He studied sculpture at the School of Fine Arts under Michalis Tombros (1955-1960) and architecture in Florence (1961-1963). With a scholarship from the State Scholarships Foundation he also studied folk architecture and sculpture in Greece and then, until 1967, he worked on restorations of ancient and Byzantine monuments.

His work includes architectural sculptures, the result of his collaboration with architects, public monuments and freely inspired compositions, while his style is shaped according to the destination of his works. Thus, in architectural compositions abstract decorative motifs dominate, in public monuments he sometimes remains a realist and sometimes combines geometric with representational elements, while in free compositions he mainly prefers realistic rendering, with some generalizations.

He studied at the School of Fine Arts from 1942 to 1946 under Kostas Dimitriadis and Michalis Tombros. From 1960 to 1962, with a scholarship from the University of Athens, he also studied at the School of Fine Arts in Paris under Henri-Georges Adam.

He presented his work in solo exhibitions in Greece and participated in group events in Greece and abroad. He also took part in the Sao Paulo Biennale in 1969.

The majority of Antonis Karachalios’ work has a realistic starting point, although, mainly in free compositions, it becomes more abstract. In most of his works he is focused on the human figure, on a more limited scale, however, he also dealt with zooplastics, creating full-length or fragmentary forms of animals, which are attributed to characteristic poses.

He studied at the School of Fine Arts with Yannis Pappas (1956-1962) and at the Academy of Fine Arts in Rome with Venanzo Crocetti and Andrea Spadini (1967-1968). From 1963 to 1967 he worked at the National Archaeological Museum, in Athens.
He presented his work in solo exhibitions in Greece and participated in group events in Greece and abroad.

Living mainly in Northern Greece, he drew inspiration from the life and historical tradition of the inhabitants of Macedonia, also drawing on his childhood memories. He was involved in painting and sculpture, while his work reflects folk tradition, as well as his contact with the art of the archaic period, which he became acquainted with during his tenure at the National Archaeological Museum.

She came to Athens with her family in 1922. During 1930-1933, she studied pottery at the Vienna Arts and Crafts School with Michael Powolny and Robert Obsieger. Returning to Athens in 1933, she visited regions in which ancient Greek potters worked, collecting a great number of different clay types. In 1945, she went to Paris and worked with Marcel Gimond. During 1947-1949 she lived in Argentina, where she studied the Inca and Indio art and culture. In June 1949, she returned to Greece; during 1953-1967 she travelled once again to the Americas as well as Egypt, Japan, India, Thailand, Bali, China, Cambodia, Java, Iraq, Nepal and Persia. In 1974, the Academy of Athens honoured her for her work and in 1980 she became the first woman nominated as an Academy member.

Her work has been shown in solo exhibitions in Greece and around the world. She also participated in group and international events, including Panhellenic exhibitions, the 1955 International Ceramics Fair in Cannes, the international contemporary sculpture exhibitions held in the Musee Rodin in 1956 and 1961, the 1965 International Sculpture Panathenaia exhibition in Athens and the New York World Fair of the same year, the Paris Salons de la Jeune Sculpture in 1968 and 1969, as well as the 1959 Sao Paulo Biennale, where she won first prize, and the 1965 Alexandria Biennale.

Until around the mid-1950’s, Frosso Efthymiadi worked exclusively with clay, creating busts and full figures, vases and figurines, but above all a substantial number of animals; indeed, she is considered as the first sculptor to pursue animal sculpture in Greece. In 1955, she turned to metal, abandoning at the same time her realistic output and adopting a freer style. Using electric or oxyacetylene welding to join bronze or iron plates or rods which she forged herself, and working within the same thematic field she created abstract compositions, either static or in motion, in which the void plays a prominent role.

A physician, a painter and an amateur archaeologist from Naples, Ceccoli sought in Corfu in 1839 the ideal climate for his ill daughter. From 1843 to 1852 he lived in Athens, working as a unpaid professor of painting at the School of Arts. In 1843, he played a major role in establishing the “Fine Arts Society.” In 1853, his works – drawings, genre paintings, paintings inspired from the Greek Revolution, as well as a portrait of King Otto – were exhibited in a room of the National Technical University. He finally left Greece after 1853.

He was mainly engaged in portraiture and landscape painting.

He initially studied at the State Art School in Vatum, from 1937 to 1939. From 1939 to 1943 he lived with his family in Athens. In 1943 he settled in Vienna and studied at the Fine Arts Academy, painting under Robin Christian Andersen and sculpture under Franz Wotruba (1945-1956). In 1956 he won the State Prize of the Academy where in 1948 he was elected professor of sculpture. From 1966 to 1967 he taught at the Hamburg Fine Arts Academy. In 1998 he was appointed Corresponding Member of the Academy of Athens.

1956 marked the beginning of the many exhibitions he would have; he has presented his work in solo, group and international exhibitions and repeatedly won prizes. Among these appearances were participations in the Venice Biennales of 1956 and 1962 and the Kassel Documenta of 1964 and 1977. In 1997 a retrospective exhibition of his sculpture, painting and drawings was organized at the National Gallery at the end of which the artist donated all of his work to the museum.

The human figure is the main focus of Avramidis’ sculpture, both in his early works done in stone and in his later ones in bronze, aluminum and materials of his own device. After a period of adapting his work to the style of his teacher Franz Wotruba, he proceeded on to a different rendering of form. Containing clear-cut elements from archaic sculpture, his figures are rendered schematically, in the form of a column or pillar, isolated or in a multiplicity of combinations, and they are characterized by the coexistence of vertical and horizontal subjects, the vertebrae-like arrangement and the rhythmical repetition of the elements which make up the volumes. Along with his sculpture, he has also been involved with painting and drawing, the latter employed either as a preliminary drawing for the sculpture, or developed as an autonomous work.

