Christmastime and New Year’s celebrations are over, and the remaining days of January are quickly passing by. We would like to inform our friends about artION‘s last activity of the year, its participation in the International Anniversary Iconographic Exhibition “With Eyes on the Light”. A spiritual and artistic gathering of high morals and aesthetics.

The International Anniversary Iconographic Exhibition “With Eyes on the Light” held in Vienna from December 12 to 26, 2025, was a great success, lasting 15 days (after a 5-day extension).

The guest book at the entrance to the exhibition

Twenty distinguished artists – iconographers and painters – combined their inspiration and artistry, offering the public unique moments of contemplation and inner uplift through their works (Ms. Aikaterini Balomenou, Ms. Christina Batzou, Ms. Irini Dalambira, Ms. Magda Dimoudi, Ms. Konstantina Farmaki, Ms. Dimitra Fotika, Mr. Konstantinos Giotakis, Ms. Goronova Niki, Ms. Kantinopoulou Alexandra, Ms. Koronaki Vanina, Mr. Ktistakis George, Mr. Lelekakis Nikos, Ms. Nasta Christina, Mr. Papaioannou Vasilis, Ms. Sakellari Maria – Stamatina, Mr. Ioannis Siovas (artION), Ms. Elena Stavrou, Ms. Nantia Stefanopoulou, Mr. Michail Tsapakis, and Mr. Panikos Hatzidakis).

The opening of the Iconography Exhibition took place at noon (3 p.m. Vienna time) on December 12, 2025, in an atmosphere of deep spirituality and artistic emotion.

The hagiographic works received warm impressions and sincere admiration from all those present, highlighting the power and timelessness of Byzantine art.

We were honored by the presence of His Excellency the Ambassador of Cyprus, Mr. Andreas Ignatiou, the esteemed Consul of Greece, Ms. Iliana Andritsou, as well as the Professor of Byzantine Studies at the University of Vienna, Dr. Andreas Külzer, who expressed their enthusiasm and appreciation for the quality, depth, and spirituality of the exhibits.

The Ambassador of Cyprus in Vienna, Mr. Andreas Ignatiou, together with the artist Ms. Koronaki Vanina 

The Consul of Greece in Vienna, Ms. Iliana Andritsou, together with the organizer of the exhibition, Ms. Farmaki Konstantina.

Dr. Andreas Külzer, Professor of Byzantine Studies at the University of Vienna, together with the exhibition organizer, Ms. Konstantina Farmaki, and the artists, Ms. Christina Nasta, Ms. Aikaterini Balomenou, and Mr. Ioannis Siovas (artION)

It was a particular pleasure to see such a large turnout of art lovers, who warmly embraced the exhibition and the artworks on display.

Visitors and artists (Ms. Aikaterini Balomenou) on the opening day.

Visitors had the opportunity to view hagiographies depicting scenes from the lives and martyrdoms of the saints, as well as artworks of social religious painting, mixed media sculpture, engravings, and Trash Art.

All the artworks were distinguished by their respect for the theological essence of the image, the quality of the materials, and the deep spirituality they exuded.

The artist, Mr. Vasilis Papaioannou, in front of his work “Christ of the Silk Factory”

As His Eminence Metropolitan Arsenios pointed out, “The purpose of hagiography is not only representation but also the direct spiritual contact of the believer with the person depicted”. This view permeates the entire exhibition, transforming it into an experience that transcends the limits of a simple visual presentation.

His Eminence Metropolitan Arsenios, together with a group of Hungarian graduate students accompanied by their professors

The artists who participated and came from nearby to enjoy this unique experience were: Mr. Konstantinos Giotakis, Ms. Christina Batzou, Ms. Aikaterini Balomenou, Ms. Maria Sakellari – Stamatina, Mr. Papaioannou Vasilis, Ms. Koronaki Vanina, Mr. Siovas Ioannis (artION), Ms. Dalampira Irini, and Ms. Nasta Christina.

