G P Mastrotheodoros
Biographic Data
| ID | 31957 |
|---|---|
| NAME | G P Mastrotheodoros |
| GIVEN NAMES | G P |
| FAMILY NAME | Mastrotheodoros |
| SIGNATURE | MASTROTHEODOROS G P |
| AFFILIATIONS | University of West Attica |
| ORCID | 0000-0002-0320-5867 |
| VERIFIED | Yes |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 60 |
| AUTHOR COUNT | 18 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 4 |
Unveiling the Original Polychromy of Archaic Architecture
The Gigantomachy depicted on the west pediment of the Late Archaic temple of Apollo at Delphi marks a significant milestone in early Greek architectural sculpture. Crafted from porous stone and enhanced with plaster and paint, the surviving fragments differ markedly from the marble figures of the east pediment of the same temple. Among the preserved figures of the Gigantomachy are a standing male figure, possibly representing Apollo or Dionysos, …
A Multidisciplinary Non-Invasive Approach for the Examination of a Wooden Panel Painting
In this article, a multidisciplinary methodological approach for studying a wooden panel painting is applied. The theoretical framework, within which this research has arisen, is the application of state-of-the-art non-destructive techniques for addressing issues concerning the constituting parts and composing materials of the artwork. Hereby, a post-Byzantine icon was studied, which was dated back to 1836. It is a painting executed on a wooden p…
Fotis Kontoglou
Fotis Kontoglou (1895–1965) was a prominent Greek painter and writer, known primarily for revitalizing byzantine painting in the 20th century and being one of the first artist-conservators in Greece active at this period. The current study represents the first systematic attempt to examine seven (7) icons (i.e., ecclesiastical panel paintings) attributed to Kontoglou, currently located in two famous monasteries in Laconia, Greece. The research ut…
Seeking the Unseen
Religious panel paintings (icons) play a pivotal role in the rituals of the Eastern Orthodox Christian Church. However, their continuous use often results in physical degradation, prompting remedial interventions. Quite commonly, alterations were treated by simply applying new paint layers directly over the decayed original, while in some cases, old icons were overpainted merely as a means to renovate and modernize them. Therefore, numerous overp…
Determining the Thickness of Gold Leaf in Post-Byzantine Religious Panel Paintings Using Imaging μ-XRF
Thin gold leaves were frequently used to embellish post-Byzantine religious panel paintings. Measuring their thickness using non-destructive methods is essential for understanding the technology behind their creation and developing effective preservation strategies. This study describes a method for non-invasively measuring the thickness of these gildings using large-scale imaging micro-X-ray fluorescence (μ-XRF) spectroscopy. The method relates …
Revealing the Materials, Painting Techniques, and State of Preservation of a Heavily Altered Early 19th Century Greek Icon through MA-XRF
Macroscopic X-ray fluorescence analysis (MA-XRF) is a non-destructive analytical technique that allows for the rapid and thorough investigation of paintings; therefore, it is nowadays increasingly involved in relevant studies. In the present work, a state-of-the-art MA-XRF set-up is utilized to identify the painting materials and techniques and document the state of preservation of an early 19th-century AD Greek religious panel painting (“icon”).…
MA-XRF investigation of a 17th century icon by the renowned painter Theodoros Poulakis
Pigments-Iron-based red, yellow, and brown ochres
Original Varnish Recipes in Post-Byzantine Painting Manuals
During the last decades, manuscripts have become increasingly available through digitization and deposition in online repositories. This trend has very much facilitated primary source research, as scholars are no longer subjected to time- and effort-consuming processes such as travel, applications for photography permissions, and so on. In this framework, the authors set forth the results of research that deals with post-Byzantine panel-painting …
On the Red and Yellow Pigments of Post‐Byzantine Greek Icons
Red and yellow pigments on more than 50 panel paintings were investigated. The studied artefacts dated from the mid‐15th to the mid‐19th centuries and came from regions in modern‐day Greece. Cinnabar and yellow ochres predominated. Ιn the case of the region of north‐west Greece there was a persistent use of orpiment and the employment of a peculiar ochre‐type pigment, while the rare lead‐antimony‐tin yellow was identified in an early 18th‐century…
