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Agynor Asteriadis: The Avant-Garde Artist of the 1930s

Agynor Asteriadis: The Avant-Garde Artist of the 1930s

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The avant-garde Greek painter and engraver Aginore Asteriades was a distinguished artist and became well-known by his style and the technique of his work which was of special interest in his time.

An additional reason was that in a very short period of time he achieved to be well recognised and have imposing artistic presence in the 1930 generation.

He studied at the Fine Arts School of Athens, close to the art professors Roilos, Iakovidis, Vikatos, Mathiopoulos and Litras. Parallel to his post -graduate degree he started  presenting and promoting his work through solo and group exhibitions, which were national and following international exhibitions in the Bienalle of Venice, of San Paolo and of Alexandria including national exhibitions in Europe, America and Asia. Along with painting he was working on Byzantine murals church icons,  mosaic designing and painting icons of Ηagiography.

The work of Asteriadis is complex, with a wide collection of landscapes, nudes, portraits and still life paintings. His works are characterized by a special personal style which combines elements of Byzantine traditional art with pop art and “naive” art. He created a peculiar form of prospective having been influenced by cubism and surrealism. His paintings were inspired by scenes of the provincial and urban environment, which gives us an important documentary concerning the socio-political, economic and cultural situation of that era.

According to the artistic tendencies of the beginning of the 20th century, he founded “The Art Group” which is classified as an avant-garde art league. 

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Asteriadis, referred to as an artist whose soul continuously flows with complexity, has been multi -stimulated, presenting two-dimensional works of art, from the environment of the period and functioning even through realism.

One year before his death, the National Art Gallery of Athens honoured him with a great retrospective art show.

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