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MaLou Art Consulting Online Gallery, Aginoros 10, Athens (2026)

10/09/2026

‼️ ΓΝΩΡΙΜΙΑ ΜΕ ΤΙΣ ΝΕΕΣ ΤΑΣΕΙΣ ΣΤΗΝ ΣΥΓΧΡΟΝΗ ΤΕΧΝΗ

📌 Πέμπτη,17 Σεπτεμβρίου, ώρα 19.00 -20.00
COCO-MAT, Λεωφόρος Συγγρού 155, Νέας Σμύρνη

👋 Στα πλαίσια της ομαδικής έκθεσης ‘’ ATMOSPHERES’’ στο φιλοξενούμενο χώρο του COCO-MAT η MaLou Art Consulting & Gallery οργανώνει ενημερωτικό σεμινάριο « Νέες μορφές ψηφιακής τέχνης» με τον Ιωάννη Σιέμο, digital artist,γραφίστα , εκπαιδευτικό.
🔆 Γεννημένος στην Αθήνα το 1981, ο Γιάννης Σιέμος – γνωστός ως Yianart – είναι ψηφιακός καλλιτέχνης και designer, με έργο που γεφυρώνει τη φαντασία και την τεχνολογία. Απόφοιτος με άριστα του VAKALO Art & Design College, με εξειδίκευση στο 3D Animation, το Web Design και την Ψηφιακή Τέχνη, δραστηριοποιείται επαγγελματικά ως freelancer από το 2005.
‼️ Η καλλιτεχνική του δραστηριότητα περιλαμβάνει ψηφιακές εκτυπώσεις, 3D visualization, φωτογραφία, multimedia και NFTs, αναδεικνύοντάς τον σε έναν πολυδιάστατο δημιουργό με διεθνή προσανατολισμό.
Πολλά από τα έργα και τα πρότζεκτ του έχουν διακριθεί τόσο στην Ελλάδα όσο και στο εξωτερικό, ενισχύοντας τη φήμη του ως οραματιστή δημιουργού στον χώρο της σύγχρονης ψηφιακής τέχνης.
📌 Παράλληλα με το δημιουργικό του έργο, ο Γιάννης δραστηριοποιείται και στον χώρο της εκπαίδευσης, διδάσκοντας σε προγράμματα design κορυφαίων εκπαιδευτικών ιδρυμάτων. Επιπλέον, συμμετέχει ως μέλος κριτικών επιτροπών σε διεθνή βραβεία σχεδιασμού NFT, συμβάλλοντας με την εμπειρία και την τεχνογνωσία του στην εξέλιξη της νέας γενιάς καλλιτεχνών και στη διαμόρφωση του διαρκώς εξελισσόμενου παγκόσμιου καλλιτεχνικού τοπίου.

