Painters from Crete remained very active in many regions well into the eighteenth century. They did not limit their work to Crete alone but travelled widely and worked in places such as the Peloponnese and Epirus. Their icons were also exported to several important religious and cultural centres, including the islands of Cyprus, Chios, and Patmos, and even to the Monastery of Sinai. This wide distribution shows that Cretan icon painters were highly respected and their works were in strong demand across the Orthodox world Cultural Patrons and Their Influence on Art.
From as early as the sixteenth century, monasteries showed a clear preference for the works of Cretan painters. Monastic communities supported their production by commissioning icons for churches, chapels, and private devotion. This patronage helped maintain artistic continuity and preserved traditional icon painting techniques. The monasteries also functioned as important cultural centres, where artistic traditions were protected and passed down to future generations.
Emergence of New Artistic Centres in the Aegean
From the seventeenth century onwards, new artistic centres began to appear on various Aegean islands. Many of these centres were founded by artists who originally came from Crete. As these painters settled in new locations, they established local workshops and trained new artists. In this way, the artistic influence of Crete spread beyond its geographical borders.
Examples of such artists include Anthonios Skordilis, who was active on the islands of Milos, Seriphos, and Siphnos, and Chrystodoulos, who worked on Mykonos. These artists contributed to the development of local icon painting traditions while still maintaining strong connections to the Cretan artistic heritage. Their work demonstrates how artistic migration played a major role in shaping regional styles during the post-Byzantine period Walking Tours Ephesus.
Regional Characteristics in Eighteenth and Nineteenth Century Icon Painting
In general, icon painting during the late eighteenth and nineteenth centuries shows a strong regional character. Local traditions, materials, and cultural influences shaped the style of the icons produced in different areas. However, despite these regional differences, many works still reflected a clear “Byzantinising” tendency. This means that artists continued to follow traditional Byzantine models in composition, iconography, and religious symbolism.
During the second half of the eighteenth century, the number of icon painters increased significantly, especially in regions such as Macedonia and Epirus. These areas became important centres of artistic production. The rise in the number of painters was connected to growing religious needs, local patronage, and the continued importance of church decoration.
Travelling Workshops and Family-Based Artistic Groups
Another important feature of this period was the organisation of painters into small travelling groups or workshops. Many of these painters were related by family ties or came from the same villages or regions. Because of their shared background, their artworks often displayed similar stylistic features and a distinct local or rural character.
These travelling companies moved from one town to another, accepting commissions for churches, monasteries, and private clients. Their mobility allowed artistic styles and techniques to spread across wide geographical areas. At the same time, they adapted their work to local tastes and traditions, creating a balance between continuity and change.
Overall, the development of icon painting in the eighteenth and nineteenth centuries reflects both stability and transformation. While artists preserved traditional Byzantine elements, they also responded to new regional influences, patron demands, and changing social conditions. This combination of tradition and adaptation ensured the survival of icon painting as a living artistic practice in the post-Byzantine world.