Awards, commendations, and commemorative gifts were given to everyone, both those present and those absent, artists

The artist and participant in the exhibition, Mr. Ioannis Siovas, in front of his artwork from the artΙOΝ workshop, “Panagia Eleousa” (Our Lady of Mercy).

Alongside the exhibition, the competition for the Publikum Preis (Audience Award) was completed, which ran throughout the duration of the exhibition.

At the end of the exhibition, a total of three prizes were awarded:

First Prize from the Organizing Authority: The first prize, awarded by the organizing authority “KONSFARM ART ATELIER NÖ bei Konstantina Farmaki,” was awarded to Mr. Konstantinos Giotakis for his work “Saint Anthony Tormented by Demons”.

Second Prize – Künstlern vergebener Preis: The second prize, awarded by the participating artists present at the opening, was also awarded to Mr. Konstantinos Giotakis for his entire body of work on display.

Third Prize – Publikum Preis (Audience Award): The third prize was awarded, following a vote by visitors throughout the exhibition, to Mr. Ktistakis Giorgos, who was one vote ahead of Mr. Giotakis Konstantinos, with Ms. Fotika Dimitra coming in third.

It was particularly encouraging and rare that the remaining 17 participating artists also received significant recognition and positive acceptance from the public, confirming the high quality of the artworks on display and the high artistic level and prestige of the exhibition as a whole.

Ms. Konstantina Farmaki (Art Historian – Critic/KONSFARM ART ATELIER NÖ) would like to express her warm thanks to all the participating artists for their high-quality artwork and excellent cooperation, as well as to the art-loving public and visitors who, with their presence and participation, contributed decisively to the success of the exhibition.

She extended special thanks to His Eminence Metropolitan Arsenios for his valuable support and contribution to the realization and success of the event.

Warm congratulations to the two distinguished artists, Mr. Konstantinos Giotakis and Mr. George Ktistakis, with best wishes for continued health, creativity, and artistic progress.

In closing, Ms. Konstantina Farmaki wished everyone a fruitful and creative continuation of our collaboration, as well as a new year full of health, inspiration, peace, and new artistic encounters.

We warmly thank the organizer, art historian, critic, and visual artist Ms. Konstantina Farmaki, and all those who honored us with their presence and shared this special artistic and spiritual experience with us.

The artΙOΝ art place, in turn, wishes you all a bright new year, with health, progress, and prosperity, both personal and collective.

artΙΟΝ‘s participation in the exhibition “Panagia Eleousa”

With respect,

artΙΟΝ

The two-page brochure of artION, with the icon of the workshop, Vergin Eleousa, that will participate in the exhibition.

The exhibition will take place in the magnificent exhibition hall “Rigas Feraios” of the Holy Trinity Cathedral of the Holy Metropolis of Austria, in Vienna (Fleischmarkt 13, 1010 Wien).

The invitation to the opening of the exhibition.

The aim of the exhibition is to showcase icons of different styles and schools by renowned hagiographers, created out of their love and interest in Byzantine iconography and the emerging schools of different styles after the 14th century, such as the Palaeologan, Macedonian and Cretan School.

Thus, the visitor has the opportunity to see hagiographic representations with scenes based on the lives and martyrdoms of the saints, by hagiographers faithful to the Byzantine tradition, as well as icons of mosaic, socio-religious painting, sculpture, photography, mixed techniques and icons in pencil and charcoal, of high quality standards.

In hagiographies, the important element is the way in which religious symbolism is rendered (in the design, the color, the shaping of the figures and their thematic framing). The figures have particular expressions, personal traits and established body postures. The hagiographer takes into account the physiognomic features of the holy person, but illustrates them in such a way as to highlight his holiness rather than his external appearance.

The images that the visitor will see to the exhibition, have all been created with an abundant love for the art of hagiography, whether they were painted with hagiography powders, with the traditional technique of egg tempera, on wood (linden, plywood, plywood, etc.), or with other techniques. The hagiographies that will be presented in the exhibition were not produced as mere copies of Byzantine icons, but as the birth of a unique identification, artistic and spiritual. That is why in this exhibition every visitor will be able to see and perhaps acquire a portable icon of the saint he venerates and would like to have at home.

