A Synchrotron is one of several types of particle accelerators, speeding up electrons, protons, and various other subatomic particles along a cyclical path. The powerful machine serves as a circular speedway with a synchronized magnetic field, emitting high energy X-rays that allow researchers to render details at atomic and molecular levels—all of which would be impossible to view with more ordinary scientific tools and techniques.
This formidable concept of capturing the unseen lies at the core of Charles Brooks’ work, as he photographs the small but vast interiors of musical—and most recently scientific—instruments.
“Geminhardt Elkhardt Alto Flute”
Continuing his Architecture in Music series, one of the photographer’s latest highlights has been working with a 1717 Stradivarius violin. Describing the stringed subject as one of the most extraordinary instruments he’s captured so far, he shares, “it was a rare opportunity, and photographing it was both an honor and one of the most nerve-wracking shoots I’ve undertaken.”
The photographer’s recent exploration of the Australian Synchrotron may foreshadow an exciting shift into a new realm of instruments. In the meantime, you can find more on Brooks’ website and Instagram.
Gallery Tour—We Live in Painting: The Nature of Color in Mesoamerican Art
jascencio
Mon, 04/28/2025 – 15:05
Join a LACMA for a gallery tour of We Live in Painting: The Nature of Color in Mesoamerican Art.
Mesoamerican artists held a cosmic responsibility: as they adorned the surfaces of buildings, clay vessels, textiles, bark-paper pages, and sculptures with color, they (quite literally) made the world. The power of color emerged from the materiality of its pigments, the skilled hands that crafted it, and the communities whose knowledge imbued it with meaning. Color mapped the very order of the cosmos, of time and space. By engineering and deploying color, artists wielded the power of cosmic creation in their hands. We Live in Painting: The Nature of Color in Mesoamerican Art explores the science, art, and cosmology of color in Mesoamerica. Histories of colonialism and industrialization in the “color-averse” West have minimized the deep significance of color in the Indigenous Americas. This exhibition follows two interconnected lines of inquiry—technical and material analyses, and Indigenous conceptions of art and image—to reach the full richness of color at the core of Mesoamerican worldviews.
Please be aware that these tours are volunteer-led and subject to cancellation. Ask a member of our team on the day for details.
All education and outreach programs at LACMA are underwritten by the LACMA Education Fund and are supported in part by the Judy and Bernard Briskin Family Foundation, The Rosalinde and Arthur Gilbert Foundation, the William Randolph Hearst Endowment Fund for Arts Education, Alfred E. Mann Charities, The Ralph M. Parsons Foundation, Gloria Ricci Lothrop, the Flora L. Thornton Foundation, U.S. Bank, and The Yabuki Family Foundation.
If you are like me, an artist and content creator, you produce a large amount of content. Shooting films, artwork, studio, and events takes a lot of time and investment. This creates a need for the safekeeping of your videos and other digital files. Storing everything on your computer might not work well because of space limitation. The files may get corrupted or deleted by accident. Moreover, the digitization of the video introduces another problem – complex cyberattacks. It’s heartbreaking to lose the entire content in seconds due to it. So it’s important to find and keep a safe and reliable place to permanently store the backups of your files. Here’s how to do that.
Choosing the right multimedia backup storage solution
Multimedia data takes lots of space and the storage tools may differ. First, consider the initial platform you’re using. For example, if you are a MacBook user, you can connect your Mac to iCloud for automated backups. Here are several options to do this:
you may sync the computer to another Mac to transfer data to it.
you may transfer the videos to an external hard disk that you can connect to your computer to transfer the files manually.
you can also buy storage space from other cloud-based solutions and do automatic backups.
Other strategies about how to backup Mac include saving your files in email.
If you’re a PC user like me, you can back up your files to a cloud platform like Google drive or Dropbox. You have to buy storage space there to keep large files on their cloud.
Backups & security
Both high-resolution digital files of art and video take a lot of space. If you produce your video content daily and want to keep it safe, you have to use a backup platform that offers reliable storage space and strong security defenses against the cyberattacks. The chosen platform should allow you to add your own layer of security and optional upgrades. Choose a strategy based on the following.
● Technology available. Choose a program that runs on the latest technology to benefit from the latest security features and upgrade plans.
● Location of the solution. Is it in the cloud, data lakes, remote servers, or local disks?
● Backup types. Some solutions allow full, differential or incremental storage backups.
● Encryption and recovery needs. Encryption boosts your data safety. Pick a platform that lets you recover your data easily.
Organizing your videos for backups
Due to the increasing volume of digital files produced, you must set up and maintain an organized file system. This saves you time whenever you need to locate, share, or edit your files. Have separate file folders with names and dates for easy access. For example, I have a big ‘art’ folder that’s subdivided into many smaller folders like ‘Art 2018.’ Or you may want to organize the folders with the names based on location, like ‘Greece 2018,’ etc. I also delete my so-so files and keep the best ones only for better organization and future use.
Creating automated backups
An automated backup relies on a program to run the processes that allows a fast recovery of files. Automation saves you time, cuts on stress and minimizes errors. It ensures consistent protection and progress of your videography work.
Choosing the right backup systems
The backup platforms have different pricing, storage space, and support. Here are examples of video backup systems that you may choose for your art studio or office.
Hardware
This storage relies on hardware located locally or remotely. You may buy an external hard disk that looks like a black box to use it at home. For that, you can buy a Desktop external hard drive with a different capacity levels that’s between 8-24 TB (terabytes of memory space). Price varies depending on size anywhere between $145-600+ You plug it in to your computer with a USB cable and transfer the files for backup or storage. The Desktop Hub and Expansion External Hard Drive work in similar fashion. You can keep these hard disks in your studio for easy access.
You may also connect your computer with either a local or remote desktop server as a backup system that you can buy and set up at home or studio. You can set it up to make automated backup of either all files or specific folders from your main computer.
You can also use a large 128GB-512GB Extreme PRO SDXC Memory Card that you normally use for your digital camera. It holds quite a lot of video and digital images. However, these cards can become unreadable in a few years or a specific file can get corrupted because of various reasons.
The problem with all hardware is that it fails at times. Solar flares or other problems can cause permanent file corruption. I had a folder with my files shot in Nicaragua. A vast majority of them became unreadable because something happened to the hard disk on my computer and affected that particular folder in ten years after my trip. That’s why it’s best to store the most important files using a cloud-based service.
SaaS
Application-based, SaaS (software as a service) models let you use storage space based on demand. It allows you access art and video editing apps online. You don’t need to download anything or configure complex software. SaaS is a good option for people who work collaboratively because of a quick and easy access and system integration.
Conclusion
Your choice of storage should be based on the amount of data you produce and want to keep safe. Backups enhance data security for video artists. Consider the number of videos you produce monthly. Consolidate your visual files and segment them for easy data storage. Choose the backup platform that’s secure, scalable, and affordable.
Paper overflows in every art room—giant sheets, colorful scraps, old artwork, specialty textures, drawing paper, and more. It multiplies overnight where it doesn’t belong and vanishes when you need it for a lesson. Organize paper and get ahead of the clutter with simple systems that empower students, run themselves, and reduce waste.
Let’s take a peek at easy systems to organize paper in your art room!
Add specific and detailed labels.
Paper storage doesn’t need to be elaborate or expensive—it just needs to be clear. The most effective systems are so intuitive that students don’t have to ask what goes where. This starts with bold, direct labeling. Instead of writing “Drawing Paper,” try specific labels like “Scraps: Use Me First!” or “9×12 Black Construction Paper.”