06/09/2026

THE SMILE OF THE MONA LISA AND THE ARCHAIC SMILE

For quite some time, there is something that has quietly occupied my thoughts whenever I look at Leonardo da Vinci’s Mona Lisa.
Her smile reminds me — in a strange, almost inexplicable way — of the Archaic Smile of the ancient Greek kouroi of the 6th century BC.
Perhaps it is nothing more than a personal visual impression.
And yet, perhaps it is an impression worth lingering over.
The smile of the Mona Lisa is so delicate, so ambiguous, that we can never be entirely certain whether she is truly smiling at all.
The corners of her lips seem to rise by the smallest fraction. Her expression appears to retreat and return, changing subtly each time we look at her — as though the face itself were suspended somewhere between stillness and movement, between silence and speech.
Something strangely similar can be found in the faces of the ancient kouroi.
The Archaic Smile is that quiet, characteristic smile that appears on the lips of so many Archaic Greek statues.
It is not a smile of happiness, at least not in the sense in which we understand happiness today. It is something more enigmatic.
A calm and unwavering expression that seems to awaken the motionless stone — giving the face a peculiar sense of life, presence, and almost consciousness.
And perhaps this is where the real mystery begins.
There is no proven historical connection between the Archaic Smile and the smile of the Mona Lisa.
We cannot say that Leonardo created her expression with the ancient Greek Κouroi consciously in mind.
Leonardo lived during the Renaissance, an age in which the ancient world was being rediscovered, studied, admired, and brought back into the imagination of Europe.
And although we may never know whether there was any direct influence, another question seems worth asking:
Could it be that, across different centuries and different civilizations, artists were searching for the same elusive thing — a way to make a motionless face appear alive?
The ancient sculptor had a block of marble.
Leonardo had a flat wooden panel.
And both confronted something almost impossible:
to persuade the human eye that behind an unmoving surface, there is someone who is present.
The ancient sculptor achieves this through the smallest curve of the lips, through the cheeks, the eyes, and the solemn frontal stillness of the figure.
Leonardo achieves it through sfumato, through the gaze, through the subtle turning of the body, through transitions of light and shadow so delicate that they seem almost to disappear.
One speaks through stone. The other through paint.
And yet both seem to whisper the same secret: Stillness does not necessarily mean absence. Perhaps that is why these faces continue to disturb us.
They do not move. They do not speak. And yet, somehow, they seem to be there.
And perhaps this is where the great mystery lies.
The Archaic Smile is approximately 2,500 years old.
The smile of the Mona Lisa is approximately 500 years old.
Nearly two thousand years stand between them.
Two thousand years of history, of civilizations rising and falling, of languages Two thousand years of history, of civilizations rising and falling, of languages disappearing, of beliefs changing, of human beings being born, loving, suffering, and dying.
And still, across that immense distance, the two faces seem to reach us with something strangely familiar.
They can make us feel something that is difficult to put into words:
THAT THE FACE BEFORE US IS NOT DEAD, BUT PRESENT.
Perhaps, in the end, the Archaic Smile and the smile of the Mona Lisa are two different languages, spoken by two different worlds, separated by thousands of years —
and yet attempting to say the same thing.
Not I am happy. Not I am smiling.
But something much more ancient.
Something almost primordial.
A quiet declaration against the silence of stone and time:
“I AM HERE.”

02/09/2026

THE MONA LISA: AN ICON OF ENIGMATIC BEAUTY
History, Meaning, & Facts
Part 1
The painting Mona Lisa by Leonardo da Vinci is probably the most famous piece of art in the world. The Mona Lisa is more than just a painting; it’s a cultural phenomenon. Displayed in the Louvre Museum in Paris, it draws millions of visitors each year, all eager to catch a glimpse of that famous enigmatic smile. But what is it about this particular portrait that has captured our imaginations for centuries? Well, it’s a combination of factors, starting with Da Vinci’s revolutionary techniques. He used sfumato, a technique that involved subtly blending colors and softening lines, creating a hazy, almost dreamlike effect. This gave the Mona Lisa an incredible sense of depth and realism, making her appear almost alive. Notice the way the light plays across her face, the way her gaze seems to follow you, and the subtle shifts in her expression. It’s truly mesmerizing!
Leonardo’s skill in this painting particularly impressed the sixteenth-century painter and historian Vasari, who had the following to say about it:
‘’In this head, whoever wished to see how closely art could imitate nature, was able to comprehend it with ease; for in it were counterfeited all the minutenesses that with subtlety are able to be painted, seeing that the eyes had that lustre and watery sheen which are always seen in life, and around them were all those rosy and pearly tints, as well as the lashes, which cannot be represented without the greatest subtlety. The eyebrows, through his having shown the manner in which the hairs spring from the flesh, here more close and here more scanty, and curve according to the pores of the skin, could not be more natural. The nose, with its beautiful nostrils, rosy and tender, appeared to be alive. The mouth, with its opening, and with its ends united by the red of the lips to the flesh-tints of the face, seemed, in truth, to be not colours but flesh. In the pit of the throat, if one gazed upon it intently, could be seen the beating of the pulse. And, indeed, it may be said that it was painted in such a manner as to make every valiant craftsman, be he who he may, tremble and lose heart.’’
To be Continued

