Yiannis Tsarouchis (Greek, 1910-1989) Woman from Salamis/ Koulouriotissa signed in Greek and dated '34' (upper right) oil on canvas laid on panel 46 x 25 cm. Painted in 1934. Footnotes: Provenance Private collection, Athens. Exhibited Athens, The British Council, Exhibition Yannis Tsarouchis 1932-1952, February 17-29, 1952, no. 13 (possibly). Literature E. Florou, Tsarouchis – Painting, doctoral dissertation, Athens 1989, vol. 1, p. 38-39 (discussed), p. 215 (catalogued), vol. 2, fig. 129 (illustrated). E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1989, no. 140, p. 18 (mentioned), p. 21 (discussed), p. 19, fig. 16 (illustrated). Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, no. 48 (illustrated). Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, no. 48, p. iv (discussed). A work that marks a turning point in Tsarouchis's career, as noted by the artist himself,1 Woman from Salamis conveys a striking immediacy and resilient allure. Broad planes of earthy colours highlighted by solid outlines and supplemented by highly stylised motifs, such as the clouds and the sun, build up a solid edifice of pure form, stretching beyond the confines of the transient and perfectly matching the young maiden's silent inflexibility and hieratic posture. We are reminded of Byzantine icons, Fayum portraits, Theofilos, and Kontoglou, the leading advocate for the revival of the Byzantine pictorial tradition, under whom Tsarouchis apprenticed for four years. As noted by former Benaki Museum Director M. Hadjidakis, in Tsarouchis's hands, human form takes on a monumental quality. Lightly modelled, his subjects fill the picture and are elevated to a symbolic type full of dignity and grandeur,2 capturing the genuineness of character which is the lifeblood of the Modern Greek spirit. Ever since his early childhood, Tsarouchis was enchanted by traditional local costumes from around Greece. His fascination was further heightened following his acquaintance with Angeliki Hadjimichali, Elli Papadimitriou and Eva Palmer-Sikelianou and was filtered through Kontoglou's passion for Byzantine art. He was not only interested in the art form but also in the techniques involved. He knew how to weave, cut and sew, as well as take patterns from folk clothing. Unfortunately, his entire archive of dress designs and costume details was destroyed during the German Occupation.3 1 Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, no. 48, p. iv. 2 M. Hadjidakis, 'Some Aspects of Modern Greek Art' in Perspective of Greece, an Atlantic Monthly Supplement, Intercultural Publications, New York 1955, p. 33. 3 M. Karavia, The Thinker of Marousi, Memories and Conversations with Yannis Tsarouchis [in Greek], Kapon editions Athens 2009, p. 74. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com