While the opportunity will be given to the visitors to study icons as part of the Orthodox faith, as objects of art, as an occasion for prayer and a source of emotion, as a gift, as an heirloom, as an eternal value.

The poster of the exhibition, with the artists’ participation in it.

The exhibition is held under the auspices of the Holy Metropolis of Austria, the Hungarian Deputy Diocese of Hungary and Central Europe.

The exhibition is organized by Mrs. Konstantina Farmaki (Konsfarm Art Atelier/Konstantina Farmaki NÖ. Österreich), Art Historian-Critic Art/Artist, Cultural Attaché of the U.N.E.S.C.O. Group Austria and Member of the Cultural Networking Office of South Austria (Kulturvernetzung NÖ).

With the support of the Federation of Greek Associations in Austria, the Greek Society of Austria, the Association of Doctors and Related Scientists of Austria “Asklepieios,” the Lyceum of Greek Women in Vienna, the Greek Intercultural Association “Macedonia” of Austria, the Association of Greek Students and Scientists in Vienna and the Greek-Austrian Association “Hephaestus” in Vienna.

Communication sponsors: International Association of Cretan Journalists, Hellenic Media Group, Hellenic Balkan Radio, Hephaestus Wien, Aristareti Kunstmagazin, and the international media outlets Hellenic News of America, The Panhellenic Post, Alessandria Today, Elliniki Gnomi, GreekNews&RadioFlorida, and local newspapers.

The opening of the exhibition will take place on Friday 12 December 2025 at 15:00 (local time).

The exhibition will run from Friday 12 December 2025 to Sunday 21 December 2025, with visiting hours daily from 11:00 to 16:00.

You are all invited!

With friendly greetings and appreciation, 

artION

The opening ceremony was attended by the Ambassador of the Republic of Cyprus Mr. Andreas Ignatiou, the Protopresbyter of the Ecumenical Throne John Nikolitsis, as representative of His Eminence Metropolitan Arsenios of Austria, artists from Greece and abroad, who participated with their artworks in the exhibition, presidents and members of Greek associations in Austria and many visitors.

The musical program of the evening was curated by “The Byzantine Choir of the School of Music and Musical Instruments” of the Holy Metropolis of Austria, under the direction of the Principal Violinist Mr. Dimitrios Apostolakis, the “Adult Choir” of the Holy Metropolis of Austria, under the direction of the conductor Xanthi Tokmakidou – Trifounovic and the musician Ioannis Raptis, who accompanied the choir with his guitar and offered a rich program of songs from the 1960s – 70s.

The exhibition was held under the auspices of the Holy Austrian Metropolis and was curated by the Art Historian-Critic and Artist Mrs. Konstantina Farmaki.

The artworks, along with the exhibition souvenirs given to each artist who participated in the exhibition, returned from Vienna last week, and artION would like to thank Mrs. Konstantina Farmaki for the excellent organization and the careful handling of the artworks, so that they could be given back to their beloved owners, safe and secure, who with so much joy, love and kindness, agreed to lend them for the duration of the exhibition.

The artworks that participated in the exhibition and the souvenirs for the participation in it.

Best wishes for a creative, happy and healthy 2025.

With friendly greetings and appreciation,

artΙON

The two-page brochure of artION, with the two icons of the workshop that will participate in the exhibition.

The exhibition will take place in the wonderful place of Galerie Contemplor (Kalvarienberggasse 46,1170 Wien).

The invitation to the opening of the exhibition.

The aim of the exhibition is to showcase icons of different styles and schools by renowned hagiographers, created out of their love and interest in Byzantine iconography and the emerging schools of different styles after the 14th century, such as the Palaeologan, Macedonian and Cretan School.

