Εφημερίδα Espresso 22 Ιουλίου 2017

Εφημερίδα Espresso 22 Ιουλίου 2017


“Don’t say much about these works.
They’re fine and they can defend themselves.”

Yannis Τsarouchis
(About Kostas Spyriounis’s painting)
Eikastika, 1984




I suppose that if Kostas Spyriounis is a more regular visitor than others from his childhood memories, it may perhaps be due to an idiosyncrasy of the senses, to the irreparable defect in the cones and rods of the retina, which causes, for example, the light of sunset to look more melancholy, as sole regulator of the sun’s course through the heavens, making the scent of a summer awning fabric more pungent. I have a feeling that if precious stones had been scattered over the earth less sparingly and gold handed out as generously as water or sunlight, if happiness were as readily available as a light bulb, Spyriounis would still have made the soil, the ruts and trucks of wheels on roads unique, that is, as precious as a jewel box in which among the things covered by oblivion, one would be able to single out winters in a homey warmth, trees whose naked branches are more heart-rending than gestures or faces, and days and nights that vanish one after the other as though they had never existed.

These works should not be regarded as just another version of painted reality, with all the well-known artsy paraphernalia. Nor that the imaginary owners of the buildings, absent and hypothetical in the painting, are in the final analysis co-creators, like visitors to an exhibition. Nor should you see the scales, seed bags, roughly painted walls, ropes, coiled hoses, gates, opening onto untended gardens, or stones and gravel on the road as piles of paltry ruins that have simply become shrouded over by the passage of time.

And since art, like life, is an unsettled account in the bank of the future, look at these paintings not as battle that someone is fighting against silence, but as silence itself. As though all these wires, sweepings, telegraph poles, and rusty signs were no longer refuse, debris from the streets and things of the moment, but the steady lights of human decency and honour.

Haris Megalynos



… Such a type of painting deserves to be tenderly embraced by the eye; one should enjoy it with all the senses, savouring it voluptuously like the drops of an old, expensive wine. Furthermore, one should listen to the imperceptible musicality of these images in order to fully appreciate their indeterminate, at first sight, quality, the mastery of technique and the wisdom of composition …

(Athens, 2001)
Αngela Tamvaki
Curator of Western European Paintings



The artist is proposing: instead of accumulated forms and objects, spaces for abstraction. Instead of a tangible, specific presentation, scenes on a metaphysical scale. Instead of heavily charged shapes, simple architectural forms and simplicity of line. And finally, instead of multicolours, he uses a limited range of earth colours.

The exceptional abilities of Kostas I. Spyriounis reveal his maturity, allowing him to stride into the future equipped with an assured technique that is supported by ageless themes.

(Athens, 2001)
Dr. Ioanna Providi
Director of the N. Hadjikyriakos – Ghika Art Gallery


…Now that contemporary Greek art will inevitably be read from a European viewpoint, I believe the painting of Kostas I. Spyriounis, in conjuction with the great currents of our time, will lead  us to reliable conclusions and to self-knowledge. Other, better qualified people will discuss Kostas I. Spyriounis’s painting. I, with my collector’s instinct, will confine myself to saying that this is a great work.

(Athens, 2001)
Dimitris Τsitouras

With love to Kostas Spyriounis for the fine work he has done.

(Αthens, 2006)
Y. Μoralis


The works of Kostas Spyriounis have been inspired by a Greece that exists only in memories.

Kostas, a worthy student of my friend and best man Yannis Tsarouchis – the only person who had predicted the loss of the neoclassical buildings – continues to depict in his own way, the beautiful Athens and Piraeus that we old timers remember.

His themes are among my personal favourites, which is why I am particularly happy to see him portraying them differently from my own folk-style painting and to admire them.

Kostas’s art has always delighted me because it reveals the sensitive, pure soul of an artist whom we all see, especially those of us who know it not only through his works, but through the man himself as well.

