Emmanuel Lambardos

Emmanuel Lampardos (Greek: Εμμανουήλ Λαμπάρδος, 1567 –1631), also known as Emmanouil Lampardos and Manolitzis. He was a Cretan Renaissance painter. Emmanuel and his nephew Emmanuel Lampardos have been very difficult to distinguish because they were active painters around the same period. Countless Greek and Italian artists emulated the famous painters. The name Lampardos was very notable in reference to Cretan art. The family was affiliated with famous painters Franghias Kavertzas and Tzortzi Papadopoulo. Lampardos emulated Georgios Klontzas, Michael Damaskinos, Angelos Akotantos, Andreas Pavias, Andreas Ritzos and Nikolaos Tzafouris. His style was the typical maniera greca with a strong Venetian influence. Countless images of the virgin and child have survived. Lampardos influenced Franghias Kavertzas, Emmanuel Tzanes, Philotheos Skoufos Elias Moskos, Leos Moskos, Ioannis Moskos and Emmanuel Tzanfournaris. Over fifty-six icons have been attributed to Lampardos.[1][2][3][4][5]

Emmanuel Lampardos
Virgin and Child
Born1555-65
Rethymno, Crete
Died1640 (1641)
Rethymno, Crete
NationalityGreek
Known forIconography and hagiography
MovementCretan School

History

Lampardos was born in Rethymno Crete. He was a member of a prominent family. His father's name was Papa-Nicholas. He had an active workshop in Heraklion. His entire family were painters. His brothers were Pierou and Tzane Lampardos. His nephews were famous painters Emmanuel, Mari, Tzortzi, Nicholas, and Stamati Lampardos. The second Emmanuel Lampardos which historians have a hard time distinguishing from the first was the son of Pierou. The only information available about Emmanuel Lampardos the Elder are notary archives from 1587 until 1631. One such record discusses the sale of a vineyard, the name on the contract was Manolitzis Lampardos, son of the Papa-Nikolaos.[6]

Emmanuel Lampardos the Younger was also born in Rethymno Crete his father was Pierou. It is difficult to distinguish the younger from the elder. His brothers were Mari and Tzortzi. He is mentioned in records from 1623 to about 1641. In the first record, he is mentioned as a witness in notarized documents. He is also referred to as Manolitzis the nickname for Emmanuel. In 1641, he signed a contract with famous painter Tzortzi Papadopoulo for the payment of a painting by Franghias Kavertzas. The final record of Emmanuel Lampardos the Younger was as a witness on July 21, 1644.[7]

There is no way to separate the elder from the younger. Research is still underway in the field of the Cretan School to correctly attribute the signatures and painting styles. The paintings were signed χείρ 'Εμμανουήλ του Λαμπάρδου, χείρ Έμαννουήλ Λαμ­πάρδου, του Λαμπάρδου, Εμμανουήλ του Λαμπάρδου χείρ, χειρ Εμ[μ]αν[ουηλ]. The artists known as Emmanuel Lampardos have influenced countless Greek and Italian painters and the family Lampardos had many very famous painters. Many of their works survive today.[8]

  • Jesus
    Jesus
  • Crucifixion
    Crucifixion
  • John the Evangelist
    John the Evangelist
  • Mother and Child
    Mother and Child
  • Mother and Child
    Mother and Child
  • Mother and Child
    Mother and Child
  • Lamentation
    Lamentation
  • Saint Minas
    Saint Minas
  • The Three Magi
    The Three Magi

Notable works

See also

References
  1. Eugenia Drakopoulou (July 9, 2021). "Lampardos (Lampardis) Emmanouil (2) (Manolitzis) Records from 1623-1644". Institute for Neohellenic Research. Retrieved July 9, 2021.
  2. Eugenia Drakopoulou (July 9, 2021). "Εμμανουήλ (1) (Manoli, Manolici) Λαμπάρδος (Lambardo) Records from 1587-1631". Institute for Neohellenic Research. Retrieved July 9, 2021.
  3. Hatzidakis, Manolis & Drakopoulou, Eugenia (1997). Greek painters after the fall (1450-1830) Volume B (PDF). Center for Modern Greek Studies E.I.E. pp. 141–149.
  4. Taroutina, Maria (2018). The Icon and the Square Russian Modernism and the Russo Byzantine Revival. University Park, PA: Penn State University Press. ISBN 9780271082554.
  5. Schmuck, Hilmar (2011). Greek Biographical Index Volume 1. Munich: K.G. Saur Munchen. pp. 256, 421–423.
  6. Hatzidakis, 1997, pp 141-149
  7. Hatzidakis, 1997, pp 141-149
  8. Hatzidakis, 1997, pp 141-149

Bibliography
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