Thus, the visitor has the opportunity to see hagiographic representations with scenes based on the lives and martyrdoms of the saints, by hagiographers faithful to the Byzantine tradition, as well as icons of mosaic, socio-religious painting, sculpture, photography, mixed techniques and icons in pencil and charcoal, of high quality standards.

In hagiographies, the important element is the way in which religious symbolism is rendered (in the design, the color, the shaping of the figures and their thematic framing). The figures have particular expressions, personal traits and established body postures. The hagiographer takes into account the physiognomic features of the holy person, but illustrates them in such a way as to highlight his holiness rather than his external appearance.

The images that the visitor will see to the exhibition, have all been created with an abundant love for the art of hagiography, whether they were painted with hagiography powders, with the traditional technique of egg tempera, on wood (linden, plywood, plywood, etc.), or with other techniques. The hagiographies that will be presented in the exhibition were not produced as mere copies of Byzantine icons, but as the birth of a unique identification, artistic and spiritual. That is why in this exhibition every visitor will be able to see and perhaps acquire a portable icon of the saint he venerates and would like to have at home.

While the opportunity will be given to the visitors to study icons as part of the Orthodox faith, as objects of art, as an occasion for prayer and a source of emotion, as a gift, as an heirloom, as an eternal value.

The poster of the exhibition, with the artists’ participation in it.

The exhibition is held under the auspices of the Holy Metropolis of Austria, the Hungarian Deputy Diocese of Hungary and Central Europe.

The exhibition is organized by Mrs. Konstantina Farmaki (Konsfarm Art Atelier/Konstantina Farmaki NÖ. Österreich), Art Historian-Critic Art/Artist, Cultural Attaché of the U.N.E.S.C.O. Group Austria and Member of the Cultural Networking Office of South Austria (Kulturvernetzung NÖ).

With the support of the Lyceum of Hellenic Women of Vienna, the Federation of Hellenic Associations of Vienna, the Greek Intercultural Association “Macedonia” Austria and communication sponsors NÖN, Bezirks Bläter, Hellenic Media Group, Radio SDW, Aristareti Kunstmagazin.

The opening of the exhibition will take place on Sunday 15 December 2024 at 15:00 (local time).

The exhibition will run from Sunday 15 December 2024 to Sunday 22 December 2024, with visiting hours daily from 11:00 to 18:00.

You are all invited!

With friendly greetings and appreciation, 

artION

P.S. 1. “The purpose of hagiography is the reduction from the sensible to the intelligible, from the material to the spiritual and from the ephemeral to the eternal. With hagiography everything is depicted, not as a spectacle but as a mystery.” 

Fotis Kontoglou

P.S. 2. artION would like to thank its good friends, who with so much joy, love and kindness, have agreed to grant for the duration of the exhibition the two icons (Saint George the Trophy Bearer and Saint Nikolaos) that our workshop created for them.

P.S. 3. The following prizes will be awarded to the artworks in the exhibition by secret ballot: a. The Publikum Preis, b. The “Konsfarm Art Atelier Award” and c. The Artists’ Award (Künstlerpreis Vergeben), for which any artwork, other than their own, will be voted for by the artists with physically present at the exhibition. In the event of a tie, all awards will be drawn by lot.

From the old days until today, various types of wood have been used and are still used today.

The choice of wood should be based on the criteria of its durability over time, how unaffected it will remain by environmental factors and its resistance to insects and fungi.

The wood should be dried, it would be good if it dries naturally, allowing a certain amount of time between the time it is cut and the time it comes into our hands and becomes the basis of our painting surface. Of course we should be careful that it is not impregnated with any kind of chemical. A minimum time before we prepare it for painting is definitely six months. Our storage area where we will keep our wood there should be shady, dry, ventilated and the temperature of the room at 15C^o .

