The artist who painted this work, Theodoros Vryzakis, was left an orphan in the War of Independence, when his father was hanged by the Turks. He studied in Munich and became the main exponent of historical painting.
This major painting evokes one of the most tragic and renowned episodes in the Greek struggle for independence – the heroic exodus of the inhabitants of the town of Missolonghi during the night of April 10, 1826. The composition is arranged along a perpendicular axis, without depth, split into two sections: the heavenly and the earthly one. In the heavenly section, on the axis, that is, in the centre of the composition, is seen the enthroned God in a golden cloud, blessing the fighters, while angels with laurel leaves and wreaths are preparing to coronate the heroes. The Greeks believed that their rightful cause enjoyed Christ’s blessing. In the earthly section, on a wood bridge, Greek fighters are seen brandishing their swords, storming out of the wall gate. One of them is waving in his left hand the Greek flag with the cross on the pole. Some have already been wounded. Women and children follow. Mothers and children have fallen in the ditch underneath the bridge. Some are already dead, others lie dying. The fully armed Turks are waiting for the heroic fighters. Some of them are climbing up the walls on a ladder. Uproar, tension, drama prevail. It is as if we could almost hear the noise of weapons and the cries of the wounded. The painter has depicted the scene in great accuracy and meticulousness. This painting is romantic in spirit but academic, calligraphic, careful in implementation. A brown and gold tonal palette of black, white and red prevails.
His focus consistently on the human figure, Christos Kapralos fashioned his own personal style through the assimilation of the doctrines of ancient Greek and folk art as well as those of the European avant garde. He made his first works of clay and plaster, realistic but at the same time simplified and pure. When he turned to the use of bronze in 1957 the human body was transformed into Nikes and mythological figures, ancient warriors, couples, mothers and children.
In 1965 Kapralos began using wood, eucalyptus trunks in particular. This gave him the opportunity to create compositions powerfully schematic and strongly non-figurative, obedient to the form imposed on him by the shape of the trunks themselves. Thus, he created a series of works inspired by the events and figures of antiquity, such as “Warrior”, a theme which had occupied him since the Fifties. In contrast, however, to the dramatic intensity which characterized the older compositions in bronze, the “Warrior” made of wood acquires a monumental character and thus is transformed into a symbol of Victory.
