14. Nikolaos Gyzis (Greek, 1842-1901) Bestrafung eines Hühnerdiebs in Smyrna/ Punition d'un voleur de poulet à Smyrna signé 'N. Gysis' (en bas à gauche) huile sur toile 137 x 106cm (53 15/16 x 41 3/4in). Peint en 1873. signed (lower left) oil on canvas Provenance Dresden Museum - Königlichen Gemäldegalerie Neue Meister (Purchased in 1885 out of the Interest of the Pröll - Heuer Bequest). Natalia Tzirakopoulos collection, Athens and hence by descent to the present owner. Littérature Estia magazine, vol. X, no. 470, January 1, 1885, p. 4 (mentioned). Estia magazine, vol. X, no. 516, November 17, 1885, insert, phototypie von Ch. Bruch, Munchen (illustrated). K.F. Skokos, National Calendar of the Year 1888, Athens 1888, p. 249 (mentioned). Gysis's letter, February 14, 1893 (mentioned). Die Kunst unserer Zeit periodical, vol. VIII, 1897, between pp. 80 and 81 (illustrated). K.F. Skokos, National Calendar of the Year 1897, Athens 1897, p. 20 (mentioned). Techni, I, no.8-9, June-July 1899, p. 239 (mentioned). Epetiris Filotechnon, Yearbook of the Art Lovers Society, 1901, p. 20 (mentioned). Pinakothiki magazine, vol. I, no. 1, March 1901, p. 18 (mentioned). Attiki Iris magazine, vol. IV, no. 16, August 15, 1901, p. 183 (mentioned). M. Montandon, Gysis, Derlag von Delhagen & Klafing editions, Bielefeld und Leipzig, 1902, p. 66 (mentioned), p. 27, fig. 21 (illustrated). Catalogue of the Pictures in the Royal Gallery at Dresden, Buchdruckerel Der Wilhelm und Berta V. Baensch Stiftung, Bresden/ Julius Bard Verlag für Literatur und Kunst, ed, Berlin, 1912, p. 257, no 2402 (listed). Pinakothiki magazine, vol. XIII, no. 145, March 1913, p. 3 (mentioned). Politeia newspaper, November 21, 1925 (mentioned). Allgemeines Lexikon der Bildenden Künstler, Verlag von E.A. Seemann, Leipzig 1922, vol. XV, p. 380 (mentioned). Great Greek Encyclopedia, P.G. Makris editions, Athens 1926, p. 750 (mentioned). Eleftheroudakis Encyclopedic Dictionary, vol. IV, Athens 1928, p. 174 (mentioned). Album of Tinian Artists - N. Gysis, D.I. Kalogeropoulos, X. Sochos ed., Athens 1928, p. 22 (discussed), p. 21 (illustrated). Dialexis magazine, vol. I, no. 3-4, February 29, 1928, p. 84 (discussed). Eleftheron Vima newspaper, March 18, 1928, p. 2 (mentioned). Ellinika Grammata magazine, vol. II, no. 7, March 26, 1928, p. 238 (mentioned). Ellinika Grammata magazine, vol. III, no. 34, November 1, 1928, p. 455 (illustrated). Eleftheroudakis Abridged Encyclopedic Dictionary, Athens 1935, p. 803 (mentioned). Nea Estia magazine, vol. XXV, no. 294, March 15, 1939, p. 427 (mentioned). Eleftheron Vima mewspaper, September 24, 1939 (mentioned). Eklogi magazine, vol. V, no. 2, February 1949, p. 203 (mentioned). Eleftherortia magazine, no. 11, July 1950, p. 166 (mentioned). Ethnos newspaper, January 6, 1951 (mentioned). Nea Estia magazine, vol. L, no. 586, December 1, 1951, pp. 1587 (mentioned), 1586 (illustrated). Nicholaos Gysis's Letters, G, Drossinis, L, Koromilas ed., Eklogi editions, Athens 1953, p. 41 (illustrated). C.S. Solomonidis, Of Smyrna, Athens 1957, p. 142 (mentioned). T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1960s, no. GR TITSpit f216-3, p. 1 (mentioned). F. Yofyllis, History of Modern Greek Art 1821-1941, vol. I, To Elliniko Vivlio editions, Athens 1963, p. 183 (mentioned). N. Armakolas, Nikolaos Gyzis - His Human Side, Kykladikon Fos Newspaper editions, Athens 1964, p. 14 (mentioned). Z. Papantoniou, Kritika, Vivliopoleion tis Estias editions, Athens 1966, p. 113 (mentioned). S. Lydakis, Geschichte det Griechischen Malerei des 19. Jahrhunderts, doctoral dissertation, Prestel-Verlag editions, Munich 1972, pp. 70, 235 (mentioned). The Greek Painters, vol. I, From the 19th Century to the 20th , Melissa editions, Athens 1974, pp. 141, 150 (discussed). Zygos magazine, no. 6, January-February 1974, p. 14 (mentioned). S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. 