Here are three small shifts that make a big difference:
Keep common paper accessible with open shelving and open bins.
Pair scrap bins with fresh paper to encourage reuse.
Add images to your labels to assist younger artists and multilingual learners.
Create an intentional scrap bin.
Scrap paper is both a blessing and a burden. When left unmanaged, it turns into a mess of torn bits, weird sizes, and frustration. But with the right setup, scraps can become creative gold.
Make a “Use Me First!” scrap bin right next to the fresh paper station. This subtle placement reminds students to check it out before grabbing new materials. If you have space, sort scraps by color scheme or material type using clear plastic drawers, a spread of baskets, or a hanging over-the-door pocket organizer.
Here’s how to encourage your students to use the scrap bin:
Reward creativity that comes from reuse.
Challenge students to use a certain number of scraps in an artwork.
Create a “Scrap Challenge Day” where everyone transforms scraps into masterpieces.
Introduce a collage unit.
Try envelopes for small “next time” scraps.
Speaking of scraps, what about those scraps students claimed for their art project but didn’t have a chance to use yet? At the beginning of the year, give students an envelope with a metal clasp to glue into the inside cover of their sketchbooks. This is the perfect spot to store paper scraps like small collage pieces they want to save for next time! Plus, the clasp allows students to close it securely so items don’t fall out.
Use vertical space for large paper.
Large paper is especially tricky if you don’t have flat files. It’s often too floppy to stack, too wide to fit in regular drawers, and too precious to crumple. If you’re comfortable rolling paper, store rolls in tall laundry hampers or gift wrap bins. Many of these items also have wheels, which is handy because paper can get quite heavy!
For specialty paper you don’t use often, keep it in the cardboard packaging it came in. Label the edge of the box and slide it into a vertical space, such as between cabinets. If you have a variety of specialty papers, keep them neatly stacked with binder clips or paper clips on each side. Put them into a large portfolio, label the portfolio, and slide it into a vertical space.
Sort flat files with trays and bright labels.
Flat files are a dream if you have one, and a black hole when they get clogged. Assign a weekly “Paper Captain” to organize the papers. Giving students this responsibility encourages studio ownership and waste reduction.
If you are storing smaller papers in a large flat file, use drawer organizers such as expandable dividers or paper trays to keep everything sorted and contained. If you’re storing larger papers, use binder clips or paper clips on multiple edges with large, bright labels. The labels can be as simple as a piece of fluorescent construction paper folded in half around a stack of watercolor paper that says in marker, “9×12 120 lb Watercolor Paper.” This way, when large stacks slide around, you can easily find the label and what you need!
Repurpose kitchen items for your art on a cart.
If you’re teaching in multiple rooms or need flexibility, rolling carts can be a lifesaver—but only if they’re well-organized. Try expandable racks to keep wet papers separated and baking trays for pre-cut papers, just like in the video below!
Here are some other kitchen hacks to organize paper:
Use a metal bakeware organizer to stack fresh paper or completed projects.
Organize papers in hanging file folders in a plastic file box.
Keep small papers in accordion folders.
Grab cardboard or plastic magazine file holders to contain paper.
Glue labeled samples of each kind of paper to a clipboard for students to reference, so they don’t dig through your cart.
Throw small scraps in clear gallon storage bags and clip or hook them onto your cart.
Implement the “One Sheet Rule.”
One of the fastest ways to run out of paper is letting students take as much as they want and start over as many times as they want. Give each student one sheet of paper and put away the rest. If they “mess up,” encourage them to embrace imperfection and figure out a way to incorporate the “mistake” into the final art. Introduce this policy at the beginning of the year to build a culture of creative problem solving!
To support sustainability and creative thinking, keep an “Oops Box” nearby. This is where slightly damaged paper can live another life as collage material, texture sheets, or sketchbook covers.
When your paper system works, you feel it. The art room flows better, students know where things go, and everyone respects paper instead of wasting or forgetting it. Best of all, you’re no longer spending precious prep time digging and sorting through paper instead of planning the next exciting project. Let’s spend more time making with paper and less time managing it!
What’s the best paper organization system you use in your art room?
Share a hack for keeping paper scraps tidy!
To chat about how to organize paper with other art teachers, join us in The Art of Ed Community!
Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.
A stunning collection of photos by Persian artist and photographer Khashayar Javanmardi. Javanmardi studied architecture at Guilan University of Art and Architecture in Iran then moved to Denmark and graduated in photojournalism from Danish Media and Journalism School in 2021. While he is now based in Lausanne, Switzerland, Javanmardi grew up on the shores of the Caspian Sea—a body of water surrounded by Iran on the South, Russia on the North, Azerbaijan to the West, and Turkmenistan and Kazakhstan on the East. The Caspian Sea sees approximately 122,000 tons of pollutants from the coastal states enter the marine environment every year.
Having witnessed the effects of unregulated exploitation, pollution, overfishing, and climate change first hand, Javanmardi’s ongoing project captures the environmental crisis and the lives of local inhabitants whose existence becomes smaller and poorer as the once-abundant resource diminishes. Javanmardi’s documentary approach is both observational and a form of activism, as it speaks to the urgency of our current environmental moment.
The project has been released as a photo book. Caspian: A Southern Reflection is available now via Loose Joints Publishing.
Greek Sphinx figure is riveting. Whenever I see its beautiful wings and lion’s paws, it puzzles and inspires me to create. The sphinxes look mystical, enigmatic and surreal. When I went to Greece I revived my interest in this art symbol. I’ve found that the Greek sphinxes are different from the Egyptian ones. Moreover, the Greek art has some near east influences as a similar bird-the griffin- shows up in the archeology of Greece. Let’s discover their history together to understand how ancient cultures developed, mixed and created art with various meaning and symbolism.
Sphinx from Spata, a stele crown, 570-550 BCE, this is a copy of the original displayed in the Athens National Museum. This copy is on view at the airport in Athens.
The enigmatic world of Greek sphinx: its history & artistic influences
Both griffins and sphinxes are mythical creatures that show up in the archeological museums in Greece. The Greek sphinx figure shape seems to be a combination of the Near East griffin and the Egyptian sphynx visually.
1. The Griffins of Greece
The griffin originated in the Near East and got adopted by the Greeks in art. Griffins are frequently shown as protectors or guardians. They might be flanking entrances or royal figures.
Golden figure of a griffin, Delphi archeological museum, Greece, photo: Veronica Winters.
SHAPE:The griffin has the body of a lion (sometimes winged) and the head and wings of an eagle. The griffins have a powerful stance and curled tongues.
