From the end of the seventeenth century and throughout the eighteenth century, many painters were active on the Ionian Islands. These islands became important artistic centers where post-Byzantine traditions continued while also adapting to new influences. Among the painters working in this region, Georgios Kontarinis stands out as a significant figure who represented the Cretan school on the Ionian Islands. His work reflects the strong continuity of Byzantine artistic traditions, combined with subtle stylistic developments Byzantinism Self-Perception and Worldview.
Other important representatives of this artistic circle included Placotos, also known as Pittoros (active around 1670), who was a close collaborator of Doxaras in the foundation of a new artistic approach. Additional notable painters were Nikolaos Doxaras, Nikolaos Koutousis (who died in 1834), and Nikolaos Kantounis (1744–1813). These artists formed part of a broader artistic movement that shaped religious painting on the Ionian Islands for several generations. In total, about five generations of painters worked within this tradition, maintaining continuity while also introducing gradual changes in style and technique.
Western Artistic Influence and Local Adaptation
The works of these painters clearly show the influence of Italian and Flemish Renaissance painting. Later, elements of Mannerism and Baroque art also became visible in their paintings. However, this influence did not completely replace the Byzantine tradition. Instead, it was selectively adapted and combined with existing religious artistic practices.
For example, Western painting introduced more attention to realism, anatomy, and spatial depth. Figures in icons began to appear more natural and three-dimensional rather than flat and strictly stylized. Linear perspective, which was a key feature of Renaissance art, started to appear in compositions. At the same time, artists expanded their use of color, choosing brighter and clearer tones instead of the more limited and symbolic palette of earlier Byzantine painting Ephesus Sightseeing.
The Idea of “Conservative Progressiveness”
After the fall of Byzantium, religious painting developed a style that can be described as “conservative progressiveness.” This term reflects the balance between preservation and change. On the one hand, the style remained conservative because it did not fully adopt Western European artistic models. Artists continued to follow traditional iconographic formulas and respected the spiritual function of icons within the Greek Orthodox Church.
On the other hand, the style was progressive in its own context. Painters introduced new techniques and visual solutions while still remaining loyal to Orthodox tradition. Western influence could be seen mainly in technique and style rather than in iconography. The subjects, themes, and symbolic meanings of the paintings remained fundamentally Byzantine, even when the artistic execution showed new developments.
Changes in Technique, Colour, and Composition
One important artistic change was the gradual disappearance of the schematic and simplified rendering of landscapes. Instead of flat backgrounds, artists began to create more detailed and spatial environments. Human figures were also given stronger anatomical and plastic modelling, which made them appear more realistic and dynamic.
Another noticeable development was the use of linear perspective, which helped create a sense of depth in the composition. This technique differed greatly from earlier Byzantine art, where space was often symbolic rather than realistic. In addition, color scales became richer and more varied. Painters started to use brighter and clearer colors, which enhanced the visual appeal of their works.
Gold, which had traditionally been used mainly as a background in Byzantine icons, was now applied more flexibly. It appeared not only in backgrounds but also in garments, decorative objects, and architectural elements within the paintings. This shift shows how artists experimented with visual richness while still respecting traditional sacred aesthetics.
Transformation of the Spiritual Atmosphere in Painting
Overall, these stylistic developments led to a gradual transformation in the spiritual atmosphere of religious painting. While the paintings remained devotional and meaningful, the strong mystical aura that characterized earlier Byzantine icons began to fade slightly. The increased realism, attention to anatomy, and adoption of Western techniques made the images more accessible and visually engaging for contemporary viewers.
In conclusion, the painters of the Ionian Islands played a crucial role in shaping post-Byzantine art. Their works demonstrate a careful balance between tradition and innovation, showing how Orthodox religious painting could evolve without losing its essential cultural and spiritual identity.
