: Yale University Press. p. 185. ISBN 9780300121889.
  5. ^ Speake, Graham (2021). Encyclopedia of Greece and the Hellenic Tradition. London And New York: Rutledge Taylor & Francis Group. p. 443.
Retrieved from ""