Panel with a griffin, Byzantine art of 1250, marble, at the Met | Made for Christian use, the panel shows the mythical griffins as guardian figures of the dead, and symbols of power and authority. The panel probably comes from a tomb. According to the Met, griffins may have meant both to protect the people buried within the tomb and to symbolize their royalty status. The fleurs-de-lis on the griffin’s shoulder and haunch typify the era’s complex cultural interplay, as similar motifs are found in contemporary Islamic and Crusader depictions of animals. https://www.metmuseum.org/art/collection/search/472849Griffin figures in KnossosPalace, Crete, Greece, photo: Veronica Winters. | The fresco of high-relief Griffins tethered to columns decorated the “Great East Hall” of the palace of Knossos. The decoration of the hall also included religious emblems and representations in relief of boxing and bull-leaping games. According to Arthur Evans, this hall, located next to the “Grand Staircase”, was used for official ceremonies by the palace rulers. Knossos Palace, Neopalatial period (1600-1450 BC). Griffins in Knossos don’t look menacing, rather they appear decorative and kind.Examples of the bronze heads of griffins, Delphi archeological museum, Greece, photo: Veronica Winters.Bronze head of a griffin, Olympia, Greece, third quarter of the 7th century BCE, the Met. http://www.metmuseum.org/art/collection/search/255367 . According to the museum’s description, bronze cauldrons were set on tripods or conical stands. Cast in bronze, griffins’ heads decorated the cauldron rims that stood in Greek sanctuaries between 8-6th centuries B.C. Some of the cauldrons were colossal as Herodotus mentions the giant cauldron made for King Kroisos of Lydia that could hold 2,700 gallons. Over six hundred similar griffins exist nowadays, with most of them found at the sanctuary of Zeus at Olympia and at one of Hera on Samos.I took this picture at the archeological museum in Delphi. It looks like a demonic sphinx figure, although it could also be a griffin or a fleeing gorgon. The facial expression and multiple hands remind me of the Indian gods as well. There were several golden plaques like this one in the museum, showing these demonic creatures. Mythological creatures like gorgons and sphinxes often functioned as apotropaic images (had the power to avert evil or bad luck) that protected the grave.
2. The Egyptian Sphinxes
The Sphinx of Tanis, Louvre, photo: Veronica WintersThis is the Egyptian statue of a lion I saw displayed in the Vatican museums. photo: Veronica Winters
SHAPE: The Egyptian sphinx is a creature with a lion’s body and a human (male) head. The Egyptian sphinx typically possesses a pharaoh’s face, blurring the lines between the human and the divine to symbolize the enduring power of the ruler. Egyptian sphinxes had no bird features and were associated with protection and power.
The Sphinx of Tanis, 2620-1866 , the Louvre, Département des Antiquités égyptiennes, A 23 – https://collections.louvre.fr/ark:/53355/cl010010062 – https://collections.louvre.fr/CGUThe Sphinx of Tanis, 2620-1866, Height: 183 cm; Length: 480cm; Width: 154 cm, pink granite, place of discovery: Tanis, currently displayed in the Louvre. Sphinx de Tanis, du Louvre, Département des Antiquités égyptiennes, A 23 – https://collections.louvre.fr/ark:/53355/cl010010062 – https://collections.louvre.fr/CGU
These figures served as guardians of the dead, often flanking tombs or standing watch at temples. Over time, the sphinx evolved as a concept, with variations featuring the head of a ram or a falcon depending on the specific deity being honored. Egyptian sphinxes were primarily crafted from limestone but granite was also used to carve detailed figures.
Sphinx of Hatshepsut, New Kingdom, 1479–1458 B.C. the Met, NY. It was one of at least six granite sphinxes that stood in Hatshepsut’s mortuary temple at Deir el-Bahri. http://www.metmuseum.org/art/collection/search/544442Seals found in Knossos palace, Crete, photo: Veronica Winters. SEALS: Egyptian scarabs and seals with scenes rendered in the typical naturalistic style of the Neo palatial and Final Palatial periods (1650-1350 BC). Many scenes with animals like wild goats, bulls, lions and caprids were popular depictions of the natural world. A distinctive example is the rare gold seal depicting a barking guard dog sitting on a garden enclosure. The seals’ craftsmanship reaches technical and aesthetic perfection. Artists used semiprecious stones- sard, cornelian, agate, amethyst, jasper, rock crystal, hematite, sardonyx, chalcedony, lapis and bronze tools – small chisels, burins, drills and polishing materials. The hole was made before the final engraving. Many tools, raw materials, unfinished, broken seals and processing debris of the seal-carvers’ workshops have been found at Poros, the harbor-town of Knossos.These are various Greek figures created in the Egyptian style I saw in Greece. Look at the awkward anatomy of these figures. It seems to me that the Greeks were inspired by the Egyptian art but learning the human anatomy and proportion took time to master. From left to right: Egyptian-style figures (Athens); Archaic period figures, 7th century BC (Heraklion, Crete), Egyptian-style figure (Eleusis), and the 6th-century BC statues displayed in Delphi from the temple of Apollo. By looking at these sculptures as an example we can say that the ancient Greek art was strongly influenced by the Egyptian art.
3. The Assyrian Sphinxes
These are the examples of the Assyrian sphinxes I found on the website of the Metropolitan Museum of Art. Although they have the sphinx shape, their heads can vary.
Openwork furniture plaque with a striding ram-headed sphinx, Assyrian, 9 BCE, the Met. NY. http://www.metmuseum.org/art/collection/search/325666Plaque with a striding sphinx, Assyrian, 8 BCE, the Met, NYThe British Museum, London. Photo: V.WintersGolden Bracelet with the image of winged griffin, The British Museum, London. Photo: V.WintersThese art instruction books are on sale on Amazon!
The Greek Sphinx emerges: history & symbolism
SHAPE: The sphinx was a mythical being with the body of a lion, the wings of an eagle, and the head of a woman. Some could have a long tail. Sphinxes are depicted in a seated position, often with a strange smile and facial features resembling ancient near eastern art.
The Greeks adapted the sphinx concept (guardians of the dead) from Egypt through trade and cultural contacts. Greek sphinxes appeared before the 12th century BCE. After a hiatus of about 400 years, the sphinx reappeared in Greek art around the 8th century BCE. It appeared on coins, pottery, and funerary monuments as grave stelai.
Grave Stele
GRAVE STELE or STELAI, 600-500 BC. Greece. Photo: Veronica Winters. Below you’ll find a museum’s description that I’ve adapted for better reading experience in English.
Funerary monuments appeared on the graves of important people starting from the Mycenaean period. Such example is the discovery of the stelai in the Grave Circle A at Mycenae, Greece. There is little information available on the early Geometric period in Greece based on today’s research. There’s more archeological information available dating from the late Geometric period. The excavations in Attica region (Athens) revealed the findings of large vases, amphoras and crates that depicted the mourning scenes and other epiphora of the dead that functioned as the funerary monuments. Grave marks were small, plain stones during that time period.
From the end of the 7th century B.C. the tombs got marked with a monumental stele, which was either incised, painted or done in relief. The early grave markers were tall and narrow. One side of it represented the deceased. They were crowned by a finial in the shape of a concave molding, influenced by the Egyptian art. In the first quarter of the 6th century BC, the finial was low. Later, it became taller and more elaborate with incised or relief decorations with leaves, rosettes, guilloche, lotuses and rare human figures. The finial toped the demonic figure of a sphinx, the guardian of a tomb. Around 550 BC, the form of the finial becomes even more elaborate with double volutes that assume the shape of an inverted lyre. The Sphinx remains the principal element of the crowning. This stele type dominates Greece until about 525BC.
Around 530 B.C, the overall form of the stele changes again. It becomes lower and narrower, and the Sphinx usually placed on the finial gets replaced by two single or double volutes with the Anthemion (design consisting of a number of radiating petals), influenced by the Ionian and Egyptian art. Many of these grave markers had a painted decoration representing the deceased and various animals like horses, roosters, dogs, etc. The name of the dead appeared written in the possessive case at the bottom of the stele or on its base.
