AMALIA Paraskevopoulou was born in Athens, staying childhood at her paternal estate in Glyfada, Attika. She is a descendant of an old family of Greeks from Egypt and Peloponnessos, and Italian – British from Rome, Corfu and Malta.
Her family lineage includes historical personalities, among which, the great heroine of Greek Revolution, Manto Mavrogenous (1796-1840), the famous-founder of the Conservatory of Athens, George Nazos (1862-1934) and the also famous painter Nicholas Gyzis (1842-1901).
Studies : 1. Athens School of Fine Arts – Painting, Sculpture, Ceramics 1979-
2. Ecole Nationale Supérieur de Beaux Arts de Paris - Painting (post-
graduate studies with a scholarship granted by the Greek State)
3. Certificate of Highest Music Training Seminar (Third Greek –
International Meeting of Musicology and Composition)
Sponsor : National Bank of Greece 1988.
Personal exhibitions : 1) “Engonopoulos” Gallery (1984).
2) “Iktinos” Gallery (1984).
3) Greek Company of Paedagogic Researches Hall – Kifisia 1987.
4) Kifisia Town Hall, 1988.
5) Workshop of Art and Speech, Athens 1992.
6) Polytechnic University of Athens 1995.
7) Cultural Center of Municipality of Zografou.
8) Greek Consulate of New York, 1997.
9) Cultural Hall of Pan-Arcadian Federation of America, 1997.
10) European Art Center, 2004.
11) European Art Center (co-operation Municipality of Paeanea) 2004.
Team exhibitions : 1) “Azouma” Gallery, 1979. 2) Athens Conservatory, 1980. 3) Cultural Center of Vyronas Municipality, 1981. 4) Cultural Center of Phaliron Municipality, 1990. 5). “Theognis” Cultural Association Hall, Megara 1992. 6). “Forum” Gallery, Kifisia 1993.
7). Greek-american Union, 1993. 8) “Foire” of Padova (Italy), 1998.
9). “ARTEXPO” of New York, 1998. 10). “EA” Gallery, Santa Ponca, Mayorka, 1999. 10). European Art Center, 2000. 11) Exhibition of European Painters – International Conference of Literature A.I.C.L. 2004. 12) Embassy of Egypt of Athens (Cultural Center) 2006. 13) Art Exhibition of First International Conference “Byzantine Musical Culture”, 2007.
Conferences : 1. “Video and Child – Conference Hall of EC, Athens Zappeio, 1987. 2. Certificate of the First International Paedagogic Conference of Aesthetic Education, Athens 1989, under the auspices of the : Ministry of Commerce, General Secretariat of Youth, National Bank of Greece, Commercial Bank of Greece.
Awards – Distinctions :Demosthenio” Medal and Diploma of Honour of Paenea Municipality, Diploma of Honour of the Holy Metropolis of Kissamos and Selinos of Crete, “Monnaie de Paris – Yannis Coutsocheras” of the Association for the Protection of the French language, “Catania Duomo” and “Catania e ill suo Vulcano” Awards of the Ferdinandea Academy of Catania (Italy), Certificate of Honour of the Hellenic Arts Institute of New York.
Other activities relevant to plastic arts : 1. Directress of the Artistic Workshop-collaborator in the section of plastic arts researches of the European Art Center. 2. Publisher of the cultural publications “EI” and “Apodemon Epos” (1993-1998). 3. Illustrator of the following publications : Abridged Encyclopaedic Dictionary of Byzantine Music, Universal Dictionary of Music, Codes of the Byzantine Ecclesiastical Hymnography of the Domesticos of the Patriarchical Temple of Constantinople Angelos Voudouris, etc.
Member of other national or international organisations relevant to plastic arts : Cor. Member of the Painting Class of the International Academy : “Greci Marino del Verbana” (Italy), Member of the Board of the European Art Centre, Member of the Union of Editors and Journalists of Cultural Magazines, Member of the Chamber of Fine Arts of Greece.
Reviews : Dimitra Tsalama, “The Conjectural Octoichos of Amalia and the lyrical poetry of Yannis Coutsoheras (offprint from the literary newspaper “Synantisi”) pub. by the European Art Center, Athens 1991, 24 pages.
2nd Edition : Dimitra Tsalama “L’ Icastica Octoichos di Amalia legata con la poesia lirica di Yannis Coutsoheras” pub. Centro Europeo d’ Arte, Atene 1997, p.16.
“Philological Christmas Eve”, vol. 1985, 351 pages (Vasos Kountouridis)
“Proti” Newspaper, 29 November 1986 (Maria Thermou)
“Paratiritis” Newspaper, Serres, August 1989 (Maria Tsikoula – Gaitantji)
“Paratiritis” Newspaper, Serres, 4 September 1989 (Maria Tsikoula – Gaitantji)
“Epikerotita” Newspaper, 12 November 1989 (Aphrodite Apergi)
“Perigramma” Magazine, issue 26-27 1989 (Danae Papastratou)
“Alexispheron” Magazine, issue 18, 1989 (Dimitra Tsalama)
“Umbrella” Magazine, issue 10, 1990 (Evangelos Andreou)
“Philological Christmas Eve”, vol. 1991, 379 pag. (Vasos Kountouridis)
“Pnevmatiki Idioktisia” Magazine, issue 10, 1992
“EUARCE INFORMATION”, issue 2, 15 February 1992 (George Zerigas)
“Thessaliko Hemerologio”, vol. 17th, 1990 (Costas Spanos)
“Elephtheri Hora” Newspaper, 9 February 1994 (Kyriakos Valavanis)
“Elephtherotypia” Newspaper, 3 August 1995 (Panayotis Maritsas)
“Hellenic News of America” Newspaper, 3 November 1996 (Lily Bita)
Conjectural – Literary Albums : 1. “The Conjectural Octoichos in Koutsocheras’ poetry”, album – pub. by the European Art Center, Athens 1989. 2. “Amalia”, album – pub. by the European Art Center, Athens 1997, pag. 7-9 (Aesthetic analysis by Robert Zäller, Professor at Drexel University, USA.
3. “Pleas”, album (with poems of Nikos Yannakis) – pub. Municipality of Paeanea, 2000.
Dictionaries – Encyclopaedias : 1. Dictionary of Greek Artists pub. by “Melissa”, 3rd vol. 2. Abridged Encyclopaedic Dictionary of Byzantine Music, pub. by the European Art Center, page 33, Athens 1993.
3. Periodical Biographical History and Encyclopaedia of Plastic Arts, “EI” Magazine, issue 9, page 23, 1995. 4. “Who’s Who of Journalists” pub. by Interad, page 35, Athens 1996. 5. Abridged Biographical Dictionary “Who’s Who”, pub. by Metron, vol. : 1996-1997 page 801, 1998 page 801, 1997-2000 pages 808-809. 6. Catalogo Nazionale d’ Arte Contemporanea, 1997-1998, pub. Casa Editrice Alba, Ferrare – Italia. 7. The European Millenium – Who’s Who – 2000, pub. by “European Who’ s Who Publishers” page 1305, London 2000.

