Eccentric Renaissance: El Greco, Michael Damaskenos, Georgios Klontzas

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Charles Barber (Donald Drew Egbert Professor of Art and Archaeology, Donald Drew Egbert Professor of Art and Archaeology, Princeton University)

Eccentric Renaissance

El Greco, Michael Damaskenos, Georgios Klontzas

Charles Barber (Donald Drew Egbert Professor of Art and Archaeology, Donald Drew Egbert Professor of Art and Archaeology, Princeton University)

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English

Oxford University Press Inc
10 March 2025

Renaissance art; History of other lands; Colonialism & imperialism; National liberation & independence, post-colonialism

The Byzantine icon has long remained marginal to the study of art's history, only emerging from Giorgio Vasari's condemnation of the gilded, unnatural style of Byzantine painting (maniera greca) when his theories were challenged in the early twentieth century. Eccentric Renaissance focuses on an earlier reaction to Vasari's narrative and discusses three artists who shaped distinct responses to the hegemonic sway of sixteenth-century Italian art. Domenikos Theotokopoulos (more familiarly known as El Greco), Michael Damaskenos, and Georgios Klontzas were contemporary icon painters on the Venetian colony of Crete. Trained in the rich tradition of Cretan painting, these artists differed from their forebears in asserting a self-conscious creativity in their work. They renewed the art of icon painting in the context of Venetian colonialism by reconsidering how their art might address the contemporary world. Deemed eccentric, El Greco's work presented a Greek path contrary to the one promoted in Vasari's history of art. His was an art that was sensual, complex, and difficult. Michael Damaskenos's profound engagement with Venetian painting was mixed with traditional iconic styles, reflecting life in a colony in which Orthodox and Catholic, Greek and Venetian were fluid rather than static descriptors of the self. Georgios Klontzas used his art to confront the horrors of his day. The impending threat of the Ottoman conquest of Crete and the outbreak of plague in 1592 shaped his extraordinary manuscript, Apocalypse and History, that sought to understand these calamities in light of both divine providence and human experience. Each of these artists chose an eccentric point of departure for their work. Greek, colonized, and fearful, they invite us to look again and to look differently at the later sixteenth century.

By: Charles Barber (Donald Drew Egbert Professor of Art and Archaeology Donald Drew Egbert Professor of Art and Archaeology Princeton University)
Imprint: Oxford University Press Inc
Country of Publication: United States
Dimensions: Height: 221mm, Width: 155mm, Spine: 33mm
Weight: 567g
ISBN: 9780190209001
ISBN 10: 0190209003
Pages: 336
Publication Date: 10 March 2025
Audience: General/trade , ELT Advanced
Format: Hardback
Publisher's Status: Active

Acknowledgments List of Illustrations Introduction 1. Andrea Cornaro's World 2. Domenikos Theotokopoulos' Arte Moderna alla Greca 3. Michael Damaskenos and the Poetics of Difference 4. Foreseen: Georgios Klontzas in a Plague Year Conclusion Bibliography Index

Charles Barber is Donald Drew Egbert Professor of Art and Archaeology at Princeton University. Among his previous publications are Figure and Likeness: On the Limits of Representation in Byzantine Iconoclasm, Contesting the Logic of Painting: Art and Understanding in Eleventh-Century Byzantium, and, as coeditor with Stratis Papaioannou, Michael Psellos on Literature and Art: A Byzantine Perspective on Aesthetics.