The largest and most important group of the Archaic funerary steles comes from Attica with representations of athletes and warriors. It’s rare to find other figures depicted on steles. Besides Attica, other places manufactured the grave markers in Greece. The grave steles were smaller found in the Aegean islands and Ionia. In the 6th century, they were also crowned with the anthemion and showed various figures, such as the youth, young women, children or elderly men. The islands, lonia and other areas of Greece produced grave steles without interruption. In Attica, however, the production of funerary stones ceases around 6th century BC. Possibly after a prohibition by Kleisthenes aiming at curtailing the use of luxurious memorials. The reintroduction of the funerary monuments in Athens takes place during the Peloponnesian War around 430-420 BC.
Marble grave stele of Antigenes with a painted figure (not incised or done in relief), 6th century BC, the MetMarble stele, grave marker of a hoplite foot soldier, 525 BCE, the Met
The Anthemion shape
These are the examples of the Anthemion shape flower I found in several archeological museums of Greece. These vases and other fragments vary in dates.Marble stele (grave marker) with a youth and little girl, and a capital and finial in the form of a sphinx, Greek, Attic, ca. 530 BCE, the MET. 13 feet high. “The youth on the shaft is shown as an athlete, with an aryballos (oil flask) suspended from his wrist. Athletics were an important part of every boy’s education, and oil was used as a cleanser after exercise. He holds a pomegranate—a fruit associated with both fecundity and death in Greek myths—perhaps indicating that he had reached puberty before his death. The little girl, presumably a younger sister, holds a flower. The sphinx crowned a funerary stele as a symbolic protector for the deceased Megakles from the powerful clan of the Alkmeonidai.” The monument stood in Attica (the region around Athens) where people could see it from a great distance. http://www.metmuseum.org/art/collection/search/248500Marble stele (grave marker) with finial in the form of a sphinx, Greek, Attic, ca. 530 BCE, the Met, NY.ATTIC FUNERARY MONUMENTS
The reappearance of private funerary monuments in Attica in the first decade of the Peloponnesian War (431-404 BC), after a long hiatus that began with the prohibitive law of Kleisthenes, is associated with the destructive effect of the plague that broke out in Athens in the beginning of the great war with Sparta. Full of fear and sorrow, the Athenians cremated their dead in masses, in an attempt to limit the fast spreading of the plague that lasted until 425 BC. Perikles himself was among the victims of the deadly illness. The political and economic upheaval brought about by the war and the concomitant changes in the population’s moral and religious beliefs as a result of the plague strengthened the conservative powers, which succeeded in restoring the ancient custom of erecting private memorials. This practice lasted until 317 or 307 BC, when the erection of luxurious funerary monuments ceased again, after a law issued by Demetrius of Phaleron. In contrast to the Archaic period, in the Classical period statues are uncommon as funerary monuments. Their place is taken by grave stelai and marble funerary vases. The form and decoration of funerary monuments varies according to the sex, age, social class and origin of the dead. Towards the end of the fifth century BC, grave reliefs adorn primarily the graves of women, youths and children. On the contrary, memorials for male citizens are mostly plain; they give emphasis on the personal name of the dead, the name of their father as well as that of their deme of origin, which indicates their civil rights. Memorials for foreigners record their personal and ethnic names, whereas those for slaves provide only their personal name. In the numerous cemeteries of the city and the coastal and inland demes of Attica, the large grave plots of prominent families point to the importance acquired in this period by the family a fact also indicated by contemporary drama. The center of the plot is occupied by a tall stele crowned by an anthemion and decorated only with rosettes. The stele lists the names of the family dead in succession and is framed by other monuments -stelai, gravestones in the shape of naiskoi, and marble funerary vases decorated in relief or in paint. The commonest theme is the so-called dexiosis, where the dead is shown in handshake with his or her kin. Another typical theme is the representation of the dead man with his young attendant, or the dead woman with her maid. Children are depicted with their pets and toys. The Athenians selected a marble funerary loutrophoros for youthful, unmarried dead, symbolically offering them a nuptial bath. Characteristic of Classical funerary imagery are the idealistic rendering of the dead with controlled emotions, and the avoidance of immediate references to death. An exception is formed by the dead in war, women who died in childbirth, as well as foreigners. Differences are observed in the imagery of marble vases, which are influenced by the sepulchral themes of white-ground lekythoi.
TheNaxian Sphinx
The base of the giant Naxian Sphinx, marble, Halos, Delphi. Photo: Veronica Winters.
The colossal Naxian Sphinx stood on a 12-meter high ionic column in ancient Greece. Today the giant sphinx is on display at the Museum of Delphi. Mentioned in the myth of Oedipus, the Sphinxes were linked to the primitive cults. They were considered to be the guardians of tombs and sanctuaries placed as funerary monuments and votive offerings. A highly popular image in ancient Greece, the demonic Sphinx was a loan from the East to ancient Greek art. This colossal statue of the Sphinx of Delphi was offered by the Naxians in the 6th century BC.
The giant Naxian Sphinx in the Halos, Delphi: The Naxian Sphinx got created around 560 BC, preceding the construction of the Siphnian treasury – a building at the Ancient Greek cult center of Delphi, in which the priests hosted the offerings from the city of Siphnos. The building stood on the “Sacred Way” road going through the Sanctuary of Apollo.
Naxos, a wealthy island of the Cyclades, sent a gigantic offering to the Sanctuary of Apollo of Delphi – the statue of the mythical Sphinx. Its colossal size, imposing appearance and location in the sanctuary (near the rock of Sibylla -the Sibyl rock-and in the foreground of the polygonal retaining wall of the temple) commemorated political and artistic supremacy of Naxos in the Archaic era. This demonic creature with the female face and enigmatic smile was supposed to be warding off the evil. Placed on the capital of a 12.50m tall ionic column, the sphinx became the oldest element in the ionic order in Delphi.
Carved from a huge Naxian marble block, the Sphinx shows solid structure with beautiful rendering of the hair, chest and wings, giving the impression of lightness. Dated to the 4th century BC, the incised inscription on the column’s base states that the priests of Apollo honored the people of Naxos with the privilege of promanteia, that is, priority in receiving an oracle.
Close up views of the giant Naxian Sphinx figure in Delphi, photo: V.WintersLimestone funerary stele shaft surmounted by 2 sphinxes, Cypriot, 5th century BCE, the Met, NY. http://www.metmuseum.org/art/collection/search/242050Beautiful views of a limestone statue of a Greek sphinx, 550 BCE, the Met, NY. http://www.metmuseum.org/art/collection/search/254504
What does the Greek Sphinx mean? A lot of ancient Greek sphinxes are found as grave offerings in tombs, funerary monuments and sacred vessels in palaces. While the meaning of a Greek sphinx appearing on an ancient vase can probably vary some, most of the monuments seem to be connected to the world of the dead. The demonic creature was supposed to be warding off the evil, being the guardian of tombs and sanctuaries placed as funerary monuments.
For example, the Spata Sphinx is one of the most beautiful, well-preserved Greek sphinxes seen in Athens today.
Originally found in the Athens airport area, the Statue of a Sphinx was erected as finial of a grave stele in Attica. One of the earliest known Archaic Sphinxes, it was made of a Pentelic marble around 570 B.С.