Something quite new

While the great modern Greek poets, particularly Seferis,
Ritsos and Elytis, have long had an admiring international
audience and Greek composers such as Yannis Xenakis
and Mikis Theodorakis have also been widely influential,
the achievement of contemporary Greek artists has been
thus far comparatively neglected. This neglect is unjustified,
as the work of Amalia Paraskevopoulou abundantly
illustrates. Amalia was born in Athens, and after graduating
with honors from the Athens School of Fine Arts, she
attended the Ecole Des Beaux Arts in Paris and studied
with the eminent sculptor, painter, and engraver Constantin
Andreou. She has had a steady series of distinguished solo
exhibitions since her first one-woman show at the
Engonopoulos Gallery in 1984.
Amalia’s work reveals both a thorough grounding in the art
of our time and a restless interrogation of it. For her,
tradition is only a first step toward what she has called the
“creative purification” required of every artist, and she has
spoken of her need to deconstruct an aesthetic that she
experienced as “implacable” and stultifying. The Greek
artist, as she came to understand, could be nothing less
than the sum of an entire culture, a culture founded in the
longest and most glorious ethnic heritage in Europe as
filtered through personal experience and expression. Why,
she asks, should the School of Munich be more valorized
than the school of Macedon? As an artist thoroughly
conversant with the Western tradition, Amalia is
international, is universal. But she begins by being Greek,
and Greek she remains at her core. Greece is visible most
of all in the suffusing warmth of Amalia’s palette, which
both reflects and mutes the most exultant of its natural and
cultural conditions, the sun. It was by no accident that the
Emperor Constantine, devotee of Apollo as well as
worshipper of Christ, sought out a Greek shore to renew
Rome with a great city. The legacy of Byzantium – and
through it that of classical Greece, with which it remained
in the most intimate contact – flows through Amalia’s art,
not only in those works that consciously deploy a
Christian/classical symbolism but in the iconic
portraits of contemporaries such as Prokofiev and
Kalomires, whose penetrating gaze, like those of the
Byzantine masters, almost forestalls the viewer’s own.

These subjects suggest another so-urce of Amalia’s
inspiration-music. Her Chopin series achieves the
remarkable feat of visualizing that most complex and elusive
of musical personalities in scenes that range from the salon
to the circus to the battlefield, but are ultimately staged on
the mysterious and allusive terrain of myth, a myth that adds
Amalia to Chopin and makes something quite new of both.
The wintry landscapes inspired by Stratis Doukas show yet
another facet of Amalia’s profoundly meditative
transformations of the given world, her sensitivity to literary
texts, while the thematization of circus performers and
animals in her iconography are simultaneously an homage
to such precursors as Picasso and Seurat and a kind of
personal signature – the signature of an artist who is
seriously playful and lucidly metamorphic, and whose brush,
though tinged with melancholy, is never without affirmation
and hope.-

* Robert Zaller, poet, critic, historian, and translator, is
Professor of History at Drexel University of U.S.A. His
essays on American and European art and literature have
appeared in distinguished journals both in the U.S. and
aboard. He is a fellow of the Royal Historical Society
of Grand Britain.



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