Wednesday, 21 April 2021

Alexander Papadiamantis

Alexander Papadiamantis Alexander Papadiamantis

Alexander Papadiamantis in his work, through the life and happenings of the small community of Skiathos at that time, express an enduring and with deep interiority profiling of human relationships and the world.

Odysseus Elytis in his study "The magic of Papadiamantis", recognizing the greatness of this work, says:
"And here one thinks how these sixty square kilometers with three thousand souls came to acquire the significance of the entire continent."
Revelation of the soul and interpretation of the whole personality of Al. Papadiamanti is a photo in 1906 of Paul Nirvana, where as he recounts, was "a sacrifice that was made in my friendship", because "he did not mean in any way, allowing to himself such a pagan futility".
The modesty of the author of Skiathos reflected everywhere in his work, the way of his life, in his simple and ascetic house, that so elegant described by George Seferis, after his visit in 1930.

The same modest attributes and some autobiographical elements in the following note:
"Born in Skiathos in the March 4, 1851. Came out from the Greek School  in 1863, but only in 1867 I was sent at the Gymnasium Chalkidos, where I attended the A and B classifications. The C I studied at Piraeus, then I interrupted my studies and I stayed at my homeland. In July 1872 I went to the Mount Athos for pilgrimage, where I stayed for some months.
In 1873 I came at Athens and studied at the D of Varvakeios. In 1874 I enrolled in Philosophical School, where I attending by my choice few literature courses, individual I was not occupation in foreign languages.
When I was little painted Saints or wrote lyrics and tried to write a comedy. In 1868 I was attempted to write a novel. In 1879 was published my work, in a "Metanastis", to the" Neologon" of Constantinople. In 1881 a religious poem to the magazine "Sotira".  In 1882 was published "The Merchants of the Nations" to the "Do not get lost". Later I wrote about a hundred short stories published in various magazines and newspapers."

Many studied, commented and written about Alexander Papadiamantis and his work.
N.D. Triantafyllopoulos in 2001 states for the volume "Lights All lights" that after "the reprint of two old magazines tributes to Alexander Papadiamantis (" New Life" Alexandria, 1908 and "Dawn" Mitilini 1911), the Greek Literary and Historical Archive completes its contribution to the anniversary of seventy years since the death of the author of "Murderess". If both offerings cover the needs of the reading public and scholars in old and hard to find texts, this volume is a modern view of Papadiamantis."
While Stelios Ramfos in his work “Tergiversation of Papadiamantis” says that "it is not telling his personal experiences, but asks to serve the values of life."

The form of this great man tried to perform many artists, differentiate the works of N. Eggonopoulos,F. Kontoglou and A. Tassos.

T. Tzoumas


Alexander Emmanuel was born in Skiathos on March 4, 1851. He was son of the priest Adamantios Emmanuel and Gkioulos (Angela) Moraitidi, coming from a noble family of Mistras. In Skiathos finished elementary school and enrolled in the Secondary School (1860) but was forced to attend the third class of School in Skopelos (1865), as the third grade in Skiathos was eliminated. Then he forced to interrupt several times in high school his studies because of poor financial situation of his family (eventually graduated in 1874 from Varvakio School of Athens at the age of twenty-three years and had studied in high schools of Chalkidas and Piraeus).

In 1872 at the age of 21 he traveled with his childhood friend N. Dianelo (after Niphon monk) on Mount Athos where he spent four months as a pilgrim. From 1873 and for a decade he lived in Athens (with a few visits to Skiathos) in conditions of economic deprivation. At that time lived with relatives and fellow countrymen and worked as a house tutor to earn his living. In 1874 he enrolled in the Philosophy School at the University of Athens where he attended few classes but continued to pretend that he will continue his studies to avoid returning to Skiathos and his conscription. In 1877 he anonymously published articles in the Journal of D. Koromila with titles The week of the Holy Passion and The Holy Easter. Two years later he published with the signature of A. PD. his first historical novel. The migration to the newspaper Neologos Constantinople. In 1881 published a poem called Prayers (Eranisma of Psalms) in the journal Sotir which was presented with the name Alexander Papadiamantis (last name is a combination of his name and the priestly property of his father). In 1882 hired as a translator in the Journal of Dimitrios Koromilas with a salary of 100 francs and also published in serial form novel The Merchants of the Nations in the satirical magazine Do not get lost.