By the Hand of Angelos? Analytical Investigation of a Remarkable 15th Century Cretan Icon
A 15th century St Theodoros icon of outstanding quality is on display at the Zakynthos Ecclesiastical Art Museum. On the basis of certain stylistic characteristics, this icon has been attributed to the legendary Cretan painter Angelos Akotantos. In order to explore the latter attribution, the icon was subjected to examination via multispectral imaging, while microsamples were investigated through an optical microscope (OM), a scanning electron mi…
On the blue and green pigments of post‐Byzantine Greek icons
In the framework of a large‐scale investigation of post‐1453 ce icons, the blue and green pigments on more than 50 works were investigated. Studied works date from the mid‐15th to the mid‐19th centuries and originate from various modern‐day Greek regions. Results indicate the use of both natural and artificial pigments; among the latter, the very poorly documented in Greek icons artificial Cu‐based blue is included. A shift as regards the use of …
Probing the birthplace of the “Epirus/NW Greece School” of painting
Probing the birthplace of the "Epirus school" of painting
On the Metal‐Leaf Decorations of Post‐Byzantine Greek Icons
Metal leaves were widely used as decorative materials in post‐Byzantine ritual painting. Fifty‐two icons (mid‐15th to mid‐19th centuries) were studied by means of analytical techniques in order to reveal the materials and techniques encountered in their metal‐leaf decorations. High‐purity gold leaf was used throughout the studied period. Silver was employed rarely and mostly during the latter part of the period in consideration, while metal powde…
Two unique Byzantine immured lead-glazed relief ceramic icons and related tiles from the church of St Basil in Arta, Greece
On The Grounds Of Post‐Byzantine Greek Icons
The grounds of 51 post‐Byzantine icons (Eastern Orthodox panel paintings) were studied by means of analytical techniques. The artefacts cover the period from the mid‐15th to the mid‐19th century and originate mainly from western (Epirus and the Ionian Islands) and southern Greece (Crete). The findings are examined in the light of technical recipes from related areas and eras, while special insights are gained from the exploration of a gypsum proc…
Decorated Archaic Pottery From the Heracles Sanctuary at Thebes
Forty‐seven decorated samples of Archaic pottery excavated at a Heracles sanctuary (Thebes, Boeotia) were studied through a combined surface and body approach, using non‐destructive techniques. Most of the samples were archaeologically classified as Theban/Boeotian, others as Corinthian and a few as possibly Euboean. The techniques employed were optical microscopy and SEM–EDAX (micromorphology and compositional analysis of the surfaces) and XRF f…
Pigments-Iron-based red, yellow, and brown ochres
Probing the birthplace of the "Epirus school" of painting
On the Metal‐Leaf Decorations of Post‐Byzantine Greek Icons
Metal leaves were widely used as decorative materials in post‐Byzantine ritual painting. Fifty‐two icons (mid‐15th to mid‐19th centuries) were studied by means of analytical techniques in order to reveal the materials and techniques encountered in their metal‐leaf decorations. High‐purity gold leaf was used throughout the studied period. Silver was employed rarely and mostly during the latter part of the period in consideration, while metal powde…
On The Grounds Of Post‐Byzantine Greek Icons
The grounds of 51 post‐Byzantine icons (Eastern Orthodox panel paintings) were studied by means of analytical techniques. The artefacts cover the period from the mid‐15th to the mid‐19th century and originate mainly from western (Epirus and the Ionian Islands) and southern Greece (Crete). The findings are examined in the light of technical recipes from related areas and eras, while special insights are gained from the exploration of a gypsum proc…
Decorated Archaic Pottery From the Heracles Sanctuary at Thebes
Forty‐seven decorated samples of Archaic pottery excavated at a Heracles sanctuary (Thebes, Boeotia) were studied through a combined surface and body approach, using non‐destructive techniques. Most of the samples were archaeologically classified as Theban/Boeotian, others as Corinthian and a few as possibly Euboean. The techniques employed were optical microscopy and SEM–EDAX (micromorphology and compositional analysis of the surfaces) and XRF f…