(Αthens, 2006)
Evgenios Spatharis
Puppeteer and folk artist


The poet of colour…

When time stopped on the waterfront of memory gazing mutely at the crystal moment, capturing truth in a pale mirror, the poet of twilight, creamy sunset colours spread the sadness of the times on neoclassical canvases. The only spectators, a marble Eros unwrapping hidden feelings and the benefactors of the dream, like stone figures in empty squares.

The poet of sighs. Illuminator of melancholy and incorruptible decay. Diviner of prophetic auguries which were shipwrecked in the sluggishness of noon. Abandoned to the chords of destiny.

When time stopped at the suburbs of the vastness, of the ephemeral and the fleeting, shattering the silence of equilibrium, melancholy, seated on the edge tiles of the past, donned the clouds of nostalgia and declaimed verses from the Spyriounis Passions…

(Αthens, 2005)
Nikolaos Kaltsas
Director of the National Archaelogical Museum


Κifissia, 9 December 2008

I have known Kostas I. Spyriounis for a good many years even in America – and hold his art in high esteem. I have been following his career in art with interest and always with confidence in his future.




…Looking at one of his landscapes you can tell what time it is and how hot it is. …Kostas Spyriounis does not simply possess a consummate talent for painting. A flawless painted image may say nothing. His painting tells us a great deal because it expresses the rich world of a significant man.

(Αthens, 2005)
Giorgos Stathopoulos



… I love old houses. They die with dignity, still standing. Fortunately they are preserved in the drawings and paintings of talented artists who approach them through their sensitivity, emphasising their aesthetic seclusion. I have kept a programme from an exhibition two or three years ago on this subject. The painter of these houses that breathe their lovely old memories with dignity is Kostas Spyriounis, a painter of great ability with recognition in Greece and abroad, who grants immortality to these refuges of silence. I have travelled the world and lived the magic of neoclassical architecture. Kostas Spyriounis lives their myth and their poetry through his paintings. I love old houses as I would anything beautiful and noble struggling beyond time for survival. For their resistance to the oppresive ugliness of our era.

(ESTIA newspaper 2/2/2006)
Nestoras Matsas
Author – Theater director

To the painter, Kostas Spyriounis, with love

Aris Konstantinidis

nana mousxouri

To Kostas Spyriounis with love and admiration

Nana Mouskouri

zorz moustaki

For Kostas Spyriounis with all my love

Georges Moustaki
Singer – Songwriter




(Αthens, 2006)
Fashion designer

To Kostas Spyriounis with much love

Manos Hadjidakis

Hadjidakis once said to me:

” You are talented and handsome. The talent is yours so you’ll bear the consequences. But your looks are for others; and it is they who will suffer the consequences.”





The paintings of Kostas Spyriounis – for all their technical mastery and wealth of detail – for me are filled with an unforgetable mystery.

(New York, 2009)
Stephen Αntonakos


In a first reading of Kostas Spyriounis’ painting, you realise that a serene silence leads you directly beyond, to the far side, without questions. The human presence is altogether absent from his works, except maybe for a few abstract busts or statuette of winged Eros, which do not appear accidently but perhaps to distract the viewer-reader from the main theme which is purely metaphysical.

The presence of birds is more reminiscent of spirits than leaving creatures. He achieves this metaphysical dimension in a unique painterly way by using earth colours and thick, satisfying brushstrokes as though exorcising blackness and darkness. He paints old houses, not necessarily mansions, but aesthetically refined places on which his personal intervention is obvious. He paints houses that hark back to old and ancient architecture. He avoids ugliness wherever possible and invests even the most inelegant objects with beauty. Electric wires, for example, are presented as ornaments and festive garlands on the facades of houses or along empty streets.

Heaven and earth are linked directly with shades of brown and buildings frequently give the impression of being suspended or even of being built on water. Clouds, bad weather and storms dominate his work, creating awe rather than fear.

The further you go in the reading of his painting, the more you realise that the image is only the pretext. Behind the painting there is philosophical thought and above all poetry. By means of this poetry, he takes you on long voyages into the distant future of human existence, into the end of being and the beginning of a new and unknown era. Can this landscape of our inevitable permanent destination be as calm as he depicts it, or does it portray his need to deceive himself into tranquility or rather to make the viewer think?