His acquaintance with Vlassis Gavriilidis secured a position in the newspaper Acropolis. The financial problems began to subside, and so announced to his family his literary activity. In 1884 he published his third novel. – Giftopoula (gipsy girl) - in the newspaper Acropolis and next year he published the work Chris Milionis in the journal Home. Followed by two years of silence until December 1887 when published a novel Christopsomo (Christ bread) in The Journal. The cooperation with the Journal lasted until 1891 there published many short stories. At the same time worked with translations of foreign literary works with top, Crime and Punishment of Dostoyevsky. In 1891 he tried unsuccessfully to adopt a selection of short stories titled Sea romance. In 1899 Palamas wrote an article in Asti, which praised the narrative ability of Papadiamanti and supported a comprehensive edition of his work. He continued to publish short stories and working as a translator in newspapers and magazines while trying to support financially his family in Skiathos.

From 1902 to 1904 he returned to his hometown, where he translated works, History of the Greek Revolution of Thomas Gordon and History of the Greek Revolution of George Finlay commissioned by the John Vlachogianni. From Skiathos continued to send works in newspapers and magazines in Athens. In 1903 published the Murderess (Fonissa) and the following year he returned to Athens. He continued to write beside his bad condition with his health and us a result, never managed to see his project to be published. In 1906 John Vlachoyiannis went him to a literary café in the Tank. Until then Papadiamantis avoided the scholars and seek publicity because of his economic deprivation, the burden of work but also the monastic character. He preferred to hang out in popular neighborhoods (especially in the tavern Kachrimani in Psirri) and sing in the church of Prophet Elissaios in Monastiraki with his cousin Alexander Moraitidis. In the Tank was photographed (for the first time in his life) by Nirvana, and full-page photograph published in an extensive article of Nirvana in Panathinaia. But the state of his health showed a continuous deterioration. In March 1908 he refused to attend in Parnassus when celebrated his twenty five years in the space of literature. At the end of that month he returned to Skiathos where he remained until his death, continuing to send stories to newspapers and magazines in Athens. He died of pneumonia on January 2, 1911. A day before he learned he had been honored with the medal of the Silver Cross of Christ.

Source: Archive of Greek Writers


• Agra Tellos, "How we see today Papadiamanti" Archive Euvoikon Meleton B, 1936, p.60-121 (now and in volume Tellos Agras Critical Volume C - Forms and documents of the prose Philosophical • custody Kostas Stergiopoulos, p.11- 74. Athens, Hermes, 1984).

• Argiriou Alexander, "A unique example" Retrials in difficult times. Athens Cedar, 1986.

• Aslanidis E.C, The maternal element in "Murderess" of Papadiamantis • Psychoanalytic essay. Athens: Rappas, 1988.

• C. Vallettas, "Papadiamantis; The Life - The work - His period " Alexander Papadiamantis The Complete Works. Athens Bible, 1955.

• Voutieridis Ilias Al.Papadiamantis-Al.Moraitidis- • The life and their work. Athens Zikakis, 1931.

• Voutieridis I.P., "Papadiamantis Alexander," Great Greek Encyclopaedia19. Athens Torch, 1932.

• Giakos Dimitris, "Alexander Papadiamantis". The painter of humble, Forms of Greek literature, p.29-53. Athens Filippotis, 1982.

• Fotis Dimitrakopoulos, Alexander Papadiamantis [the flag] Unpublished pages from the File Apostolou C. Papadiamanti. Athens Kastaniotis, 1989.

• Fotis Dimitrakopoulos, Papadiamantis and Skiathos • Photos from the Archive Merlier. Athens, Centre of Micrassiatic Studies, 1991.

• Fotis Dimitrakopoulos - GA Christodoulou, "Leaves scatter". The Papadiamantis autographs. Known and unknown documents. Athens Kastaniotis, 1994.

• Odysseus Elytis, The Magic of Papadiamanti. Athens, Herms, 1976. (the same in In the blank, p.57-106. Athens, Icarus, 1992).

• The unfailing magic • Papadiamantis 1991 - A tribute. Athens, Goulandris Foundation - Horn, 1992.

• Angelos Kalogeropoulos, The rustle of fleece• The music in Papadiamantis. Athens, Armos, 1993.

• Karantonis Andrew, "Papadiamantis and orthodoxy, " From Salmon up to Mirivili (literary essays), p. 151-164. Athens Estia, x.x.