“A series of vases of the early and late Geometric period (9th-8th Century B.C.) came from a cemetery at the northern area of the airport. These were the first artefacts to inform us about the inhabitants of the land of that period. A network of dirt roads ran next to a cemetery, which crisscrossed fields, olive groves, vineyards, and linked the rural communities of the Attica. The family tombs of local aristocracy, who owned the best land in the area, dotted the landscape in the 6th century B.C. Powerful “Spata Sphinx,” now in the National Archaeological Museum in Athens, belonged to one of such luxury funerary monuments. A replica of this sphinx is exhibited at the airport’s museum.”
Limestone funerary stele with antithetical sphinxes, Cypriot, 450 century BCE, the Met, NY. http://www.metmuseum.org/art/collection/search/242406
The Greeks placed the statues of a Sphinx as finial of a grave stele or as luxury grave monuments to be the guardians of the dead, similar to how sphinxes were viewed in Egypt. The Greek sphinx was also associated with riddles and challenges, as seen in the myth of Oedipus. The demonic statues were also decorative elements in small vases and perfume boxes.
Here are some Sphinxes and Griffins incised on tombs’ decorations I saw in Eleusis, Greece. Eleusis was an important ancient Greek cult center that got destroyed with the rise of Christianity.
Ancient Greek Vessels showing the statue of a Sphinx:
Black-figure Amphora showing the sphinx figure (Storage Vessel): Attributed to the Phineus Painter South Italian or Greek, “Chalcidian” (probably made in Rhegium [modern Reggio Calabria], South Italy), ca. 520-510 BC, Ceramic. Tampa Museum of Art, US. Photo: V. Winters This elegant, large sphinx is painted in the shape and “Chalcidian” painting style of black-figure vases. The name of this style comes from the Greek town of Chalcis but thought by many scholars to have been produced in South Italy.A Greek vase showing two sphinxes, photo: V. WintersLarge Sphinx figure is painted on a vase exhibited in Eleusis, the cult center. In the 7th century, the population of Eleusis declined, probably due to drought and famine. With high child mortality, the majority of the burials consisted of infants and toddlers buried in jars. This amphora depicting a winged sphinx was used for a toddler burial. Archaic artisans were experimenting with new decorative patterns and techniques coming from the East. Note the optical illusion on the neck of the vessel! The opposing heads of the panther and the lion create a face that stares right at us.Terracotta stand, Greek, Attic, ca. 520 BCE, On view at The Met Fifth Avenue in Gallery 157.
A lot of Attic pottery was manufactured and exported to Etruria. “Indigenous Etruscan shapes were reinterpreted in Athenian workshops; the Hellenized variants then sold to Etruscan patrons in the west and often buried in their tombs. The Etruscan prototypes generally exist in the sturdy black ware called bucchero. This pair of stands represents the phenomenon of adaptation with a shape unique in Attic vase-painting. They probably held floral or vegetal offerings.” https://www.metmuseum.org/art/collection/search/255195
Ancient Greek vase with two sphinxes, photo: V. WintersAncient Greek vase with some sphinxes and animals, photo: V. Winters.
Similar designs on a pottery can be seen at the Metropolitan Museum of Art.
Terracotta dinos, 630 BCE, the Met, NY. http://www.metmuseum.org/art/collection/search/256846Terracotta pyxis, cosmetic box, Greek, 550 BCE, the Met, NY http://www.metmuseum.org/art/collection/search/239949
Color
A fragment of a colored wing I saw in the Athens archeological museum.
Color: “Polychromy” means “many colors” in Greek. Artists painted the statues of the sphinx figures and other sculptures using very bright colors including blue (azurite) and red. Traces of hues are left on the archaic limestone sphinxes dating from the early 6th century BCE. The sphinx displayed at the Met shows traces of cinnabar red, yellow ochre, carbon-based black, and blue pigments. According to the researchers at the Met, they identified 2 blue pigments – Egyptian blue (synthetic color developed in Egypt in the Late Bronze Age) and Azurite blue. Expensive Cinnabar Red was imported from Iberia (Spain). Red ochre was made of hematite.
These are the colors used in ancient Greece to color their monuments as as seen in the archeological museum in Athens. The display shows the original pigments coming from various regions beyond Greece itself. Fragments of a white stone show colored wings dated at 570 BC! Lapis (blue color) consists of many minerals, mainly lazurite from Afghanistan. Conichalcite (green), Malachite & Azurite pigments come from the Laurion mines. White comes from Western Melos Island and consist of kaolinite, alunite, titanium dioxide. Ochre (yellow) comes from the copper mine in Cyprus and consists of jarosite. Red hematite mixed with iron hydroxides comes from the islands in Greece. There is a display of synthetic pigments- white and blue. Lead white is cerussite+ hydrocerussite. The Egyptian blue is marble powder+ quartz+ copper + alkali cooked at 860 degrees Celsius.
Other popular materials:
Ivory Elephant ivory: this raw material and the Hippopotamus ivory (also in use during the Mycenean era) came from Near East & Egypt. Elephant ivory was reserved for large and expensive art pieces. In the palatial period (14th-13th centuries BC), artisans worked ivory in specialized workshops to make luxury objects, like the elaborate male or female figurines made for religious purposes, jewelry boxes, ivory handles for bronze mirrors, combs and musical instruments. They also produced massive amounts of ivory plaques-inlays in luxury furniture (beds, chairs, footstools) and even the chariot parts. Groups of plaques were in the shape of bull heads, figure-of-eight shields, columns, lilies or ivy leaves. According to the Linear B texts, ivory had inlays with gold, silver or kyanos (blue glass). Ivory objects or plaques depicted the human figures, griffins, sphinxes or animals in relief. Rosettes, half-rosettes or spirals had the decorative intent.
The figure of a small sphinx, Mykines, photo: Veronica Winters
Miniature art in bronze and gold:
Minoan miniature metal sphinxes (525-500 BC & 475-450BC) and pomegranate (6th BCE), Heraklion, Crete.
During the Neo palatial period, Minoan artists specialized in miniature art, producing works in gold and ivory plaques and mold-cast inlays in vitreous materials such as faience and glass paste. Their artistic motifs included images of nature and sacred symbols (like the double axe and the seated ivory child from Palaikastro). The arms of a figurines have traces of the veins showing artistic precision captured in miniature art.
Bronze statuette of a sphinx, Greek, 5th century BCE, the Met http://www.metmuseum.org/art/collection/search/256231This is one of the bronze vessels I saw in the museum in Athens. The vase shows strong Egyptian influences in art depicting the sphinxes, figures and animals.Bronze vase handle in a shape of a sphinx figure.Bronze mirror with a sphinx figure, photo: Veronica WintersBronze mirror with a winged figure, photo: Veronica WintersBronze mirror supported by a female figure with two sphinxes, 520 BC. photo: Veronica WintersGold earring with a sphinx, Greek, 4th century BCE, the Met Gold pendant in the form of a sphinx, Greek, 5th century BCE, the Met, NY.
Oedipus and the SphinxMythology:
Two-handled jar (amphora) depicting Oedipus and the Sphinx of Thebes, the Achilles Painter, Greek, Classical Period, 450–440 B.C, Place of Manufacture: Greece, Attica, Athens, on view at Museum of Fine Arts Boston.
Embodying danger, destruction, and riddles, the most famous Greek sphinx is the one guarding Thebes in the story of Oedipus. This sphinx presented a deadly riddle to travelers, devouring those who couldn't answer it. No one could until the day Oedipus showed up. The riddle: "What is that which has one voice and yet becomes four-footed, two-footed, and three-footed?" Oedipus gives the answer that it's a man. He's four-footed as a baby. He walks on two feet as an adult and gets the third foot- a cane when he gets old.