How can his aesthetically fine portraits depict the young people he paints as being so calm, almost Olympian, and at the same time otherworldly? Is it perhaps because in Hades we are all young people taking the place of the older ones, or because he himself would like sometime to enter that type of environment?

On the stamps he created recently with portraits of famous actors and actresses who have died, he succeeded in giving them the face of eternity in a way that an artist can rarely express, describe or render.

In any event, Kostas Spyriounis is not just another good painter, but a good poet who through his works gives us images that are not just earthly, beautiful and timeless, but sometimes enigmatic and even redemptive.

Vangelis Chronis

To our dear Kostas Spyriounis who has been a friend of ours and whose painting we have greatly appreciated. With much love.

Natalia Mela

The birds, the white, the light, the freedom Kostas Spyriounis dared and succeeded in capturing all this three-dimensional essence that an ordinary white bird unwittingly possesses.

13 December 2008

I thank him.

Vasso Papantoniou





 In the troubled times we live in, white as a colour, together with the pigeons on the ground, conveyed a message of optimism, my dear Kostas Spyriounis, which I haven’t felt for a long time.

Vassilis Vassilikos






Kostas Spyriounis

Art has always resorted to idols and ghosts. The question, however, is when these elements serve morphological demands and when they are raised to the spiritual exaltation of symbols. In other words, the challenge is when the artist departs from the appearance of the portrayed penetrating its secret mainland and approaches the world as an internal reality and not as an external quality.

Kostas I. Spyriounis’s (Athens, 1965) painting, which was presented at his exhibition with “Ikastikos Kyklos” titled “In the city and the world,” was a study of the transition of the sensory world elements into despiritualized symbols of a personal idolatry.  His artistic world is the setting of a secret drama where people have left their mark and reached the state of the spectrum, where their presence has been replaced by the smell of their bodies. Man is suggested by his absence or otherwise through his secret presence.

His neoclassical houses appear spectrally in a timeless environment, isolated from their urban surroundings, as if they are emerging from a dreamlike state. While, in principle, they logically belong to the Athenian School, with Tsarouchis as the prominent figure, and Manousakis or Malamos as successors, Spyriounis’s neoclassical houses are, however, cut off from that given ideological climate: they are fragmented and isolated; not as part of a city web, but empty of human life. They are left dressed in their stone nakedness. Yet everywhere lurks the human presence as a threat or a blessing, as something distant and unattainable. And this is witnessed by the marble cupid breaking his bow into the stormy wilderness of an empty space or trying to break the bonds that hinder his sight. The houses are not occupied, they don’t show any trace of human presence. They are a temple of silence. They are, however, the garment of human life worth living, the shell of life. Their wilderness reflects an inner mood, metaphysical one would say, like that of Giorgio de Chirico.

His seashore landscapes reminisce in their inhuman silence and frosty winter tranquility, the swimmers in summer; jealously keeping as a souvenir of their long presence, the remnants of their action. The cupid reminisces as well!

Spyriounis, however, is a painter of the human form. When attempting to recreate it, he works as a secret icon painter in an era of iconoclasm. With calmness and nerve, with Vakirtzis’s ease and his teacher’s, Yannis Tsarouchis’s, sensitivity, he depicts the portraits with the precision of a surgical instrument and a virtuoso maestro’s skillfulness. This is about a kind of painting precise in drawing which honors Ingres’s conviction that “drawing is the probity of art.” And he draws gloriously, therefore reducing the color into a handmaiden of his drawing.

Nik. Al. Milionis
Magazine “nea efthini” Issue 4
March-April 2011

To Kostas Spyriounis a noble and rare talent a true prince of thought.

To Kostas Spyriounis a noble and rare talent a true prince of thought.

