THE PERSONAL TRAITS OF GYZI: THE FIRST DIAGNOSTIC APPROACH OF HIS PAINTINGS

• S. Sotiropoulou, Sister Daniilia, K. Andrikopoulos, G. Karagiannis ("Ormylia" Art Diagnosis Center, Sacred Convent of the Annunciation, 630 71 Ormylia, Chalkidiki, Greece)
• Y. Chryssoulakis ("Ormylia" Art Diagnosis Center, Sacred Convent of the Annunciation, 630 71 Ormylia, Chalkidiki, Greece and National Technical University of Athens, Department of Chemical Engineering, Iroon Polytechniou 9, 157 80 Zografou Campus, Athens, Greece)

The aim of this work is the diagnostic study of five of Gyzi's paintings belonging to the Thessaloniki's municipal gallery, 1. Penelope Gyzi, 2. The Three Sisters, 3. Cake, pomegranate and metallic jug, 4. The New Century (oil paintings on canvas) and 5. Marguerite Gyzi (gouache on cardboard). All the paintings were maintained in a very good condition, thus non-destructive analytical methodology was preferably applied in order to attain diagnosis, with only very few representative minute samples serving as specimen for diagnosis through application of micro-analytical techniques. The techniques applied for the diagnosis were X- Radiography, UV-fluorescence photography, infrared reflectography, colorimetry, stereomicroscopy, optical microscopy, staining, Scanning Electron Microscopy, ìFTIR and ìRaman spectroscopies and Gas Chromatography-Mass Spectrometry.

A host of examples of the artist's stylistic fingerprints is encapsulated in this small collection that covers work of differing genres and styles. Furthermore, common qualities in all of the compositions include technical dexterity and ease, an absolute control in the treatment of expressive means, maturity of design and exceptional elegance and sensitivity in the rendition, each time, of the qualities of light and colour. The diagnostic methodology applied intended to interpret the paintings' unique style. The comparative study of spectroscopic and imaging data obtained from the application of the analytical techniques points out the internal structural and technical traits of Gyzi's paintings which contribute to the aesthetic virtue of the works.

Through this analytical study, the identification of all structural components as well as the manner they were applied by the painter is revealed, starting from the choice of the canvas and the preparation of the ground layer and ending with the superficial protective varnish. For all of the five paintings, the detailed outline of the drawing, the determination of the colour palette, the nature and mode of application of the well-worked colour mixtures, the fluidity and gesture of the brushstrokes, the texture of the painted surface are presented and documented in detail.

This initial acquaintance; this classification of several indicative observations and significant conclusions falls far short of an all-embracing intimacy with the personal traits of our master painter. Rather, it looks ahead by serving as an impetus for a more wide-ranging study - one that will involve a greater number of works. Only then will our preliminary conclusions benefit from cross-checking and be disseminated at large in order to bring to light fresh aspects of the unfading personality of Gyzis.