The Vision of Constantine (Moskos)

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The Vision of Constantine
Greek: Το Όραμα του Κωνσταντίνου,
Italian: Visione di Costantino
Elias Moskos Saint Constantine.png
Artist Elias Moskos
Year1678
Mediumtempera on wood
Movement Late Cretan School
SubjectThe Vision of Constantine
Dimensions72 cm× 28.3 cm(51 in× 20 in)
Location Byzantine and Christian Museum, Athens, Greece
Owner Byzantine and Christian Museum

The Vision of Constantine was an egg tempera painting created by Elias Moskos. Moskos was active during the 17th century. Fifty-two paintings are attributed to the artist. He was active on the Greek islands of Crete and Zakynthos. He is one of the few artists that belongs to the Cretan school and the Heptanese School. Constantine is one of the most important figures in the Christian religion. He was the first Roman emperor to accept the new faith. He has been depicted in art since the inception of the new religion. He is often depicted with his mother Helen. The Vision of Constantine was very popular in Greek and Italian art. [1]

Contents

Constantine and his army were at war with Roman Emperor Maxentius. Constantine was praying with his army. According to legend, a cross appeared in the sky, above the Sun. There was also an inscription: Ἐν τούτῳ νίκα (En to tow nika) the translation was by this sign, you will conquer. In Mosko's rendition, an angel appears relaying the message of the cross to Emperor Constantine. Constantine and his troops were astonished by the miracle. Constantine won the Battle of Milvian Bridge. After his victory, the new emperor entered Rome and stopped persecuting Christians. [2]

Numerous works were completed by Greek and Italian artists. A popular version was completed by Raphael’s assistants after his death called The Vision of the Cross . A notable statue of The Vision of Constantine was completed by Bernini eight years before Mosko's work. Moskos was influenced by Antonio Tempesta's engravings Orlando Furioso. He was a Florentine painter and engraver active during the 1500s. The work was completed in 1597. The engravings were a series of eight equestrian portraits of the subjects in Ariosto’s famous work Orlando Furioso . Mosko's Vision of Constantine influenced a notable version by Greek painter Stylianos Stavrakis. Mosko's work is currently part of the Dionysios Loverdos Collection at the Byzantine and Christian Museum. [3] [4]

Description

The painting is made of egg tempera and gold leaf on wood panel. The portable icon was completed in 1678. The height is 72 cm (51 in) and the width is 28.3 cm (20 in). The horse of Constantine displays a coloristic resemblance to the horses in Konstantinos Paleokapas Crucifixion . The artist implements a unique array of colors common to the Late Cretan School. The horse's pose is statuesque. Similarities exist between the engraving named Il Danese Paladino by Antonio Tempesta. Two of the engravings in the series named Orlando Furioso are similar to Mosko's work. The other one is called Marfisa Guerriera. Moskos mixes both engravings to create an elaborate blend of the Florentine-influenced masterpiece. [5]

The artists attempt to introduce elaborate early byzantine attire. A grotesque mask appears on Constantine’s shield. The Roman emperor's attire is elaborately decorated. He is greeted by two soldiers, both of the soldiers hold weapons, one holds a crescent moon spear. They are dressed in silk. The valley in the background and the orientation of figures creates an ambient space. The painter eloquently adds dimension to his work. There is a battle scene in the background. Constantine is shown a second time. The artist eloquently depicts the miniature scene in the background adding depth to his work. An epic battle is waged outside of a fortified city among the hilltops. [6]

Constantine’s hands are open while he accepts his vision the work slightly resembles Bernini's Constantine . Both works of art feature the artist gesturing his hands in a similar fashion. An angel appears in the clouds relaying the message to Constantine. The work is an excellent example of a Greek painter mixing the maniera greca with Italian mannerisms. Cretan and Ionian art was typically influenced by Venetian painting. In this rare case, the work was influenced by a Florentine painter. The work symbolizes a breaking point from the Cretan School and a transition to the more refined artistic style prevalent in the Heptanese School. [7]

The work is first described in 1902. It was at the church of Saint Basil in Apano, Zakinthos. In 1933, the masterpiece was part of the Dionysios Loverdos Collection. The collection was transferred to the Byzantine and Christian Museum of Athens in 1979. The work of art has been maintained by the institution. [8]

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<i>The Deposition from the Cross</i> (Stavrakis) Painting by Stylianos Stavrakis

The Deposition from the Cross or Descent from the Cross is a tempera painting created by Greek painter Stylianos Stavrakis. He was active during the early part of the 1700s. His nephew and brother were also famous painters. His nephew Demetrios Stavrakis was also his pupil. He was also a goldsmith. Most of his works were completed on the island of Zakynthos. He was a representative of the Heptanese school and Greek Rococo. Fourteen of his paintings survived.