29/08/2026

‼️ LADY WITH AN ERMINE BY LEONARDO da VINCI
📌 Leonardo's Lady with an Ermine is one of the most important works in all of the Western art. An object of the greatest rarity, the Lady with an Ermine is a captivating image of exquisite elegance and reveals the artistic genius of Leonardo da Vinci's incomparable creative mind.
❤️ Leonardo da Vinci’s Lady with an Ermine (c. 1489–1491) is a portrait of Cecilia Gallerani, the teenage mistress of Ludovico Sforza, Duke of Milan. The painting is packed with hidden layers, visual puns, and political symbolism centered primarily on the titular animal.
‼️ The Hidden Meanings and Secrets
The Lover's Emblem: Ludovico Sforza was nicknamed "the white ermine" after being inducted into the prestigious Order of the Ermine. Holding the animal was a subtle, public way to link Cecilia to the Duke. A Clever Name Pun: The Greek word for ermine or weasel is galē, which serves as a clever phonetic pun on the sitter’s surname, Gallerani.
Symbol of Purity: Leonardo wrote in his personal notebooks that an ermine would rather die than soil its pristine white coat in the mud. Placing this ultimate symbol of chastity and moral purity in the arms of the Duke's mistress elevated her status and virtue.Sign of Pregnancy: Scientific analysis using advanced scanning shows that Leonardo painted the portrait in stages—first with no animal, then a small grey ermine, and finally a large white one. Art historians suggest the final large creature also symbolized fertility and protection during pregnancy, as Cecilia was carrying the Duke’s illegitimate child at the time.
📌 Advanced Technical Secrets:
✅ The Contrapposto Twist: Cecilia’s body turns left while her head turns right. This dynamic posture creates a realistic sense of sudden movement.
✅ The Sfumato Shadowing: Leonardo applied ultra-thin glaze layers. This blends colors seamlessly, softening the edges around her eyes and mouth.
✅ The Living Hand: He painted detailed tendons and knuckles. This makes her grip on the ermine look anatomically perfect and alive.
✅ Chiaroscuro Contrast: A strong light hits the subject from the right. This creates deep shadows on the left, making the figures look three-dimensional.

24/08/2026

ABOUT THE PORTRAIT GINEVRA DE BENCI BY LEONARDO da VINCI
Continuation of the story

A POSSIBLE LOVE STORY
The portrait may have been connected to Ginevra’s engagement to Luigi Niccolini in 1474. But there is another intriguing possibility.
The Venetian ambassador to Florence, Bernardo Bembo, was one of Ginevra’s admirers and a cultivated poet himself. The laurel and palm on the reverse were also associated with Bembo.
Even more fascinatingly, scientific examination revealed traces of Bembo’s motto, “Virtue and Honor,” beneath the inscription that we see today. This has led scholars to suggest that Bembo may have commissioned the reverse of the portrait—and possibly the portrait itself, although this remains unproven.
So hidden beneath the visible painting is another layer of history: poetry, admiration, friendship, and perhaps a Renaissance love story.

LEONARDO PAINTED MORE OF GINEVRA THAN WE SEE TODAY
The portrait we see today is incomplete.
At some point in its history, the wooden panel was cut down along the bottom. A surviving drawing by Leonardo suggests that the original composition included Ginevra’s hands resting at her waist.
She may also have been holding a small flower, possibly a dianthus, or pink, which in Renaissance portraiture could symbolize devotion or virtue.
This changes the way we imagine the original portrait. We are not looking at the complete Ginevra that Leonardo painted; we are looking at a fragment of her.
And yet Leonardo managed to give even this fragment an extraordinary sense of presence.