• Karantonis Andreas, "Alexander Papadiamantis", Physiognomies Vol. first, p.115-119. Athens Papadimas, 1977.

• Karantonis Andreas, "Alexander Papadiamantis" Physiognomies (appearance) • Vol second, p.429-442. Athens Papadimas, 1977.

• Katsimbalis KC, Alexander Papadiamantis - First crises and information. Bibliography. Athens, Estia, 1934.

• Katsimbalis KC, Supplement bibliography of A. Papadiamanti. Athens, Estia, 1938.

• Kokolis X.A., "This-and idiomatic biographic in Murderess"and "Dreams and others in Murderess" For Murderess of Papadiamantis • Two essays. Thessaloniki, University Studio Press, 1993.

• Kolivas Joachim-Kimon. Logic narrative and moral of speech • Studies for Papadiamantis. Athens, Nefeli, 1991.

• Kotzias Alexander, The Athens stories and two essays about time. Athens, Nefeli, 1992.

• Kousoulas Luke, "... People and beasts......... " Athens, Nefeli, 1993.

• Christoforos Milionis. Rare and unsuited. Athens, Nefeli, 1994.

• Moullas Panayiotis A. Papadiamantis" aftoviografoumenos. Athens. Hermes, 1974.

• Bastias Kostis. Papadiamantis Vol. Essay. Athens. Athens Publishing, 1962.

• Nirvana Paul. "Alexander Papadiamantis"" PanathinaiaIE. et.St. 15/10/1906. p.7-13.

• Xenopoulos Gregory. "The Work of Papadiamantis", Panathinaia. et.IA. 31/1/1911. s.211-217.

• Xydis Theodore (ed.). Alexander Papadiamantis" - Andreas Karkavitsas and others. Athens. Eagle, 1955 (the series Basic Library ar.28).

• Oiconomou Zissis. Papadiamantis and his island. Miniature of humanity. Athens Cedar, 1979.

• Kostis Palamas. "Alexander Papadiamantis"" The Art 6 , April 1899, p.138-142 and "Papadiamantis" Noumas. et.Th. 09/01/1911. p.21-22 (both in Apanta10 . s.310-323. Athens. Biris, 1966.

• Papadimitrakopoulos I.CH.. The night breeze feathers- Five documents for Papadiamantis. Athens. Nefeli, 1992.

• Citizen Gina. "Darwinian text and the Murderess of Papadiamantis (Proposal readers), Porfyras67-68 (Corfu), 11/1993 - 3 / 1994. p.7-15.

• Citizen-Marmarinou Helen. "Papadiamantis Mopasan and Chekhov • From Skiathos in Europe". Proceedings of International Conference for Papadiamanti, Skiathos. 20-24/8/1991. s.423-456. Athens Domos, 1996.

• Citizen-Marmarinou Helen. "Alexander Papadiamantis"" The earliest prose - From the beginning until the first global war St (1880-1900). p. 114-209. Athens. Sokolis, 1997.

• Costas Stergiopoulos. "Papadiamantis today" Read 9. 11-12/1997. 36-47 (the same with supplements in Read B'-In the sphere of our old prose. p. 52-69. Athens. Cedar, 1986.

• Triantafyllopoulos ND. Ingenious meridian- Eleven texts for Papadiamanti.Athina Alexander. Gregory, 1978.

• Triantafyllopoulos ND (ed.). Alexander Papadiamantis" twenty texts about his life and work. Athens Versions of Friends, 1979.

• Triantafyllopoulos ND (ed.). Lights all lights • A tribute to Papadiamantis and his world. Athens. ELIA, 1981.

• Triantafyllopoulos ND. Minyrisma bird- Literary to Papadiamantis. Athens Kastaniotis, 1986.

• Triantafyllopoulos ND (ed.). Alexander Papadiamantis- Mail. Athens Domos, 1992.

• Triantafyllopoulos ND. "Papadiamantis adulteration", New Estia143. et.72. 9 / 1998. ar.1704. s.908-920.

• Farinou- Malamatari C '"Papadiamantis Alexander". Global Bio Dictionary 8. Athens. Athens Publishing, 1988.

• Farina-Malamatari Georgia Narrative techniques in Papadiamanti 1887-1910. Athens Cedar, 1987.

