Late and Post‐Byzantine Art under Venetian Rule: Frescoes versus Icons, and Crete in the Middle

Lymberopoulou, Angeliki

doi:10.1002/9781444320015.ch27

Cited by 2 publications

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“…The historic, socio-economic, religious and cultural development on Venetian Crete over the course of more than four and a half centuries has attracted a lot of interest in scholarship, which intensified in the second half of the twentieth century, following Manolis Chatzidakis's publications, as mentioned at the beginning of this paper. For a general overview of Venetian Crete's organisation and living circumstances, with further bibliography, see indicative (Maltezou 1988(Maltezou , 1991McKee 2000;Georgopoulou 2001;Lymberopoulou 2007aLymberopoulou , 2010aLymberopoulou , 2010bLymberopoulou , 2013Gasparis 2020). 4 The information on the origins of the two dealers is provided in (Cattapan 1972, pp.…”

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Post-Byzantine Cretan Icon Painting: Demand and Supply Revisited

Lymberopoulou

2023

Arts

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Since Manolis Chatzidakis’s pivotal publications on post-Byzantine Cretan icon painting in the 1970s, research in the field is, by now, very well established. In turn, these studies have demonstrated the contribution of Venetian Crete’s artistic production to European culture. Despite Giorgio Vasari’s condemnations of the ‘Greek style’, Byzantine icons remained popular in Renaissance Europe among Western patrons. Research on Venetian Crete has greatly benefitted from the survival of its archives, presently housed in Venice (Archivio di Stato di Venezia), an incredibly rich and invaluable source of information. One of the best-known published and referenced documents from these archives, supporting the wider popularity and dissemination of Cretan icons, is a contract offered to three Cretan painters dated 4 July 1499 concerning the production and delivery of 700 icons of the Virgin in just 42 days, by 15 August 1499, the day of the feast of the Dormition of the Virgin. This paper revisits the information the famous contract provides with the aim to scrutinise it further.

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Post-Byzantine Cretan Icon Painting: Demand and Supply Revisited

Lymberopoulou

2023

Arts

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Innovations and the art of deception: mixed cloths in Venetian Crete (17th century)

Markaki

2022

La Moda Come Motore Economico: Innovazione Di Processo E Prodotto, Nuove Strategie Commerciali, Comportamento Dei Consumatori /

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This paper investigates innovations of the early modern European textile industry and practices of cultural transfer using seventeenth-century Venetian Crete as a case study. It explores the use of novelties, such as mixed cloths, in the dowries assigned to brides in the urban setting of Candia (modern Heraklion) and the surrounding countryside during the period 1600-1645. It draws on computer-processed data from marriage agreements and inventories of movables from the State Archives of Venice. It illustrates, through a comparative lens, how brides used (silk) mixed fabrics to differentiate themselves from others and how Venetian Crete followed the changes in production techniques of the European textile industry.

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Late and Post‐Byzantine Art under Venetian Rule: Frescoes versus Icons, and Crete in the Middle

Cited by 2 publications

References 0 publications

Post-Byzantine Cretan Icon Painting: Demand and Supply Revisited

Post-Byzantine Cretan Icon Painting: Demand and Supply Revisited

Innovations and the art of deception: mixed cloths in Venetian Crete (17th century)

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