3, Melissa editions, Athens 1976, pp. 176, 473, ft. 381 (discussed), p. 177, fig. 270 (illustrated). A. Xydis, Propositions for the History of Modern Greek Art, vol. II, Olkos editions, Athens 1976, p. 15 (mentioned). M. Papanikolaou, Greek Genre Painting of the Nineteenth Century, P. Pournaras editions, Thessaloniki 1978, pp. 144-145 (discussed), p. 183 (listed), fig. 82 (illustrated). M. Kalligas, Nicholas Gysis, National Bank of Greece Cultural Foundation, Athens 1981, pp. 49, 72, 74, 167 (mentioned), pp. 126-127 (discussed), fig. 6 (illustrated). C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, pp. 53, 132 ft.408 (mentioned), p. 155 (listed). H. Uhde-Bernays, Die Münchner Malerei im 19.Jahrhundert, 2.Teil: 1850-1900, Bruckmann München editions, Munich 1983, p. 156 (mentioned), p. 93 (illustrated). K. Didaskalou, Kompositionsentwürfe und Studien von Nikolaus Gysis, Magisterarbeit, Munich 1986, p. 95 (mentioned). K. Arseni, Modern Greek Painting, 19th - Early 20th Century, Ministry of Culture edition, Athens 1986, p. 57 (listed). E. Kazolea, Das Allegorische Werk von Nikolaos Gysis, Magisterarbeit, Munich 1988, p. 4 (mentioned). Y. Kairofylas, Nikolaos Gysis, The National Painter, Filippotis editions, Athens 1990, p. 25 (mentioned). K. Didaskalou, Genre- und Allegorische Malerei von Nikolaus Gysis, doctoral dissertation, Munich, 1991, pp. 27-29 (discussed), p. 131 (mentioned). N. Misirli, Gyzis, Adam editions, Athens 1995, pp. 15, 116, 142, 162, 345 (mentioned), pp. 74-76 (discussed), p. 369, no. 30 (catalogued), p. 72, fig. 30 (illustrated), pp. 73, 75 (illustrated - details). Dictionary of Greek Artists, Melissa editions, vol. I, Athens 1997, p. 323 (mentioned). Epta Imeres - Kathimerini newspaper, Nikolaos Gyzis, March 9, 1997, p. 4 (mentioned), p. 3 (illustrated). National Gallery 100 Years, Four Centuries of Greek Painting, National Gallery and Alexandros Soutzos Museum edition, Athens 1999, p. 74 (illustrated). Nikolaos Gyzis and his Era, exhibition catalogue, Elitrochos editions, Patra 1999, p. 19 (mentioned and illustrated). S. Lagouros, Tinos, Art and Artists, Tinos editions, Athens c. 2000, p. 34 (discussed). Gyzis in Tinos, 100 Years from the Death of the Artist, exhibition catalogue, Panhellenic Sacred Foundation of the Evangelistria in Tinos, 2001, p. 63 (mentioned). Nikolaos Gyzis 1842-1901, The Great Master, National Gallery and Alexandros Soutzos Museum, Athens 2001, p. 36 (mentioned). S. Apergis, Nikolaos Gyzis (1842-1901), Tinos 2001, p. 22 (mentioned). M. Kasimati, "The Artistic Personality of Nikolaos Gyzis as Reflected in his Diary, Letters and Written Accounts by Other Artists: a New Reading of Greekness", Nikolaos Gyzis, National Painter from Tinos, conference minutes, Athens 2002, p. 45 (mentioned). N. Misirli, Greek Painting, 18th-19th Century, National Gallery - Alexandros Soutzos Museum, Adam editions, Athens 2003, p. 86 (mentioned). Five+One magazine, no. 11, May-June 2003, p.111 (mentioned). F. Yiofyllis, Four Tinian Artists, Erinni editions, Athens 2003, p. 77 (mentioned). Y. Papaioannou, Nikolaos Gyzis, Ta Nea editions, Athens 2006, pp. 19, 53 (discussed). Griechische Kunstler in der Munchener Akademie im 19. Und 20. Jahrhundert, exhibition catalogue, Tellogleion Art Institute, Thessaloniki 2006, pp. 77, 79, ft. 51 (mentioned). Kathimerini newspaper, January 3, 2007 (mentioned). N. Mavroleon, An Anthology of Letters by Nikolaos Gyzis, "Friends of the G. Drossinis Museum" Association editions, Athens 2008, p. 24 (mentioned), p. 25 (illustrated). N. Misirli, Lytras, National Bank of Greece edition, p. 90 (mentioned). Kathimerini newspaper, July 9, 2016 (mentioned). Y. Toumbakaris, Historical Parallels in the Work of Nikolaos Gyzis, A. Stamoulis editions, Thessaloniki 2022, p. 18 ft.19 (mentioned), pp. 80, 190 (listed), pp. 150-155 (discussed), p. 151, fig. 20 (illustrated). Painters are enchanted by the light of Smyrna and nourish their spirit with bright impressions and the rhythms of another world. N. Gysis A masterpiece of 19th century genre painting formerly owned by the Museum of Dresden1, Punition d'un voleur de poulet à Smyrna is a milestone in Gysis's career, recapitulating his vivid impressions and vibrant images from his life-changing trip to the Orient in 1873. Alluring and psychologically acute, it is a vibrant and moving composition that relies as much on the descriptive as on the purely pictorial to convey a sense of honesty of representation and genuineness of character. In the summer of 1873, Gysis, along with his friend and fellow artist Nikiforos Lytras, embarked on an artistic journey to Asia Minor to observe and study the local people and customs. Being the closest non-Christian regions to Europe, the Near East and North Africa exercised a profound fascination upon the West, spawning imaginative evocations in poems, novels and artistic representations. Recognized itineraries