• Fousaras GI literature in Papadiamantis. Athens. 1940 (reprinted with editing and introduction of Farantou CH.D. Triantafillopoulos ND). Athens. E..LI.A., 1991.

Source: Archive of Greek Writers



I. Fictions - Novels

• The Giftopoula (Gipsy girl). Athens Fexis, 1912.

• The Murderess (Fonissa) and five other stories. Athens Fexis, 1912.

• The rosy beaches and Chris Milionis. Athens Fexis, 1913.

• Merchants of Nations. Athens Press 1922.

• Chris Milionis and other (two) stories. Athens Eleutheroudakis, 1930.

Tales II

• The Witches and twenty one other novels. Athens Fexis, 1912.

• The nostalgic and ten other novels. Athens Fexis, 1912.

• Easter stories. Athens Fexis, 1912.

• Easter stories. Athens Fair, 1912.

• Christmas stories. Athens Fexis, 1912.

• Christmas stories. Athens Il.Dikaios, 1912.

• New Year stories. Athens Fexis, 1912.

• New Year stories. Athens Fair, 1912.

• The Christmas of the lazy and nine other novels. Athens Fexis, 1912.

• The rosy beaches and Chris Milionis. Athens Fexis, 1913.

• The Choleriasmeni and fifteen other stories. Athens Fexis, 1914.

• Pentarfanos (Orphan) and other seven stories. Athens Eleutheroudakis, 1925.

• Dead traveler and others (three) stories. Athens Eleutheroudakis, 1930.


• Alfonso Dode, Tartarinos from Taraskonis • Translate Al.Papadiamanti. Athens typ. Acropolis 1894.

• Blaiki William Strong bodies • Through the boys and our girls. Athens typ.Akropoleos 1894.

• July Chothorn The American Monte Christos • Translate Al.Papadiamanti. Athens typ.Akropoleos 1894.

• I. Dostoevskii Crime and Punishment • Translate Alex.Papadiamanti - Prologue Em Roidis. Athens Ideogram, 1992.

• Mark Touain, One million pound banknote and other narratives of Er.Stanley - Wiley Sted - P. Rizal - K. Datton - Car. Netherlands. Athens Lethe, 1993.

• Bret Hart. Argo shimanship stories • Literary Editor SW Triantafillopoulos - L. Triantaphyllopoulou. Athens Lethe, 1993.

• Alfred Clark The finding of Women's Lot • Met. Alex. • Editorial Papadiamanti SW Triantafyllopoulos - Lambrini N. Triantaphyllopoulou. Athens joint, 1996.

• Jerome K. Jerome The New Utopia and other humorous story • Translate Alex Papadiamantis. • Editorial SW Triantafyllopoulos - Lambrini N. Triantaphyllopoulou. Athens Armos, 1996.

V. Centralized publications

• The Collected Works (Apanta) of Alexander Papadiamanti A-C (epim.C.Valeta). Athens Bible 1954.

• Alexander Papadiamantis. Apanta1-5. Athens Domos 1981-1988.

• Papadiamantis Mail • fr. edited by SW Triantafyllopoulos. Athens Domos, 1992.

• [The flag] • Papadiamantis unpublished pages from the file Apostolos C. Papadiamantis. Edition texts, comments and description of the File Fotis Dimitrakopoulos. Athens Kastaniotis

Works of the author available in a form of e-book: "The Nostalgia ", "The Farmakolitria" and "Murderess (Fonissa)"

Source: Archive of Greek Writers


Elytis believes that "The great art is everywhere man is able to recognize himself and express him completeness to the minimum" On this basis, analyze Papadiamantis.

He considers that accomplishes these using two main reservoirs of material the wealth of green the natural landscape and from other the people's of the site, "who sculpted centuries and winds, with clean outlined in, the visible mental hinterland and the daily ritual of their life, a life untouched even from culture, to a depth of coasts and hills, where every stone every branch singles without confused inside the atmosphere surrounding of the site.