<i>Vision of Constantine</i> (Stavarkis) Painting by Stylianos Stavrakis

Vision of Constantine (Stavarkis) is a tempera painting created by Greek painter and goldsmith Stylianos Stavrakis. Stavrakis was a major representative of the Heptanese school. Many of his works were completed on the Ionian islands namely Zakynthos. He was active during the 1700s. He was from a prominent family of painters His student was his nephew famous Greek painter Demetrios Stavrakis.

<i>The Archangel Michael</i> (Poulakis) Painting by Theodore Poulakis

The Archangel Michael was created by Greek painter Theodore Poulakis. He was also a teacher. He was affiliated with Greek painter Philotheos Skoufos. Poulakis was active on the Ionian Islands and Venice. He studied painting in Venice for over a decade. He was also involved with Venetian politics. He was a member of the quarantia. He was a representative of two schools, the Cretan School and Heptanese School. He is considered one of the founding members of the Heptanese School along with Elias Moskos. One hundred thirty of his paintings survived.

<i>Constantine and Helen</i> (Moskos) Painting by Ioannis Moskos

Constantine and Helen is a painting by Ioannis Moskos. He was a prolific Greek painter associated with Venice and the Ionian Islands. He flourished during the Late Cretan School and early Heptanese School. Three painters with the same last name were active during the same period, the other two were Leos Moskos and Elias Moskos. Ioanni's painting style demonstrates the transition from the Late Cretan School to the early Heptanese School. He began to integrate components prevalent in the Rococo. He was a Baroque artist. According to the Neo-Hellenic Institute, forty-four of his paintings survived.

<i>Jacobs Ladder</i> (Moskos) Painting by Elias Moskos

Jacob’s Ladder is a tempera painting created by Elias Moskos. Elias was a Greek painter originally from the island of Crete. By the 1650s he was living on the island of Zakynthos. He also worked on the island of Kefalonia. There were two other painters active during his lifetime with the same last name. Ioannis Moskos and Leos Moskos. The painter was also a prominent teacher. He also had a sizable fortune. Fifty-two of his paintings survived. He represented the Cretan School and the Heptanese School. His works typically combine both schools. His work was heavily influenced by engravings from all over the world some were Flemish. His artistic activity ranged from 1629 to 1687. Most of his remaining works are in Greece and Italy.

<i>The Dormition and Assumption of the Virgin</i> (Moskos) Painting by Elias Moskos

The Dormition and Assumption of the Virgin is a tempera painting created by Elias Moskos. Moskos was a representative of the Late Cretan School and the Heptanese School. He migrated to Zakinthos from Crete. He was originally from the city of Rethymno. He participated in the transition of Greek painting from the Cretan School to the more refined Heptanese School of the Ionian islands. He also taught painting. His activity was from 1645 to 1687. He was active on the islands of Crete, Zakynthos, and Kefalonia. He was heavily involved with church committees. Church committees commissioned paintings. Half of his works were signed fifty-two of his works survived.

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. 198–203. hdl:10442/14088. ISBN   960-7916-00-X.
  2. ↑ Cameron, Averil; Hall, Stuart (2002). Eusebius Life of Constantine. Oxford, U.K.: Clarendon Press. p. 208. ISBN   9780191588471.
  3. ↑ Hatzidakis, 2018, pp. 198-203
  4. ↑ Eugenia Drakopoulou (December 8, 2021). "St Constantine". Institute for Neohellenic Research. Retrieved December 8, 2021.
  5. ↑ Alevizou, Denise C (2018). Il Danese Paladino in a Late Seventeenth-century Icon by Elias Moskos. Crete, Greece: Cretica Chronica. pp. 110–112. ISSN   0454-5206.
  6. ↑ Alevizou, 2018, pp. 110-112
  7. ↑ Alevizou, 2018, pp. 110-112
  8. ↑ Alevizou, 2018, pp. 110-111
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