He studied at the Athens School of Fine Arts under Yiannis Moralis (1947-53). He continued his studies at the Saint Martin’s School of Art in London and the Ecole des Beaux Arts in Paris. He presented his first solo exhibition in 1957 in Paris (Galerie 93), where he lived most of his life.
Since the beginning of his career he integrated technological features in his art, using extensively mixed techniques and industrial materials (engines, mirrors, photocells). Initially he made use of the conquests of abstract art, emphasizing on the compositions’ disciplined structure and the materials’ texture. His interest in the function of light led him to lumino-kinetic works for a while (Kinoptics), with which he became well-known in the international art scene during the ‘60s. At the time, he was an exclusive artist of Redfern gallery in London, while in 1965 he exhibited for the first time in Athens (Hilton Art Hall). In his effort to express his complex concerns regarding human communication, nature’s regenerative power and the consequences of scientific developments on natural processes (Naturmatic, Erosions), he used a wide variety of artistic media, seeking his materials sometimes in nature, sometimes in advanced technology, and other times in the somewhat more traditional techniques of representational painting.
When he returned in Greece in 1990, he cooperated with Desmos gallery and settled in Chania, maintaining, though, for several years his close ties to France.
He presented his work in more than twenty solo shows in Greece, France, England, and other European countries. He also participated in many group shows, especially in France (Salon de la Jeune Peinture: 1958, 1959; Salon des Realites Nouvelles: 1972) He participated in the Avantgarde Griechenland exhibition (Berlin, 1968), through which Greek avant-garde artists were introduced in Europe. His first retrospective exhibition Transformations: 1950-2000 was organized in 1999 in Athens (To Milo Artspace). His second retrospective was presented at the Chania Municipal Gallery in 2005.

Having studied for five years at the Medical School of the University of Athens (1946-1950), he quit his studies and turned to the School of Fine Arts. After preliminary work at the Panos Sarafianos studio, he studied at the School (1950-1955) under Umvertos Argyros, Yannis Pappas and Yannis Moralis. At the same time he worked as an assistant to Yannis Tsarouchis on his various commissions for stage designs, making some of the sets himself.

From 1956 to 1960 he lived in Rome and then, till 1967, in Paris. He returned to Greece but political conditions forced him back to Paris in 1969. His work on Emigrants, a milestone in his career, led him to Berlin where he worked for nearly two years on a scholarship from D.A.A.D. (1973- 1975). In 1976 he settled permanently in Greece, in 1975 having been elected Professor to the Seat of Painting of the Architectural School of the National Technical University, where he taught until 1996. In 1981 and 1989 he was invited to teach at the Sommerakademie of Salzburg.

He began to exhibit in 1958, presenting his first solo show at the Zygos gallery, which was the first solo exhibition of abstract art in Greece. Many solo exhibitions followed, both inside and outside Greece, among which were the retrospectives at the Moderna Museet in Stockholm in 1972, the Karl Ernst Osthaus Museum in Hagen in 1991, the Staatliche Kunsthalle in Berlin in 1992 and the National Gallery of Greece in 1999. At the same time he presented his work at Panhellenies, group and international exhibitions, such as the Documenta of Kassel in 1977, the Europalia at Brussels in 1982 and the Venice Biennale in 1988.

One of the most illustrious representatives of the “Sixties Generation”, Vlassis Caniaris has focused his interest on an inquiry into the role of art in relationship to life. Drawing his inspiration from social and political conditions and abandoning traditional painting on a canvas practically from the start, he has based his work on the doctrines of new realism, arte povera and the art of the object and using his own personal style has created constructions of real materials, setting up “spaces” with puppets and objects and has thus produced environments, presenting his speculations in entities such as Walls, using plaster, barbed wire and carnations, “Gastarbeiter-Fremdarbeiter”, “Helas-Hellas”, and “North-South”. Since 1981 he has also been experimenting with a white role of paper through which he gives form to the concept of the Eventual Painting.

After two years at the Panteion University (1948-1950), he studied at the Athens School of Fine Arts (1951- 1955) under Yannis Moralis and Yannis Pappas. On a scholarship from the State Scholarship Service he studied fresco at the Paris School of Fine Arts (1957-1960) and remained in France till 1963, travelling at the same time to neighboring countries such as Belgium, The Netherlands, Spain, Italy and Great Britain. Ten years later, on a grant from the Ford Foundation, he worked in New York (1973- 1975). During that period he visited many cities in the United States and Canada. He presented his first solo exhibition in 1961 at the Zygos gallery while by 1952 he had begun to take part in the Panhellenies. He also was an important presence in international group exhibitions (3rd Youth Biennale of Paris 1963, 7th Biennale of Alexandria 1965, Sao Paolo Biennale 1967, Venice Biennale 1984, 4th Biennale of European Engraving, Baden-Baden 1985). In 1963, in an endeavor to revitalize the painting climate in Greece, he took part in the founding of the Section group and in 1976 the League of Artists.

From his early collages he moved on to figurative works of an expressionistic and surrealistic character and later made compositions where the elements of objective reality are rendered in a poetic way, at the same time further developing previous stages of his work, while special weight has been placed on the role of drawing.