Oedipus, king of Thebes, is a classic Greek tragedy of fate and free will.
A Doomed Prophecy: King Laius and Queen Jocasta of Thebes learn from an oracle that their son will kill Laius and marry Jocasta. Horrified, they try to prevent this by piercing the infant’s ankles (hence the name “Oedipus,” meaning “swollen foot”) and abandoning him on a mountain.
Twist of Fate: A shepherd finds the baby and takes him to the king and queen of Corinth, who raise him as their own.
Fleeing Fate: Years later, Oedipus consults an oracle and receives the same chilling prophecy – he will kill his father and marry his mother. Believing his Corinthian parents to be his true ones, he flees Corinth to escape this fate.
Unknowingly Fulfilling the Prophecy: On his journey, Oedipus gets into an argument with an older man (Laius) at a crossroads and unknowingly kills him. He then arrives at Thebes, where the city is plagued by the Sphinx, a creature who devours travelers who cannot answer her riddle. Oedipus solves the riddle, defeating the Sphinx.
Reward and Unwitting Marriage: As a reward, Oedipus is declared the new king and marries the widowed queen – Jocasta, his biological mother, thus unknowingly committing the sin of incest. They have children together.
Unraveling the Truth: A plague falls upon Thebes. Seeking the cause, Oedipus uncovers the truth of his past through a series of revelations, including a blind prophet and a shepherd.
Tragic Consequences: Realizing the horror of his actions, Jocasta takes her own life and Oedipus, in despair, blinds himself. He is ultimately exiled from Thebes, condemned to wander with his daughters as his guides.
Attic cup: Oedipus and the Sphinx, interior of an Attic red-figured kylix (cup or drinking vessel), c. 470 BCE; in the Gregorian Etruscan Museum, the Vatican Museums, Rome.
The tragic end of Oedipus, when the truth was revealed, served as the ultimate lesson in Delphic theology. It means that all humans should live a life of virtue, knowing that their fate has been predetermined by the gods. This is something that even Socrates, the wisest of men according to Pythian Apollo, admitted in Plato’s Apology, just before meeting his own end.
The Oracle; Camillo Miola (Biacca) (Italian (Neapolitan), 1840 – 1919); 1880; Oil on canvas; 108 x 142.9 cm (42 1/2 x 56 1/4 in.); The J. Paul Getty Museum in Los Angeles has a painting called The Oracle by Camillo Miola (Biacca), 42x56in, 1880 that depicts the Oracle of Delphi chosen by Apollo-the Pythia. The painting includes the omphalos, a sacred object at Delphi that was considered the center of the world. The ancient Greeks consulted the Delphic Oracle as she spoke the truth channeling prophecies coming from God Apollo.
The story explores themes of fate versus free will, the power of knowledge and self-discovery, and the devastating consequences of defying the gods’ will. The sphinx mythology remained a popular motif in Greek art and literature for centuries and was revived in the 19th-century European art. The examples of which I’m including below.
Oedipus and the Sphinx, Gustave Moreau, French,1864, The Met. The legendary Greek prince Oedipus confronts the malevolent Sphinx, who torments travelers with a riddle, remains of which who answered incorrectly litter the foreground: “What creature walks on four legs in the morning, two legs at noon, and three legs in the evening?” (The solution is the human, who crawls as a baby, strides upright in maturity, and uses a cane in old age.)
Moreau exhibited this painting at the Paris Salon of 1864. Despite the emergence of new painting ideas and style in art at that time, the artist focused on painting surreal, mythological, and imaginary stories. His mystical art inspired many artists, including Odilon Redon and Oscar Wilde.
Oedipus and the Sphinx, Gustave Moreau, French,1864, The Met. Closeup.The Silent Councillor from the Portfolio, engraving done after painting by Tadema http://www.metmuseum.org/art/collection/search/668073Ingres, Oedipus and the Sphinx, 1864, the Walters Museum of Art. and Ingres in The National Gallery, 1826, London. Ingres painted the story of Oedipus several times refining composition and even reversing the figures in a mirror-like image. One of the paintings is in The National Gallery, London and a reversed one is in The Walters Art Museum. Can you see the difference? 🙂 The London one looks like a developed sketch but not a finished painting. There’s also another (finished) painting on view in the Louvre dated to 1808.Claude Ferdinand Gaillard, engraving done after Ingres, the Met, NY.
This black-and-white image is an engraving – a form of printmaking that allowed to make hand-pulled copies of art for mass distribution. Printmakers usually made engravings of famous paintings thus giving them a much wider reach.
Scottish National Gallery, a closeup of a painting depicting a golden chair with a sphinx figure.
Conclusion
When I decide to write an article about any subject, it quickly spirals into a rabbit hole of endless information. While I start with my basic knowledge on the subject, it becomes an extensive research based on my travel photography, books and descriptions at the art museums. I hope you enjoyed reading about the origins and artistic development of this enigmatic sphinx figure that will inspire you to both create and share this article with your friends!
References: While most of my writing is based on my trip to Greece where I took pictures of descriptions and art in the archeological museums and sites in Athens, Heraklion, Mycenae, Delphi, etc, I also found beautiful images and descriptions on the Met website that I included throughout the article. Main links are below:
The Enigmatic World of Greek Sphinxes: history, mythology & art
Explore the world of Greek sphinxes in this fascinating video, delving into history, mythology, and art. From ancient pottery to colorful myths, uncover the mysteries of these enigmatic creatures!
In this episode I share my research about ancient Greek Sphinxes. I explore cultural influences, places and meaning of the Sphinx that’s based on my trip to Greece. A lot of information also comes from the Met’ website. It’s best to either watch a video or see the pictures of ancient Greek art on my blog.
Explore the must-see places on Santorini, from ancient Thera to Oia! Immerse yourself in the history, stunning views, and vibrant blue and white colors of this cinematic island.
https://youtu.be/Jx0jy5DLgIg
When we planed our trip, it was really hard to decide how much time we needed to spend on each island in Greece. Many people talked about spending a week on each one but I found that I needed 2,5 days to see everything I wanted to on Santorini without being rushed. These were long days but because I wasn’t into the beaches, boats and night life, I explored the island’s natural beauty, archeology and villages instead. Plan to spend more time here if you’re into the boat tours, wineries and beaches! Also, this island can be a challenge to visit for older folks since there is a lot of up and down action that can be hard on legs and feet.
Brief history of Santorini: an archaeological journey
Some theorize that the end of the Minoan civilization and Ancient Thera (Santorini) volcanic formation is the lost Atlantis. The first written source for the myth of Atlantis comes from the Athenian philosopher Plato (427- 437 BC) but there is little evidence that Santorini is the lost Atlantis.
The first settlers arrived to the island around 3000 BC (Neolithic Period). They named the island “Strogili,” meaning “the round one” due to its original circular shape. Santorini flourished during the Minoan era, known for their advanced civilization centered on Crete (early Bronze Age – 2000 BC). The Akrotiri settlement, preserved by volcanic ash, is a prime example of the Minoan civilization. Here, archaeologists unearthed multi-story buildings with color frescoes, advanced drainage systems, and pottery, all mirroring Minoan culture that led to speculation about the lost city of Atlantis. Personally, I find it unlikely because the Minoan art on Crete looked immature in comparison to ancient Egypt, for example. And Atlantis is said to be an advanced civilization. The Minoan culture got destroyed after a catastrophic volcanic eruption that devastated the Aegean island of Thera- also called Santorini (Late Bronze Age – 1600 BC). Thera, perched on Mesa Vouno Mountain, became the island’s central settlement (Doric Era – 9th century BC onwards). The ruins include the Sanctuary of Artemis, the Agora (marketplace), the Royal Portico, and the Gymnasium.