Revealing the Materials, Painting Techniques, and State of Preservation of a Heavily Altered Early 19th Century Greek Icon through MA-XRF
Macroscopic X-ray fluorescence analysis (MA-XRF) is a non-destructive analytical technique that allows for the rapid and thorough investigation of paintings; therefore, it is nowadays increasingly involved in relevant studies. In the present work, a state-of-the-art MA-XRF set-up is utilized to identify the painting materials and techniques and document the state of preservation of an early 19th-century AD Greek religious panel painting (“icon”).…
MA-XRF investigation of a 17th century icon by the renowned painter Theodoros Poulakis
On the blue and green pigments of post‐Byzantine Greek icons
In the framework of a large‐scale investigation of post‐1453 ce icons, the blue and green pigments on more than 50 works were investigated. Studied works date from the mid‐15th to the mid‐19th centuries and originate from various modern‐day Greek regions. Results indicate the use of both natural and artificial pigments; among the latter, the very poorly documented in Greek icons artificial Cu‐based blue is included. A shift as regards the use of …
Probing the birthplace of the “Epirus/NW Greece School” of painting
On the Red and Yellow Pigments of Post‐Byzantine Greek Icons
Red and yellow pigments on more than 50 panel paintings were investigated. The studied artefacts dated from the mid‐15th to the mid‐19th centuries and came from regions in modern‐day Greece. Cinnabar and yellow ochres predominated. Ιn the case of the region of north‐west Greece there was a persistent use of orpiment and the employment of a peculiar ochre‐type pigment, while the rare lead‐antimony‐tin yellow was identified in an early 18th‐century…
Decorated Archaic Pottery From the Heracles Sanctuary at Thebes
Forty‐seven decorated samples of Archaic pottery excavated at a Heracles sanctuary (Thebes, Boeotia) were studied through a combined surface and body approach, using non‐destructive techniques. Most of the samples were archaeologically classified as Theban/Boeotian, others as Corinthian and a few as possibly Euboean. The techniques employed were optical microscopy and SEM–EDAX (micromorphology and compositional analysis of the surfaces) and XRF f…
On The Grounds Of Post‐Byzantine Greek Icons
The grounds of 51 post‐Byzantine icons (Eastern Orthodox panel paintings) were studied by means of analytical techniques. The artefacts cover the period from the mid‐15th to the mid‐19th century and originate mainly from western (Epirus and the Ionian Islands) and southern Greece (Crete). The findings are examined in the light of technical recipes from related areas and eras, while special insights are gained from the exploration of a gypsum proc…
On the Metal‐Leaf Decorations of Post‐Byzantine Greek Icons
Metal leaves were widely used as decorative materials in post‐Byzantine ritual painting. Fifty‐two icons (mid‐15th to mid‐19th centuries) were studied by means of analytical techniques in order to reveal the materials and techniques encountered in their metal‐leaf decorations. High‐purity gold leaf was used throughout the studied period. Silver was employed rarely and mostly during the latter part of the period in consideration, while metal powde…
Two unique Byzantine immured lead-glazed relief ceramic icons and related tiles from the church of St Basil in Arta, Greece
Probing the birthplace of the “Epirus/NW Greece School” of painting
Probing the birthplace of the "Epirus school" of painting
By the Hand of Angelos? Analytical Investigation of a Remarkable 15th Century Cretan Icon
A 15th century St Theodoros icon of outstanding quality is on display at the Zakynthos Ecclesiastical Art Museum. On the basis of certain stylistic characteristics, this icon has been attributed to the legendary Cretan painter Angelos Akotantos. In order to explore the latter attribution, the icon was subjected to examination via multispectral imaging, while microsamples were investigated through an optical microscope (OM), a scanning electron mi…
On the blue and green pigments of post‐Byzantine Greek icons
In the framework of a large‐scale investigation of post‐1453 ce icons, the blue and green pigments on more than 50 works were investigated. Studied works date from the mid‐15th to the mid‐19th centuries and originate from various modern‐day Greek regions. Results indicate the use of both natural and artificial pigments; among the latter, the very poorly documented in Greek icons artificial Cu‐based blue is included. A shift as regards the use of …