A PORTRAIT THAT TRAVELED ACROSS HISTORY

The painting eventually entered the collection of the Princes of Liechtenstein, where it remained for more than two centuries. In 1967, the National Gallery of Art in Washington, D.C., purchased it.
Ginevra flew to the US in a custom suitcase and a first-class seat

Today, Ginevra de’ Benci holds a special distinction: it is the only painting by Leonardo da Vinci in the Americas.

And there is something wonderfully poetic about its journey.

Ginevra began her life as a young Florentine woman, surrounded by Renaissance poetry, intellectual conversation, family expectations, and the possibility of marriage. Leonardo captured her at one particular moment—but somehow preserved something that feels larger than that moment.
She is not smiling for us.
She does not invite us in.
She simply looks out from the painting, calm and unreadable, as though she knows something that we do not.
Perhaps this is what makes Leonardo’s portrait so compelling.

He did not give us an answer to the mystery of Ginevra.
He gave us the mystery itself.

23/08/2026

THE FEMALE PORTRAITS OF LEONARDO da VINCI

Leonardo da Vinci is generally credited with three surviving portraits of women: Ginevra de’ Benci, Lady with an Ermine, and the Mona Lisa. A fourth work, La Belle Ferronnière, has traditionally been associated with Leonardo, although its attribution remains debated.
What makes Leonardo’s female portraits so extraordinary is not simply their beauty. Renaissance portraiture often placed great emphasis on appearance, status, clothing, and idealized beauty. Leonardo went further. He seemed fascinated by the mystery of the person behind the face—the emotions, intelligence, temperament, and inner life of his sitter.
In other words, he was interested not only in what a person looked like, but in what Leonardo himself called the “moti dell’animo” — the movements of the mind or soul.
This is particularly striking in Ginevra de’ Benci, one of Leonardo’s earliest surviving masterpieces.
GINEVRA DE’ BENCI
Leonardo painted Ginevra de’ Benci around 1474–1478, when he was still in his early twenties—approximately thirty years before he began the Mona Lisa. Ginevra was only about sixteen years old.
She was the daughter of a wealthy Florentine banker and belonged to an educated and privileged family. She was known not only for her beauty but also for her poetry and intellect, and she moved within the cultured literary circles of Renaissance Florence.
Leonardo presents her in remarkably simple clothing, without the elaborate display of wealth that we might expect from the portrait of a wealthy young woman. The effect is powerful: our attention is drawn toward her face and, above all, her enigmatic expression.
Her body turns slightly away from us, while her face turns back toward the viewer.
his three-quarter pose was innovative in Italian female portraiture, where women were more traditionally shown in profile. Leonardo allows us to meet Ginevra almost face to face.
And then there is her gaze.
Is she distant? Sad? Thoughtful? Reserved? Confident?
The National Gallery of Art points out that her expression can be interpreted in many ways—perhaps austere or remote, but equally perhaps confident, direct, or composed. That uncertainty is part of Leonardo's genius. He does not tell us exactly what Ginevra is thinking. He leaves her inner world partly inaccessible.
Leonardo himself believed that a successful face should express a state of mind.
Perhaps that is why, after more than five centuries, Ginevra still seems psychologically present.
THE JUNIPER AND THE SECRET ON THE BACK
There is another extraordinary detail that makes this portrait much more than a beautiful face.
Behind Ginevra is a large juniper bush. This is not simply a landscape element. In Italian, juniper is ginepro, creating a subtle visual play on Ginevra’s name.
The juniper also carried symbolic associations with virtue and chastity. Leonardo therefore transforms a botanical detail into part of Ginevra’s identity.
But the real surprise is that the painting is double-sided.
On the reverse, Leonardo painted a wreath of laurel, palm, and juniper, together with a Latin inscription:
“Virtutem forma decorat” — “Beauty adorns virtue.”
The juniper refers to Ginevra herself; the laurel and palm symbolize intellectual and moral virtue. The reverse therefore becomes an emblematic portrait: the front shows her physical presence, while the back tells us something about her character.
It is almost as though Leonardo painted two portraits of the same woman—one of her face, and one of her inner qualities.
To be continued