Ancient Thera view
6 must-see places in Santorini:
Santorini island, hike to Oia
#1. Scenic trail
We walked from Fira to Oia through a scenic trail stretching across the mountains for 6.5 miles. The views were stunning! It was the most amazing place I saw on Santorini. The hike connects the two most popular destinations on the island – Fira and Oia. These are the largest traditional villages with whitewashed houses and blue domes. Many house caves overlooked deep turquoise-blue waters of the caldera. Wear good shoes and bring water and snacks to have a comfortable, 3-hour hike. The elevation is 1,069 ft, so you may feel a bit dizzy or tired walking there.
A distant view of Oia on a hike from Fira.
#2 Ancient Thera
Situated on top of the mountain between Perissa and Kamari, Ancient Thera became the island’s central settlement. The volcanic eruption around 1600 BC reshaped the island, creating the iconic caldera and contributing to the decline of the Minoan civilization due to tsunamis. Following the eruption, Dorians from Sparta arrived around the 9th century BC, renaming the island “Thera” after their king. Today the Doric settlement is basically ruins that combines different architectural styles and epochs. All buildings were constructed of the local limestone of the mountain. By walking through the ruins located 396 m. above the sea level, you can enjoy amazing panoramic views of the island.
To get there, you can have an easy drive up to the Ancient Thera from Kamari. We had a steep climb to the top of the mountain walking from Perissa. It was quite long, difficult and unexpected but the views were fantastic!
Sanctuary of Egyptian gods:
"During the Hellenistic times, a period of great receptivity to new gods and cults, the worship of eastern and Egyptian deities is spread across the Greek territory. In Thera, the Egyptian gods Serapis, Isis and Anubis become accepted in the early 3rd century B.C. and their cult is quickly integrated into the public and private religious life of the inhabitants of the island. The cult of the Egyptian triad of gods in Thera, which, in this period, belongs to the possessions of the Ptolemies, monarchs of the Hellenistic kingdom of Egypt, is closely associated with the presence and activity on the island of a large Ptolemaic garrison. A sanctuary in honor of the Egyptian gods is founded in the first half of the 3rd century B.C. The sanctuary consisted of an unusual outdoor construction, that is a terrace, constructed mainly with artificial earth fill, the two sides of which were defined by the rocky land. We can see the rock-cut part of the sanctuary today, with niches for votive offerings on one side and a bench for the placement of cult statues on the other. Two cisterns placed next to the sanctuary provided "sacred water" the necessary for worship."
Maya Efstathiou, archaeologist.
Kouros or kouroi sculptures displayed in Athens archeological museum. Some of them came from ancient Thera. Kouros were over life-size statues of nude youths dated about to 7th century BC. All statues were found in the burials below the city.
Sanctuary of Apollo Karneios:
The Sanctuary of Apollo was a cult center erected around the 7th c. B.C. The Karneia was his annual festival. The cult of Apollo Karneios, God of the Dorians, existed in Ancient Thera in antiquity. There’s not much to see but the rocks on the ground that used to be the sanctuary with the temple, gates and other buildings. The Apollo of Thera is the best found statue dating from the 6 BCE. There was a basilica built on the ruins of the temple, around the 6th century A.D, which destroyed the the upper structure of the temple.
Other buildings:
There were other buildings and constructions in this place including the structure to worship the Egyptian gods, the theatre (the 2nd c. B.C.), the Stoa at the agora (the 3d c BC) , Gymnasium of the Ephebes, the open-air sanctuary Temenos of Artemidoros (3d c BC), and the church of Agios Stefanos- early Christian Basilica from 8th or 9th c. A.D. http://odysseus.culture.gr/h/3/eh352.jsp?obj_id=2454
There was also the public building built during the Hellenistic times but re-structured during the Roman period. There was a low stone bench with special openings along the sides of its walls. A drain, carrying water into the sewer, ensured its cleaning. The public baths were probably constructed in the mid 2nd century A.D. The baths’ floor rested on stone supports forming a hollow underground space with a burning fire. The hot air was circulating under the floor and within the pipes built into the vertical walls of the room. During the Roman times, public baths were a popular meeting place. The “exedrae”, three buildings in the form of a temple, date to the Roman times (1st-2nd c. A.D.). Built in a line, they housed statues of citizens that belonged to prominent families of Thera and were honored by the city. There are several inscribed bases of the statues with different names in existence today.
You can buy a single ticket to visit or a combined one that includes some local archeological museums.
#3 Oia
This is the largest and most beautiful village on the island that you must visit! It’s also very commercial with many shops, restaurants and activities in the area. The village is situated above a cliff at about 150 m (500 ft) elevation, overlooking the volcano and deep blue water. The views and sunsets are spectacular! The bus station is available with regular service to other parts of Santorini. Also, depending on your interest you can take an excursion boat for a trip around the island or a ferry to Therasia.
#4 Fira
Centrally located, Fira offers stunning views of the caldera with some upscale shopping, beautiful Byzantine church, and walkable alleys. We stayed in Fira, which was a short taxi drive from the airport. Later we found out that the local bus was also available to get to the village.
Fira, Santorini island
Santorini’s color scheme of white buildings and blue domes
Color scheme:
The iconic white and blue color scheme on Santorini’s buildings isn’t rooted in ancient times. It became widespread after the fall of the Greek military junta in 1974. The white reflects the Aegean sunlight, while the blue symbolizes the sea. This color combination was believed to inspire patriotism as the Greek flag is also blue and white.
Also, the white color reflects a lot of the sunlight, keeping the interiors cooler during hot summers. This was crucial before modern air conditioning. Historically, a whitewash made with lime was used to paint the buildings. Limewash has natural disinfectant properties, which may have helped combat the spread of diseases like cholera during outbreaks in the early 20th century.
The design and construction:
Many traditional Santorini dwellings are cave houses, built directly into the volcanic cliffs. This provided natural insulation and protection from the elements. The cave walls themselves are often light-colored volcanic rock, further contributing to the overall white aesthetic. Santorini’s architecture falls under the Cycladic architectural style, common throughout the Aegean islands. These buildings have cubic shapes, minimal windows, flat roofs as terraces and balconies, maximizing usable space. Building materials traditionally included volcanic rock and ash, timber and clay. While modern construction methods and materials are used today, the traditional whitewashed Cycladic style remains a defining characteristic of Santorini’s architecture.
Karterados, near Fira.
#5 Village of Megalochori
The Bell Tower of Megalochori
When you drive through the island from one major town to the next, it looks like a half-abandoned land with some distant white buildings scattered throughout fields of rock and tiny flowers. So, if you’d like to discover untouched settlements on the island, visit small villages like Akrotiri – the site of a Cycladic Bronze Age settlement or Pyrgos and Megalochori. These are not commercial, tiny villages with blue-domed Byzantine churches and whitewashed houses. Mesa Gonia or “the ghost village” is now abandoned village that used to be famous for wineries. We walked to some villages and took a bus to others. All churches were closed there for some odd reason.