Original Varnish Recipes in Post-Byzantine Painting Manuals
During the last decades, manuscripts have become increasingly available through digitization and deposition in online repositories. This trend has very much facilitated primary source research, as scholars are no longer subjected to time- and effort-consuming processes such as travel, applications for photography permissions, and so on. In this framework, the authors set forth the results of research that deals with post-Byzantine panel-painting …
On the Red and Yellow Pigments of Post‐Byzantine Greek Icons
Red and yellow pigments on more than 50 panel paintings were investigated. The studied artefacts dated from the mid‐15th to the mid‐19th centuries and came from regions in modern‐day Greece. Cinnabar and yellow ochres predominated. Ιn the case of the region of north‐west Greece there was a persistent use of orpiment and the employment of a peculiar ochre‐type pigment, while the rare lead‐antimony‐tin yellow was identified in an early 18th‐century…
Pigments-Iron-based red, yellow, and brown ochres
Revealing the Materials, Painting Techniques, and State of Preservation of a Heavily Altered Early 19th Century Greek Icon through MA-XRF
Macroscopic X-ray fluorescence analysis (MA-XRF) is a non-destructive analytical technique that allows for the rapid and thorough investigation of paintings; therefore, it is nowadays increasingly involved in relevant studies. In the present work, a state-of-the-art MA-XRF set-up is utilized to identify the painting materials and techniques and document the state of preservation of an early 19th-century AD Greek religious panel painting (“icon”).…
MA-XRF investigation of a 17th century icon by the renowned painter Theodoros Poulakis
Unveiling the Original Polychromy of Archaic Architecture
The Gigantomachy depicted on the west pediment of the Late Archaic temple of Apollo at Delphi marks a significant milestone in early Greek architectural sculpture. Crafted from porous stone and enhanced with plaster and paint, the surviving fragments differ markedly from the marble figures of the east pediment of the same temple. Among the preserved figures of the Gigantomachy are a standing male figure, possibly representing Apollo or Dionysos, …
A Multidisciplinary Non-Invasive Approach for the Examination of a Wooden Panel Painting
In this article, a multidisciplinary methodological approach for studying a wooden panel painting is applied. The theoretical framework, within which this research has arisen, is the application of state-of-the-art non-destructive techniques for addressing issues concerning the constituting parts and composing materials of the artwork. Hereby, a post-Byzantine icon was studied, which was dated back to 1836. It is a painting executed on a wooden p…
Fotis Kontoglou
Fotis Kontoglou (1895–1965) was a prominent Greek painter and writer, known primarily for revitalizing byzantine painting in the 20th century and being one of the first artist-conservators in Greece active at this period. The current study represents the first systematic attempt to examine seven (7) icons (i.e., ecclesiastical panel paintings) attributed to Kontoglou, currently located in two famous monasteries in Laconia, Greece. The research ut…
Seeking the Unseen
Religious panel paintings (icons) play a pivotal role in the rituals of the Eastern Orthodox Christian Church. However, their continuous use often results in physical degradation, prompting remedial interventions. Quite commonly, alterations were treated by simply applying new paint layers directly over the decayed original, while in some cases, old icons were overpainted merely as a means to renovate and modernize them. Therefore, numerous overp…
Determining the Thickness of Gold Leaf in Post-Byzantine Religious Panel Paintings Using Imaging μ-XRF
Thin gold leaves were frequently used to embellish post-Byzantine religious panel paintings. Measuring their thickness using non-destructive methods is essential for understanding the technology behind their creation and developing effective preservation strategies. This study describes a method for non-invasively measuring the thickness of these gildings using large-scale imaging micro-X-ray fluorescence (μ-XRF) spectroscopy. The method relates …
Cultural Heritage Materials Analysis (17 works) · Conservation Techniques and Studies (16 works) · Art (15 works) · Building materials and conservation (13 works) · Archaeology (12 works) · Painting (12 works) · Visual arts (12 works) · History (10 works) · Byzantine architecture (8 works) · Icon (8 works)