Yannis Metzikof

Set and costume designer





Spyriounis had promised, even though he knew he’d be reaproached: to take “the bodies of the beautiful dead who never grew old” from their pedestals and, without regrets but with tears, made them icons.

(Αthens, 1988)
Dr. Yannos Lolos


Kostas Spyriounis draws headless or mutilated statues on expensive white drafting paper. Kostas Spyriounis uses his pencil to draw fragments of funerary monuments from imaginary meetings of solitary – and for this reason beloved – persons wearing their ancient clothing. Chitons and shirts are tossed on the floor .

The wind seems to crack the lines of the fabric and the day cannot conceal their eclectic inclination to the good and the impassionated.

The faces that accompany Spyriounis’ rare course through the world of things and ideas do not appear to converse with their viewer. They are silent in an archaic silence both erotic and wise.

Spyriounis’ imaginary sypmosium has just begun.

(Αthens, 1998)
Yorgos Chronas


andreas nomikos

For Kostas Spyriounis with great esteem.

Αndreas Nomikos
Costume and set designer, Painter



…Raising the eyes from the random color pictures (from K.S. file) “those whorish pictures” as Kavafis would say I saw their transformation in poetry and art through his painting.

How the body is “interpreted” losing anything unnecessarily material though never ignoring its specific voluptuous gravity or how sometimes the male body is wrapped in the liquidity, the humidity and the fog of a landscape e.g. of a dock of a port, so as not visible from what is sometimes nothing more than an inclined leg, a heel and even then, on a path of greater denudation, absent and the body itself and remained the dock itself, land and sea, getting into each other, as if the land was water, the population amphibious…

Takis Spetsiotis
Director – Author


Afierwsi-Bar-BarTo Kostas Spyriounis because the beautiful, the young and the brave have the same DNA.

ΒAR – BAR  Κostas P. Panagiotopoulos










Kostas Spyriounis’s works are diffused with his politeness, culture and refinement. There was a time when people were looking for ways to make the natural, beautiful. The painter Kostas Spyriounis has a unique way to depict the beauty with naturalness. The spectator’s look is immersed in his works and enjoys the power of imagination, lucidity, visual clarity, simplicity, rich texture of colors and vitality of the visual language. Among the most important painters of his generation, he came of age with teachers Tsarouchis, Natalia Mela and Tassos Margaritof. His one-man exhibitions with portraits, nudes, neoclassical buildings, landscapes of Evia and the marvelous wreaths of ivy, pomegranate, olive, laurel, vine, poppies marked his aesthetic imprint.

In 2009 the Greek Post Office commissioned him to paint the series of stamps ”Greek Actors and Actresses”. Creating stamps is a technically difficult and very demanding art. With the right doses of nostalgia and photorealism, the series quickly became a favorite among philatelists and a collector’s item. His paintings are displayed in museums and galleries and acquired by collectors around the world. This fact prompted the U.S. State Department to invite him to the International Visitor Program (2007). Exhibitions of his have been hosted in the Greek embassy in Washington and the Greek Consulate in New York. It is no accident that the genius Tsarouchis described his works as “fine and ones that can defend themselves”. Furthermore, it is Dimitris Tsitouras who with the collector’s instinct called his art “great painting”.

Monday, April 19, 2010
Irini Aivaliotou


… his wreaths green and multicolored, have journeyed through the seasons of the year providing us with delight for the eyes and the mind. Looking at them, we draw on the unexplained memories of lost innocence nesting in the depths of our souls.

Dimitris Tsitouras
Αthens 2007


…the “Olive Branch” by K. I. Spyriounis that lifts the spirit.
Michael Cacoyannis


Spring is not a season of austerity.
Collared doves and other birds invade
We’ll hear something good
We open the balcony doors
We look out over the potholes
And you smile …

To Kostas Spyriounis


Lena Platonos


Κωστής Μελαχροινός

Πρόεδρος ΔΣ & Διευθύνων Σύμβουλος ΕΛΤΑ



Μωϋσής Κωνσταντίνης

Σύμβουλος Θεμάτων Φιλοτελισμού