Woods to form our painting carrier may be natural woods such as chestnut, fir (best avoided), oak, willow, walnut, poplar, pine (best avoided), cypress (best avoided), cedar, linden, beech, beech, acacia, acacia, birch, maple, mahogany, mahogany, holly, elm, honey, aguise (to be avoided), laurel, abura, olive (to be avoided) and artificial woods such as marine plywood (in various grades), M. D.F. (best avoided), chipboard (best avoided) and plywood.

For artificial woods, we should pay attention to the quality of the glue used to bond them, as well as the wood itself.

Our painting carrier should not have on its surface any roses, cracks, chips, chips, rotting, cracks, glue residues, insect traces and stucco. Such wood shall be rejected without a second thought.

It is advisable that our wood should consist of a single one-piece surface and not of two, three or more pieces, glued together next to each other. We say this because due to contractions and expansions, the joined pieces of wood will tend to create problems at their joints, causing the painted surface to present issues that may not be adequately corrected, if at all, thus having total or partial destruction of our image. But if one chooses to create such a painting surface, one should definitely place in a horizontal direction wedge-fit on the back some braces (at least two).We can also use braces on single-cut wood, especially natural wood, but also artificial wood, and it would be good in the grooves that we will make for the braids not to use any glue or nails-screws, but to use wedge-screws. Also, the braces should have their waters counter (opposite) to those of the surface of our wood.

Picture 1. Placement of the braces on the wooden support (plan and section).

In one-piece wood we should pay extra attention to how it is cut. It should follow the waters of the wood in their vertical direction and not the horizontal, looking from the height of the wood and downwards. This is how we should choose our wood, due to the fact that wood is still a living organism even after it is cut, and the possibility of scaling is quite high.

Picture 2. The wrong and the right direction of the nerves in the wood.

What is certain is that already scrubbed wood should not be used in every case. It is advisable that the wood should be dry, as we said at the beginning, before using it for painting. Preference should be given to woods that have been dried naturally and not artificially. It is quite time-consuming this process of natural drying. What is certain is that after this period of time has elapsed and carefully stored, the results of whether or not the wood is suitable for painting on its surface, with any problems or changes that it may “pull out”, will be clearly visible to us.

Some woods I’ve used have gone as long as 20 years before I’ve had to paint them. When asked, when I gave a picture to a person who had asked me for it, if the wood I used was okay, I was in the perfect position to tell him that the picture would last for years and years, until something might happen to it.

Picture 3. Wood staining.

The thickness of natural wood should be at least 3 cm and for artificial wood from 1.5cm to 2cm. The height for both types of wood should not exceed 1.5 m. The various sizes that we can usually use, in length and width for both types of wood, should start from 20×25 cm and go up to 50×70 cm, with intermediate dimensions 22X30cm, 27X35cm, 30X40cm, 35X45cm, 40X50cm, 40X60cm, 45X60cm, 45X65cm.

Tip 1.: If you have a carpenter friend, a lumberyard in your neighborhood, you can go there and ask them to give you some of their relics for free. Also, the thought of recycling materials can lead to miraculous results, as many people, things they don’t need, including pieces of valuable lumber, are left outside the doors of homes. Even a leisurely walk in nature can give you the wood that will suit you to create something beautiful with it.

Tip 2.: If your hands are “catching” it would be a creative piece and that of making the wood for your pictures entirely by you. So if you happen to get your hands on some wood that you need to shape or cut to the dimensions you want, it would be nice to have a small space and the necessary tools for this job. I say this because there are now ready-made woods on the market for the sake of convenience, to the point of choice that it is up to the point where the wood is ready to be painted, with the gold passed and the design imprinted.

The forms are altered, but given their basic characteristics, and we have shapes and colours, in a spiritual dimension and in combination with the simplicity of the images, the message of simplicity and symbolism that the pictorial representation brings out is given, to go on the journey them through the centuries.

The objects painted in iconography acquire a special symbolism and through them, they are integral parts of identifying the saints and the representations and give evidence of the life of the saints and the history of the representation.