Megalochori reminded me of the Tatooine from Star Wars because it was so untouched by our civilization. This village itself is a fairly short walk in a labyrinth of alleys, whitewashed houses and blue-domed churches with bell towers. The village had very few wondering tourists and some beautiful views of the caldera. There were two churches (Agios Nikolaos and Our Lady of Plaka) built into the rock there. Although there were some prehistoric settlements, the village took shape in the 17th century when wealthy merchants and land owners built the village with high walls and reinforced doors to protect themselves from pirates. It’s a place for vineries. There are two beaches- Plaka and Thermi that have no car access. It’s about 9 km away from Fira.
#6 Village of Pyrgos
Pyrgos was a monastery until the arrival of the Venetians in the 13th century. Venetians arriving on Santorini transformed the monastery into a fortified hamlet, one of five on the island, for defense against pirates. A central tower surrounded by thick and tall walls formed the heart of the settlement, with houses built tall within these walls for extra protection. A former capital of the island, Pyrgos retains a strong character of a medieval village with narrow, labyrinthine streets, remnants of fortified walls, and hidden passageways. Despite its central location on Santorini that’s about 7.5 km from Fira, Pyrgos has been relatively untouched by the extensive development and commercialization seen in other parts of the island. Although it was severely damaged like other villages in 1956 earthquake, some buildings were restored.
You can also visit Akrotiri for its museum, excavations, red beach and a small Venetian Castle of Akrotiri nearby.
Beaches:
View to the Kamari beach from Ancient Thera
While the island has many beaches, some of them are hard to get down to. Perissa and Kamari have an easy, walk-in beaches that were quite dirty and unattractive when we visited those in late April. Many people take tours to get access to the nicest beaches. Have flip flops or shoes because the sand on the beach can be really hot during summer months since the sand is a volcanic ash, rocks and pebbles. Red Beach looks secluded between the red rocks but those rocks can be very slippery in water. Secluded and wild, the Baxedes beach is dark sand and pebbles beach. I’d suggest to open the google map and see the locations of the beaches with posted pictures for you to decide which one you want to visit. Some offer snorkeling and boat tours, others umbrellas.
Some people also like fishing and winery tours. The tours around the caldera are popular but were canceled due to crazy weather conditions on our visit to Santorini.
Perissa beach
Transportation:
While it’s a very short flight from Athens to Santorini, the time you spend going through the airport’s regular process is still considerable. Also, it’s often windy on the island, so if you have motion sickness, you’ll get it flying on such a small plane. Get your medication ready to offset the problem.
Take a bus all around Santorini! Its cost is just 2-2,5 euros one-way. Taxies are pricey and not worth it. The bus system is designed for tourists in mind as they have regular schedule to all main sites on the island. You buy the ticket from a driver when you enter the bus. ATV’s are inexpensive to rent for a day or more. While they can be fun for young people to drive around the island, I think they’re too much hassle for older folks. You can also rent a car to drive around the island. There were parking lots available next to sites everywhere we went to.
Seajets offer service at many price points. We went to Crete from Santorini using the fast boat. I must say that if you feel motion sickness, even this big boat isn’t for you or you have to take medication to eliminate motion sickness. We also traveled during crazy weather period that the boat was canceled one day to travel the next, but it still was quite bumpy.
From larger-than-life double-bobble hair bands to a wall of elaborate braids, Tiff Massey spotlights distinctive Detroit style. Trained as a metalsmith, the artist employs the power of material and scale to highlight the city’s neighborhoods and Black identity and culture.
7 Mile + Livernois, Massey’s solo exhibition at the Detroit Institute of Arts, takes inspiration from the crossroads at the heart of the city’s Black business and fashion district, where the artist grew up. The area will soon be home to a new arts and community space that Massey is spearheading in an effort to guide and celebrate local kinship.
“Everyday Arsenal” (2018)
Personal adornment is central to the artist’s expression, which she channels through jewelry, sculptures, and mixed-media assemblages to underscore Black style with a focus on her hometown. “Whatupdoe” and “Everyday Arsenal,” for example, respectively transform a contemporary chain necklace and silver rings into monumental installations, creating terrains of portal-like tunnels and interlocked angles.
The “ancestral flyness” of the artist’s parents and previous generations also provides a limitless well of inspiration. “How they adorned themselves has definitely been influential not only to how I adorn myself but also to the ideas that I have within the works,” Massey says in an interview for the DIA exhibition catalogue. “Detroiters, when we step outside, we step outside. We want people to see it. We want people to see us. And that has left a tremendous impression on me.”
7 Mile + Livernois continues through May 11. Find more on the artist’s website and Instagram.
“Baby Bling” (2023)“Whatupdoe” (2024)Detail of “I’ve Got Bundles and I Got Flewed Out (Green)”
In this article you’ll find information about Faber-Castell Polychromos colored pencils and my experience using them on various drawing papers. I’m not an affiliate and I write reviews of art supplies I actually use in my drawings. Below you’ll find the Polychromos lightfastness ratings as well as some of my colored pencil drawings made with these colored pencils.
Properties of Faber-Castell Polychromos colored pencils
Lightfastness: most colors are lightfast/very good to excellent
Durability: excellent
Pigment saturation: very vivid/ excellent
Oil-based
Softness: medium softness/ very good
Faber-Castell polychromos colored pencil set of 120 colors
These colored pencils never break on me. Their durability, color saturation and lighfastness are consistent. Easy to sharpen, Polychromos have a range of beautiful colors with some pinks and purples that have excellent lightfastness ratings, which is difficult to find in other brands, especially in Prismacolor Premier.
Paper & other surfaces for Faber-Castell Polychromos colored pencils
Because they are not very soft, these colored pencils layer nicely and require minimal colored pencil blending. The downside is that you’ve got to find the right paper working with them. Because they are oil-based, they mix and blend more like soft pastels, meaning that the paper should have some texture to adhere the pencils to. And I find that when I work on uart paper, 800 grade or Canson pastel paper, Polychromos impress me a lot more.
They are great for detailed work and blend on their own working on slightly textured paper like Bristol Vellum. These colored pencils tend to glide off of smooth paper like Bristol smooth and seem to need more layering to develop contrast. So I always recommend to draw on Bristol Vellum paper with Polychromos to get maximum realistic detail. I also like them on Canson Art boards and Canson Colorline paper.
While I prefer Luminance and Pablo colored pencils, the Polychromos’ durability and excellent lightfastness make me a fan to draw the details in my art.
https://amzn.to/3xoJjbiInnocence, Polychromos on 9×12 koh-i-noor bristol vellum drawing paper. In this drawing I didn’t do much blending. The colors blended on their own via crosshatching and overlapping. Nymph, colored pencil on UART paper,800grit, 9×12 inches
UArt sanded art paper and Polychromos is the best combination in my view. UArt is designed for pastel drawing and its surface feels like sand paper. Therefore if you use softer colored pencils on it, it will “eat” your soft colored pencils and blending would require solvents. 800 grade is the finest surface and is suitable for colored pencil drawing with Polychromos or other harder colored pencils like Pablo or Koh-i-Noor.
Because oil-based Polychromos act like pastels, the drawing process is similar to pastel painting in layers. It’s blocking in large areas in dark colors and then adding the lighter ones on top. The first, dark layers should be fixed to proceed to the next layer.
Nicaraguan boy, 9×12 inches, lightfast colored pencils on UART paper, in private collectionhttps://amzn.to/4bbYT81