16/08/2026

VERY INTERESTING STORY!!!
LOST, FOUND And Lost Again...?
‼️ Salvator Mundi, painting attributed to Leonardo da Vinci
Britannika
🫨 Salvator Mundi, painting attributed to Leonardo da Vinci that was completed about 1500. It became the most expensive work of art ever sold when it was auctioned at Christie’s, New York, on November 15, 2017, for $450.3 million. The unprecedented sum for a heavily restored painting with questionable attribution made the Salvator Mundi, arguably, the most controversial painting of the 21st century.
🔴 The painting depicts Christ as the Savior of the World. He is shown in Renaissance dress, with two fingers extended as he gives a benediction. In his left hand, he holds a crystal orb, which represents the crystalline sphere of the heavens, alluding to his role as master of the cosmos.
Two New York dealers—Robert Simon and Alex Parish—purchased the Salvator Mundi in 2005 from a small auction in New Orleans. At the time, they did not recognize the work as a painting by Leonardo da Vinci. The piece was in poor shape. It had been inadequately restored and heavily overpainted. Moreover, its wood support had been infested with worms. The dealers took the work to renowned art restorer Dianne Modestini, who oversaw the support’s reconstruction and then stripped the overpainting and filled in missing parts. During the painting’s restoration, Modestini and its purchasers became convinced the work was by Leonardo da Vinci. The painting was subjected to years of research and analysis before it was included as a lost original in a Leonardo exhibition at London’s National Gallery in 2011.
📌 Curators and scholars defended the decision, citing the use of sfumato, the reflection in the orb, the styling of the drapery, and the careful rendering of Christ’s curly hair as matching the Renaissance master’s technique. Nonetheless, there was not a consensus among Leonardo experts, and critics said that extensive restoration had made the quality of the original hard to assess. The painting’s provenance is equally obscure, because the work disappeared from records between 1763 and 1900. This gap, and the painting’s condition, has led to speculation that Salvator Mundi may be the work of one of Leonardo’s pupils.

‼️ Despite the painting’s flaws, it broke all auction records when it was sold in 2017. It was likely purchased by the crown prince of Saudi Arabia, Mohammed bin Salman, via a proxy. The painting has not been seen publicly since the sale, and as of 2022 its whereabouts remained unknown.

15/08/2026

‼️ FEOFAN GREK 1340 - 1410

💥 Theophanes the Greek (Russian: Феофан Грек, romanized: Feofan Grek; Greek: Θεοφάνης; c. 1330/1340 – c. 1410) was a Byzantine Greek artist, active mainly in Russia.

❤️ He greatly influenced the style of painting in Novgorod and Moscow in the 15th century. He is also known as being the teacher and mentor of Andrei Rublev, the greatest Russian icon painter of his time.

📌 Theophanes was from Constantinople, the capital of the Byzantine Empire. According to a letter by Epiphanius the Wise, Theophanes painted churches in Constantinople, Chalcedon, Galata and Kaffa before moving to Russia. He moved to Novgorod in 1370. Early records mention several fresco cycles by him, but only a portion of one remains, located in the Church of the Transfiguration in Novgorod (1378). The surviving fragment stands as one of the finest examples of medieval Russian art and showcases his unique version of the Byzantine style that he brought to Russia.

❤️ Theophanes was described by the Muscovites as "learned in philosophy", a reflection on his broad education and erudition. A hint of this might be gathered from his panel icon of the Transfiguration of Jesus, where the arresting geometry and brilliance of the figure of Christ is balanced against the ordered disarray of the earthbound Apostles, strewn about doll-like in the uncreated Light of Mount Tabor. The balance of mathematical harmony in line and shape, wed to a master's use of an earth tone palette and precious gold leaf, evokes a spirituality that is immensely powerful, and speaks to the genius of this relatively unknown painter.