If one observes the figures depicted in Byzantine iconography, one will be able to perceive that the influences it has received are brought from Egypt and specifically from the portraits of the Fayum (1st-3rd century BC), whose art goes back in the Hellenistic years.

The Fayum were painted on portable material pieces (wood or cloth) and had a funerary use. They were originally hung in the house of the person depicted on them, until his death, and then placed on top of his embalmed body, inside the burial chamber.

Picture 1. Fayoum.

First we find the archaic iconography, which developed during the early Christian years (30-325 AD) and has to do purely with symbolism and thus with a didactic role. In this period, we do not hold back the artistic significance of the depictions, but rather the extent to which this symbolism of the motifs enhanced the religious feeling of the believers of the time.  This period is also known as the “art of the catacombs”. Symbolic motifs such as the fish, the olive tree, the boat, the vine, etc. were used, influenced by pagan times.

Picture 2. Catacomb.

Then we have the Early Christian period (4th-7th century AD). It is the period of Constantine the Great and the transfer of the capital of the Roman Empire from Rome and the recognition of Christianity as the official religion of the state.

The theocratic state in these years, and after the persecution of Christians had now ceased, gives Byzantine art a significant change, which begins to differentiate itself in terms of its depictions. Painted depictions of the Saints and representations from the Old and New Testaments in frescoes and mosaics begin.

There would of course be a brake during the period of Iconoclasm (724-843 AD), where it was forbidden to depict human figures in paintings and art reverted back to decorative motifs of the animal and plant world.

During the reign of Theodora in 843 AD and by decision of the non-Ecumenical Council that took place in Constantinople, this period ended and the icons returned to their former use and of course their depiction, culminating in the Macedonian and Komnenian period (867-1204 AD) when Byzantine art was reborn.

The Seventh Ecumenical Council set the rules of Byzantine art in the decoration of churches and their iconography. The dogmatic, liturgical and historical (festive) are the three iconographic cycles in which the subjects of the iconography are now woven into the church with a defined iconographic cycle.

Finally we have the Late Byzantine period or Period of the Palaiologan period, which begins in 1261 and ends with the fall of Constantinople by the Turks in 1453. During this period, a flourishing and renewal of Byzantine art is observed.

In Byzantine art during this period, artists engaged in a naturalistic representation of the natural world, but also in capturing the emotional world in the forms, where the orthodox ethos, under the prism of a “spiritual realism” is captured through the pulse of life and the movement. There is richness of colour, strength in the drawing and the existence of the third dimension (depth) in the landscape and buildings.

Picture 3. Mosaic.

In the Turkish rule, the art of iconography slowly begins to fade away without any particularly characteristic work during these four centuries.

At the beginning of the 20th century, Fotis Kontoglou will try to breathe new life into the art of Byzantine iconography with great success.

There are two schools of iconography: The first is the Macedonian School, which was born in Constantinople, flourished mainly in Macedonia centered in Thessaloniki and influenced Serbia as well. Its characteristics are its realism and its freedom. It has brought rich colours, faces and clothes illuminated and possessed by movement. Its main representatives are Manuel Panselinos (13th cent.-14th cent.), Michael Astrapas and his brother Eutychios (the two painted icons in Serbia and flourished between 1294 AD-1317 AD), George Kalliergis (13th cent.-14th cent.) etc.

Picture 4. Macedonian School.

The second is the Cretan School. Byzantine iconography passed from Constantinople to Mystras (late 14th century), acquiring there a narrower character “given” to the Cretan School.

The original Cretan School was formed in Crete, after the fall of Byzantium (late 15th century – beginning of the 16th century). This School includes Byzantine idealism. Conservative, with restrained movements, austerity and nobility of face. The light is scarce, as if coming from some depth (element of deep devotion). The main representative of this school is Theofanis Kri (Heraklion 1490 AD – Heraklion 1559 AD).

Picture 5. Cretan School.

As the most important iconographers of both schools, we can indicate the following below:

• Saint Lazarus the Confessor. He lived during the time of the iconoclast king Theophilos.

