Emmanuel Tzanes
Emmanuel Tzanes (Rethymno, 1610 – Venice, March 28, 1690), also known as Bounialis, was a Greek Renaissance painter and, along with Theodoros Poulakis, the most important Cretan iconographer of the second half of the 17th century. His most significant work, The Holy Mandylion, was completed in 1659. Tzanes collaborated with Philotheos Skoufos and was the brother of painter Konstantinos Tzanes and poet Marinos Tzanes.
Tzanes belonged to a well-known family from Rethymno and was highly educated. Besides being a painter, he was also a poet and writer of religious hymns. He was married, but after becoming a widower early in life, he had no descendants. His brothers were Marinos Tzanes Bounialis, the poet of the "Cretan War," and the painter Konstantinos Tzanes, who lived with him in Venice until the end of his life.
The earliest known work of Tzanes dates back to 1636. It is a flawless icon of Saint Spyridon, housed in the Correr Museum in Venice, bearing his signature: "Poem of Emmanuel, priest of Tzanes." That same year, he was already an apprentice painter and had been ordained as a priest. When the Cretan War broke out, he was still in Crete and likely left his homeland after the fall of Rethymno to the Ottomans in 1646.
In April 1648, he was in Corfu, collaborating with fellow Cretan War refugee, the renowned painter Philotheos Skoufos. Tzanes remained in Corfu at least until the end of 1654, where he formed a bond with the learned Cretan hieromonk Kalliopios Kalliergis, who served as a priest at the Church of Saints Jason and Sosipater. During this time, he painted many icons for the church. By March 1658, he was in Venice, where he stayed until his death. In 1660, he was elected as a priest at the Church of Saint George, a position he held, with brief interruptions, until 1685. In his later years, he was appointed director of the Flanginian School of the Greek Community in Venice.
 |
| Saint George by Tzanes |
Style and Technique
While it is unknown where he received his training, like most painters of his time, he followed Byzantine models from the 14th and 15th centuries for individual figures, a period considered the first peak of the Cretan School. However, in complex scenes, he drew inspiration from iconographic themes and stylistic characteristics dominant in the 17th century. His works, which reveal strong Western influence, also show elements derived from Flemish engravings.
Tzanes' style varied depending on his sources of inspiration. Figures following late Byzantine models appear flat and two-dimensional, with volume suggested by successive layers of lighter geometric tones of the same or complementary colors that do not blend. Illuminated surfaces have a metallic sheen, and fabrics are often adorned with nervy white dots. Similar drapery folds can be seen in the Pantanassa of Mystras, around 1428. However, in paintings where the Rethymnian artist followed Western models, the drapery is fluid, with gradual transitions from light to shadow. Regarding the rendering of exposed body parts, Tzanes adhered to Paleologan models, typically covering the entire illuminated surface with countless white brushstrokes, sometimes alternating between intense and faint, lending a calligraphic quality to the depiction of volume.
Emmanuel Tzanes was particularly skilled in meticulously rendering luxurious Italian fabrics and embroidery. The same attention to detail is evident in his portraits, where he emphasized morphological and anatomical features, such as the arrangement of hair or veins. Most of his work is characterized by the solid structure of compositions, precision in drawing, mastery in detailing, and careful selection of colors.
It is estimated that over a hundred of his works have survived, more than half of which are dated. Tzanes consistently signed his paintings using the words "hand" or "poem," followed by his name, "Emmanuel," his surname, "Tzanes" or "Zanes," sometimes including his priestly title, and occasionally the nickname "Bounialis" and his place of origin. However, a year before his death, in his last known painting, he signed as "the pain of the elderly presbyter Emmanuel of Rethymno, known as Bounialis."
By studying his works from the Cretan and Corfiot periods, it is evident that Tzanes was already a highly skilled and prolific painter long before migrating to Venice. His fame was undeniably great in his time, as evidenced by the social standing of his patrons and the enduring popularity of the themes he introduced in the 18th century. This reputation likely stemmed from two complementary factors: his connections with influential figures in all the places he lived and the fact that his art resonated with the expectations and aesthetic preferences of a broad audience.
Influence and Legacy
It is estimated that over a hundred of his works have survived, more than half of which are dated. Tzanes consistently signed his paintings using the words "hand" or "poem," followed by his name, "Emmanuel," his surname, "Tzanes" or "Zanes," sometimes including his priestly title, and occasionally the nickname "Bounialis" and his place of origin. However, a year before his death, in his last known painting, he signed as "the pain of the elderly presbyter Emmanuel of Rethymno, known as Bounialis."
By studying his works from the Cretan and Corfiot periods, it is evident that Tzanes was already a highly skilled and prolific painter long before migrating to Venice. His fame was undeniably great in his time, as evidenced by the social standing of his patrons and the enduring popularity of the themes he introduced in the 18th century. This reputation likely stemmed from two complementary factors: his connections with influential figures in all the places he lived and the fact that his art resonated with the expectations and aesthetic preferences of a broad audience.
History and Works
Emmanuel Tzanes, also known as Bounialis, was a significant painter and writer of religious hymns. Most of his works have been preserved in public collections, private collections, churches, and monasteries in Greece. His paintings, over 130 in number, date from 1636 to 1689. He served both Catholic and Orthodox patrons, creating works of all sizes, from small icons and triptychs to monumental paintings and iconostasis doors. His works followed the style of the Cretan School, which he learned in Rethymno, but they were influenced by contemporary trends in Venetian painting. His icons often include portraits of patrons and dates. Tzanes continued to influence the Ionian School.
 |
Notable Works by Period
Cretan Period
1636 Saint Spyridon (Correr Museum, Venice)
1640 Annunciation (Berlin State Museums)
1641 Theotokos Amolyntos (Zakynthos Museum)
1644 Root of Jesse (Hellenic Institute of Venice)
1645 Theotokos Hodegetria (Holy Trinity, Giudecca, Venice)
Corfiot Period
1648 Christ in Glory (Metropolitan Mansion, Corfu)
1648 Saint Cyril (Byzantine and Christian Museum, Athens)
1650 Enthroned Theotokos (Church of Saints Jason and Sosipater, Corfu)
Tzanes also authored religious texts and hymns, leaving behind a lasting legacy in both painting and liturgical literature.
Σχόλια