Theodoros Vryzakis Greek, 1819-1878

Dimitri Meziki, Athens
Private Collection, Athens (acquired from the above circa 1950)

As noted by Dr Nelly Missirli, ''On the margin of the large, staged historical narratives of the Greek War of Independence (1821), Vryzakis produced tender scenes of lovers, as well as portraits and portrayals of freedom fighters, who are often shown seated, either resting or talking, as in the present work. These scenes are often repeated on a different scale or with a few details changed. An unsigned version of the present work, for example, is in the collection of the National Gallery of Athens. The present work is signed and dated on the back of the canvas, in a similar fashion to many other of Vryzakis' works.

Although the comparable work in the National Gallery is entitled "Military Council", I believe that it and Greek Freedom Fighters in fact capture a moment of repose, as suggested by the expression and the pose of the figures. A young man is seated, resting comfortably on the rock, on the left side of the group. His head resting on his arm, his eyes closed, he enjoys a rare moment of repose. Seated in the middle is the older  fighter in a fur coat, evidently the leader of the group. He is pointing to the left, perhaps giving orders about the way they should follow. The figures in the group on the right are also relaxing; one is smoking a long pipe, another is holding his flintlock, and the third plays a musical instrument, which is more readily identifiable in the painting in the National Gallery. The fire in front of them also adds to the effect of a precious moment of relaxation. The landscape is romantic, with massive rocks and mountains in the distance. There is a casual and friendly atmosphere and an interesting arrangement of the figures in this composition. The treatment reveals the characteristic quality of Vryzakis' art: the meticulous description of local costumes, the fine gilded vests and belts, the swords, the flintlocks with their silver handles, in particular the rich white colour on the fustanella kilts, contrasting with the red patterns on the caps and above all in the vest of the proud fighter in the foreground on the right. Although this is a small-scale work, it is superbly finished and falls precisely within Vryzakis' academic romantic style.''

We are grateful to Dr Nelly Missirli for providing this catalogue note and additional information for this work.