• Saint Methodius Monk. He lived in the time of Justin II.

• Heraclides the Byzantium. He was born in Istanbul.

• Paul the museum curator. Mosaic painter.

• Stefanos Monk. He was a painter and a confessor.

• Andreas son of Artavasdou. He was an official iconographer during the time of Constantine Porphyrogenitus.

• Saint Alypios the illustrator, of Russian origin.

• Paul the iconographer. Unknown when he lived. Draw the image of Saint George on the horse.

• Michael Astrapas and Eutychios. He came from Thessaloniki and frescoed many churches in Serbia.

• Manuel Panselinos, one of the main representatives of the Macedonian School of the 14th century.

• Theophanes the Greek, iconographer of the 14th century and known for his work in Russia. He is considered the teacher of the great Russian iconographer Saint Andrei Rubliov.

• Saint Andreas Rubliof. He was born in Russia around 1360 AD. He is considered by all Russian painters as the main representative of ancient Russian art. The Holy Synod of the Russian Church officially recognized him as a saint in 1988.

• Nikolaos Ioannou and Kastrisios. They came from Kalambaka in Thessaly.

• Theophanes the Monk Chris. Leading icon painter of the 16th century and main representative of the Cretan School. His work was continued by his two sons.

• Antonius the Crier. Strict and simple iconographer, student of Theophanos of Crete. He lived in the 16th century. Iconographer of the Cretan School.

• Frankos Catalanos. He came from Thebes and is one of the best iconographers of the 16th century. His painting belongs to the Cretan School but also has influences from the West.

• George Priest and sacellar of Thebes. Mural painter.

• Andreas Ritzos, illustrator at the end of the 15th c. His works can be found in Italy and Patmos.

• Michael Damaskinos the Judge. Born around 1530 to 1535 AD. There are very few dated images of him. Iconographer and many of his works exist in Corfu (signed). He used Italian elements in his works and his influence on contemporary and later painters was very great.

• Holy Shepherd the Painter. He was born in Sofia, Bulgaria. In 1942 he was recognized as the patron saint of Bulgarian painters.

• Emmanuel Lampard (early 17th century). He painted only portable icons with influences from Palaeologian and early Cretan patterns.

• Saint Nilos the Myroblytis. He was born in Peloponnese.

• Aggelos o Cris, iconographer, who only made portable icons and lived at the beginning of the 17th century.

• Ieremias Palladas. He was a hieromonk and a famous icongrapher of his time. He followed the traditional style and rarely used Italian elements. He died before 1660 AD.

• Emmanuel Tzanes (Rethymnon around 1610 AD-Venice March 28, 1690 AD). Sometimes it follows the Byzantine models of the 14th and 15th centuries and sometimes it is inspired by Western works, sometimes following Flemish copper engravings.

• Konstantinos Kontarinis (18th century). He followed in many of his works the style of Fr. Emmanuel Tzane.

• Dionysios hieromonk from Fourna (1670 AD). He painted portable images, but also murals. He admired Panselinos and followed him in his style. He left behind him able disciples.

• George Markou. His hometown was Argos. He was a muralist. His students and their successors arrived almost until the end of the 18th century.

• Saint Savvas of Kalymnos. He was born in Iraklitsa in Eastern Thrace in 1862.

• Fotis Kontoglou. He was born in Kydonies (Aivali) in Asia Minor in 1895. In the 1950s-1960s he was at the peak of his iconographic activity and generally had a rich contribution to the field of art. He painted many portable icons and frescoed many temples. He is considered the regenerator of Orthodox Iconography. His students were Yannis Tsarouchis, Nikos Eggonopoulos, etc.

Picture 6. Fotis Kontoglou.

Today this art is flourishing in Greece and throughout the Orthodox world, where aspiring and talented young iconographers, men and women, with the use of new materials and technology, manage to continue to preserve the spirit and meaning of the term ”art”, because we must not forget, beyond its devotional-religious part, iconography is part of visual art.