and an expanding corpus of travel literature made these regions more generally accessible, while Orientalist paintings were exhibited annually at the Royal Academy and the Paris Salon. One of the preoccupations which deeply affected the western understanding of the Orient was the belief that it could satisfy the West's urge for exotic experience, offering artists the opportunity to venture beyond the restrictions of classical rules.2 Gysis's trip to the Orient had a profound impact on his artistic evolution and led to the development of a new style that retained elements of the Munich School teachings remoulded, however, through the eyes of a Greek and, in a broader sense, an easterner for whom the Orient was neither a romantic ideal nor a dreamy fantasy but a deeply felt familiar reality. Upon his return to Athens in October 1873 with a wealth of sketches and drawings, the artist took up multi-figured compositions adhering to some of the Academy's tenets, but held on to the breakthroughs he achieved during his trip. Strongly influenced by the dazzling wonders of the Orient, Gysis came up with his own interpretation of the Piloty school's principles regarding the handling of colour.3 Colour became as critical for his design as light was for ancient Greek sculpture, imbuing it with an instantaneous and fleeting yet vibrant feel.4 Here, his limited but intense palette seems to burst out of the dark arched alleyway5—not only his signature Gysis red but also his mesmerising blues, which "convey the impression that the painter dipped his gaze in the deep blue waters of the Aegean."6 As noted by art historian N. Misirli who wrote the artist's monograph in 1995, following Gysis's trip to the Orient and his return to Athens, all his experiences related to light and colour that enriched his artistic temperament and freed his mind, were recorded in Punition d'un voleur de poulet à Smyrna. For the first time, Gysis was interested in chiaroscuro effects, as showcased in the juxtaposition of the donkeyback-riding thief's dazzling white shirt with the deep red garment of the guard who accompanies him. The drummer in the foreground, with his blue head band and bright clothing also participates in creating this luminous core in the centre of the composition. Similar contrasts and gradations are also evident in the elaborate white turbans and traditional costumes of the spectators on the right.7 The artist adheres to the established compositional layout by setting his scene on a narrow street, with a small patch of blue sky in the upper left providing the only outlet.8 1 The painting was purchased by the Dresden Museum in 1885 out of the Interest of the Pröll-Heuer Bequest. The painter Max Heinrich Pröll-Heuer bequeathed to the Dresden Academy, on his death in 1879, a considerable sum, from the interest of which pictures by living artists in Germany were purchased every year at exhibitions held in Dresden, the selection being made by the Council of the Academy. Gysis's painting remained in the Dresden Museum's collection until July 1937, when it was acquired by the Berlin art dealer Karl Haberstock. See Catalogue of the Pictures in the Royal Gallery at Dresden, Buchdruckerei der Wilhelm und Bertha v. Baensch Stiftung, Bresden / Julius Bard Verlag für Literatur und Kunst, editions, Berlin, 1912, p. xix; K. Didaskalou, Genre- und Allegorische Malerei von Nikolaus Gysis, doctoral dissertation, Munich, 1991, p. 27, fn.102. 2 See The Orientalists: Delacroix to Matisse, The Allure of North Africa and the Near East, M.A. Stevens ed., Thames and Hudson, New York 1984. 3 See N. Misirli, Gysis [in Greek], Adam editions, Athens 1995, p. 82 ; N. Misirli, "The painter Gysis, his Life his Work and his Era" [in Greek] in Nicholaos Gysis 1842-1901, The Great Artist, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2001, p. 24. 4 T. Tsatsos, About Painting [in Greek], Estia editions, Athens 1970, p. 48. 5Typical Smyrna arcades, called frango-verhanedes, housing old tobacco warehouses. 6 See N. Misirli, Gysis, Athens 1995, p. 80. 7 Although the composition is based on recollections and perhaps preliminary drawings from his trip to the Orient, Gysis used sitters in Athens including well-known Christos (shown on the right against the wall) who had also posed for Gysis's Oriental with fruit, as well as Lytras's monumental Klemmeni (The abducted maid). 8 Misirli, pp. 74-76.