And this nation reproduce, to "play" in miniature the perennially human passions, the jealousies, the loves, the ambitions, the accidents, a move almost priestly, with a tragedy dance rhythm hardly noticeable but enough to make the deepest, the true nature of the world. "

It is natural, with this way of reduction, the work of Papadiamanti to acquire timelessness and timeliness. It's the ideas, the perceptions, whose carriers are heroes, not those themselves the issue. Elytis mark:

"More than a half century separates us from the death of Papadiamanti [Elytis wrote in 1976] the columns building fell one by one. The rural phase passed in the industrial, the village in the state, the Christian in the infidel. One day the past will surprise us with the strength of timeliness. It will not have changed that, but our minds. A hill imaginable that will need to climb it again to appreciate the dimensions of things around us. From such a hill is to be assumed and the country of Papadiamantis. "

Continuing to read by Elytis, Papadiamanti, and after our text has a dream as a matter (a dream however that "involved" in the life of the protagonist defining the parameters), the next suspension will refer to the way that interwoven elements from the real world and a world "out" of him.

Refuge in Athens but also in Skiathos, doesn't left nook of the island that not be confer the "magic" of it. "... [Don't] know if is Skiathos who born Papadiamantis or the opposite, "written by O. Elytis. It seems natural because Skiathos and not Athens is the primary livable place of the author. Elytis, attempting to explore this relationship between the author with Skiathos writes: "In Greece a sensitive boy ... has the sense of hearing dimensional, with a dimension to nature the other in language and the third in meanings." such simultaneous recording anticipates before the consciousness, to capture entire districts who later ... deleted see clear ahead to delete like photographs.

The study of O. Elytis for Papadiamanti has title 'The Magic of Papadiamantis ' Ed. Hermes 1976.

The 'tour' in the work of Papadiamantis was perhaps the occasion to visit the island in 1979. Fascinated by the beauty captured in a collage that he called Vision. The recurring images combined with Venus on piecemeal parts create the illusion of transparency, creating mysterious aura prepayment the receiver.


Paul's Nirvanas writes and tells in the magazine "New home" in 1933 that drew a unique picture of Alexander Papadiamanti as follows:

Η Περίφημη Φωτογραφία του Π. Νιρβάνα (1906)Paul's Nirvanas writes and tells in the magazine "New home" in 1933 that drew a unique picture of Alexander Papadiamanti as follows:

[... I was told once his concern when I went like a thief, with a thousand excuses, shoot him up onto a little cafe of the Tank. There was no picture of Papadiamantis until then. Reflect that from one day to another could die this great man from Skiathos and with him erased for ever his holly form. And when it? In a time when there is no obscurity who has not taken the values of the photographic lens. And how could it justify such omission of our generation to those who will come behind us to continue our admiration for the incomparable lyrical psychographic of the goods and humbles and the purest poet of the islands sea-shores? But this pure Christian, with the soul of the anchorite is not meant, in any way, allowing himself such a pagan futility. "Do not make idol of him neither any likeness" was the denial and apology. However I decided to take his sin. God and the blessed soul let me forgive my shame. One of the most beautiful titles I recognize in my life is that I handed in subsequent the form of Papadiamantis.

By what devious and sinful means has completed my task, I recounted, as I said elsewhere. What I recall more vivid now the devoted celebrations of Skiathos, is his concern at the time I withdraws in his little corner of the small coffee shop to pose in front of my lens. To "pose" is a manner of speech. He had take by his own his natural position above of a vulgar chair, with his hands crossed in the chest, the head bowed, his eyes lowered, standing like a Byzantine saint, as revolutionized by an old smoky temple chapel on the island . This was not a position for such a pedestrian shot. It was an artistic composition, and could be a work of Panselinou or Theotokopoulou. I doubt if camera lens received such happiness.

But Alexander was hurried to get on. Why? He whispered, uncomfortable in my ear, and was the first time I had heard him - or I imagine it will ever heard anyone else - to speak French:  

"We excite the curiosity of the public. "

Have you heard? Irritate the curiosity of ... Public! Which audience? Was not there with us anyone despite a sleeping waiter of the cafe, an old man who basked in the sun in another corner of the shop, and two polished who played aside. This was the Audience who worried Papadiamantis "curiosity". And this was the pillory, which pressed him to give an end.

Friendship wins... . . he said, I copy his own words - at the end of his martyrdom.

Perhaps was not, really, a real sacrifice that was made in our friendship? A sacrifice of His Holiness in the idolatry futility of worldly.

