Nikolaos Gyzis (1842-1901), one of the greatest painters of the 19th century, lived and created between two homelands: Greece, where he was born, and Munich, where he flourished. This exhibition narrates his life and work through the artistic paths he carved, from genre painting and portraiture to the allegorical compositions that defined the spirit of his time.
From Tinos to Munich: The Journey of a Creator
Born on the Cycladic Island of Tinos, Gyzis moved to Athens in 1850, where he studied at the Athens School of Fine Arts. His exceptional talent soon became evident, earning him a scholarship that allowed him to leave for Munich in 1865. There, he studied at the Academy of Fine Arts under great masters such as Karl von Piloty and quickly became part of the leading circle of German artists of the time.
Despite his deep love for Greece, his return back home in 1872 was brief. The lack of support and the challenging conditions of the Greek art scene led him back to Munich in 1874, where he built a distinguished career. He gained international recognition, received numerous awards, and in 1888 became a full professor at the Academy of Fine Arts in Munich.
The essence of Greece in His Art
Although he lived in Germany, Greece remained at the heart of his subjects. His paintings, infused with memories of his island heritage, Greek history, and the radiant Anatolian light that he encountered during his travels in 1873, shaped his artistic language. The Secret School, one of his most iconic compositions, stands as a tribute to the resilience of the Greek spirit.
By the mid-1880s, Gyzis turned to allegorical themes, an early forerunner of the Jugendstil movement. He designed the flag of the University of Athens, created monumental frescoes, and works such as The Spirit of Art and The Apotheosis of Bavaria cemented his reputation as one of the leading painters of his era.
Nostalgia and homeland
His final years were marked by illness and deep nostalgia for his homeland.
“If only I could return to Greece, to Kefalonia, to Tinos, to those sweet places…” he wrote shortly before his death in 1901. He never made it back. Greece had wounded him deeply.
Gyzis' letter to a friend in April 1900 explains his idealistic approach to Solomos' Glory. He defends his work, emphasizing that his art does not simply depict words but captures their spirit. His inspiration came from the image of a stern, almost demonic Glory, walking along the dark ridge of the ruined Psara.
"I am certain that out of millions of Greeks who know Solomos’ verses, none will ever be able to claim that they envisioned Glory as I did. One might imagine her rosy-cheeked and sweet, another might see her with a shorter or longer stride.
As an artist, I was inspired by those few words of the brilliant poet—a fierce Glory, a solemn Glory, walking upon the pitch-black ridge of the destroyed Psara at dusk, in the midst of savage devastation. She holds a stylus and a tablet, upon which she will inscribe the names of the valiant heroes, yet to remain faithful to the poet’s vision, I depicted her as studying them...
Words themselves cannot be painted, only their spirit. Though my work never became exactly as I envisioned it, and I was never happy nor satisfied with it, still, I must defend my Glory of Psara. It is my spiritual child, and if it is flawed, I cannot bear to see it mocked..."
Today, more than 150 years after his departure, we rediscover the melodic execution of his ideas. This exhibition with oil paintings, sketches and murals from 10 diverse digital collections from across Greece showcases the brilliance of his artistry and pays tribute to a creator who, though he lived far away, never ceased to paint his homeland.
The exhibition contains items from the following institutions: National Gallery – Alexandros Soutsos Museum, Municipality of Haidari, Institute of Historical Research (IHR/NHRF), Municipality of Larissa, Historical and Ethnological Society of Greece, Hellenic Literary and Historical Archive - Cultural Foundation of the National Bank Of Greece, University of Crete, Special Account for Research Funds of University of Crete (SARF UoC), E. Averoff-Tossizza Foundation