❤️ Transfiguration of Jesus,Dormition of the Theotokos Our Lady of the Don, Jesus , John the Baptist from Deesis Tier, Iconostasis from the Cathedral of the Annunciation in the Moscow, Kremlin, The Cathedral of the Annunciation in the Moscow, Kremlin,

14/08/2026

‼️ The Dormition of the Virgin Mary by Doménikos Theotokópoulos (El Greco)

📌 The icon depicting the Dormition of the Virgin Mary in the Church of the Dormition of the Virgin Mary in Ermoupoli, Syros, is a work by Doménikos Theotokópoulos, created toward the end of the period when he was still living in Crete, probably before 1567.

👋 It was identified as a work by Theotokópoulos in 1983, when the archaeologist Georgios Mastoropoulos visited the church during his vacation to pay his respects. The painting, which had been discovered buried in the churchyard, caught his attention. As the painter’s name was obscured by dirt, he sought to clean it, revealing—at the lower center of the icon—the painter’s signature: “DOMENIKOS THEOTOKOPOULOS HO DEIXAS” (“Doménikos Theotokópoulos, the creator”).

‼️ The icon is still housed in the Church of the Dormition of the Virgin Mary in Ermoupoli. According to the prevailing view, it was brought there during the period of the Greek War of Independence by inhabitants of Psara who fled to Syros following the destruction of Psara. They built the church between 1826 and 1829, and it subsequently became known as the Church of the Psarians.

09/08/2026

📌 A Polish Royal Family Saved It Once (And Lost It Once)

❤️ Leonardo’s ‘Lady With an Ermine’ Is a Riddle of Love and Power

‼️ The Lady with an Ermine is a portrait painting by the Italian Renaissance artist Leonardo da Vinci. Dated to c. 1489–1491, the work is painted in oils on a panel of walnut wood. Its subject is Cecilia Gallerani, a mistress of Ludovico Sforza ("Il Moro"), Duke of Milan; Leonardo was painter to the Sforza court in Milan at the time of its ex*****on. It is the second of only four surviving portraits of women painted by Leonardo, the others being Ginevra de' Benci, La Belle Ferronnière and the Mona Lisa.
‼️ How Lady with an Ermine changed hands upon leaving Gallerani’s chambers after her death is unknown, but Polish prince 📌 Adam Jerzy Czartoryski bought it around 1800 and gifted it to his mother Izabela Czartoryska, who was working on creating the first museum in Poland (which later became the National Museum in Kraków). (The circumstances of the sale are vague, without provenance to go on.) When Izabela wrote about the painting for her museum, in 1809, she wrongfully identified Gallerani as the mistress of French King Francis I. “She was called La Belle Ferronnière, and was believed to be the wife of an ironmonger,” wrote the princess. “Others state that her husband was the patron.” This erroneous identification of the sitter wasn’t rectified until the 20th century.

📌 The portrait stayed in Poland until the 1830s when Prince Czartoryski went into exile after leading an uprising against Russia. He took it with him to the Hôtel Lambert in Paris, and it remained there until the family returned to Poland in the 1870s. Shortly after, in 1878, the painting was exhibited to the public with the opening of the Czartoryski collection.

📌 The royal family wasn’t able to protect the Lady with an Ermine a second time, though, ‼️ and it was taken by N**i forces (along with other works from the Czartoryski collection) when Germany occupied Poland during World War II. The portrait was briefly exhibited at the Kaiser-Friedrich Museum in Berlin and then taken by Hans Frank, N**i Governor-General of occupied Poland and Adolph Hitler’s personal lawyer. Frank hung it in his office in the Wawel Castle of Kraków for a year.

‼️ When World War II ended, the painting was returned to the National Museum (which, by that time, had absorbed the Czartoryski Museum).
When the Berlin Wall fell in 1991, the Czartoryski family regained rights to its art and some of its property and ultimately decided to sell the entire priceless collection ‼️ (including Lady With an Ermine) to the Polish government for a sum of €100 million—significantly below its market value—as a gift to the people of Poland.

MaLou Art Consulting Online Gallery

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