And now consider the hundreds of French pilgrims of the Bynte Company, and our own "Tour of League", passed the threshold of his humble hermitage, which now hangs his shadow in the familiar and loved ins-and-outs of his life and his work. I ponder the parade of naval contingent, presented guns in front of his monument. I consider the uniforms, the swords, the golden epaulettes that glittered under the sun of the island, for his glory. I ponder the reasons of the official, the national anthems and the wreaths of Daphne, the celebratory peal that knitted with sounds and colors his tribute. I ponder all this glorious feast, and my mind flies his 'public' of lonely cafe tank "a waiter, an old man, two polished who played" that worried, that distant day the late perhaps "stimulate the curiosity of the". What concern would be felt far into the depths of his humble tomb where "rest in Christ," the Christian poet of the humble, from this glorious noise? And how will press him over again? if stirred by secrets auras , this time, cypress tomb, one sigh would came from the rustling. A sound that will whisper again those old uncomfortable and so nice words in a language which I meant now, because it was their own, the revered pilgrims of the French land:

" Nous excitons la curiosite du public". ]


Σπίτι Α. Παπαδιαμάντη

George Seferis remembers a visit to Skiathos, 1930:

"House of Papadiamantis. The old sister wept as she spoke about him. Slender, tall, brunette, Byzantine race. The little house clean and whitewashed, in a photo a grown up Papadiamantis hanging on the wall in his room where he died. From the window to a small traditional window, a mattress on the floor covered with a rug. There he died on (2 January), after he asked to lift and sit him by the fire. The only book I saw on the small table was a cheap English edition (Omnibus) by William Shakespeare. "

George Seferis "DAYS A" Icarus Publishing


If we consider his work as a "refutation" from the established literary novel in which he studied at the beginning, the novel, as a work of maturity, as adopted by the St. Ramfos , then we may have an interpretive format for the particular importance of space in the work of Papadiamantis. Because Papadiamantis "no narrated his personal experiences, but claims to serve the values of life." In pursuit of these values led to the novel. There's "values extend meanings," writes St. Ramfos. The space is therefore an entity with particular importance, in "Country" of Papadiamantis, the author aims to emphasize the importance of this, to extend it until to conversion in value. Then happens the "magical" process that points out Elytis, the sea between the rocks have ethical extension.

"It's the moment, [Papadiamantis] leaving aside the creatures of his imagination, seeking the true face of the world." Then, the work happens to describe the life that "breaks the barrier of nature product spirit." Papadiamantis never imply the abolition or underestimation nature for the sake of the spirit. The architecture of the stories of Papadiamantis obeys in a rhythm, which disables the objective perspective, without abolish nature.

How could it be besides to eliminate it, since the author himself has adopted as a way of life the shape of the secular monk, living in a real space and in the midst of an incompatibility between the shape of a monk and the destination of the author. Only in this way seems to feel that he can serve the conviction of the active participation in the unfolding of modern civilization.

Such a theory about the importance of space in the work of Papadiamantis can not be touching the expected relationship of space with twin brother, time. Which time though? We can only agree with St. Ramfos, when analyzing an "idea of time completely different from natural time of everyday experience that dominates our lives and the economy, a mental time, where the past is the point of past-access in the future and not number." Papadiamantis use the space for the tracks moments and often connect some characteristic of him with the moment of eternity, the time of drama. "

The work of Steliou Ramfou 'The refutation of Papadiamantis'
contained in Volume 'Triodion' Publications Armos 1995.


Fotis Kontoglou is from the closest spiritual relatives of Papadiamantis, tried to give his form in four drawings.

The most comprehensive published in 1947. This draft does not follow the photo of Nirvana as the author illustrated facing left in a position that could be associated with performance poets and hymnography in Byzantine art.

The technique is not Byzantine.


Εγγονόπουλος - Παπαδιαμάντης

N.Eggonopoulos in 1953 at the time of the surrealistic creation will paint the most complete, perhaps, portrait of Papadiamantis, which not characterized from the similarity of physiognomy such as the painting transformation and interpretation.

Works with post-Byzantine technical origin. Gives Papadiamantis attitude similar with Apostolos Petrou to the Assumption. Dressed him with purple color of the Byzantines. Behind the formatted blue sea, the brown rock with white chapel and the sky with swords clouds of Eggonopoulos.

Sketch for the illustrate novel of Alexander Papadiamantis 'The spirit of the tree.".


"The great engraver Tassos had painted two woodcuts inspired by a photograph of Nirvana in 1906. He has managed to highlight the facial fidelity, without be a mere imitation, but also the power that was hidden in this humble writer. "

Source: Lights All lights
A tribute to Papadiamantis and his World

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