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 depicted in characteristic poses.

The “Bull”, which exudes intensity and dynamic energy, is characteristic. With bold distortions to its surface that heighten the sense of imminent motion, the animal is depicted crouched, head lowered, horns thrust forward – poised to charge.

Tranquillity defines “Young Bull” by Nikolas Dogoulis, while the form is stylised and simplified in a way that evokes archaic art – an influence from the years (1963-1967) the artist spent working at the National Archaeological Museum in Athens. Born in Florina and based in northern Greece, Dogoulis drew inspiration from his immediate surroundings, capturing the life and cultural traditions of Macedonia.

Yiannis Antoniadis, having studied sculpture at the School of Fine Arts in Athens and architecture in Florence, created works in collaboration with architects, designed public monuments and worked with freely inspired compositions, adapting his style according to the destination and requirements of his works.

In “My Dog”, working in a realistic vein, he depicts his own pet, adopting a naturalistic style with minimal stylisation. Poised and still, with its head extended forward, the dog seems to be alert to something unseen – perhaps awaiting its master, in a moment the artist was eager to immortalise.

Initially committed to realistic depictions of the human figure since the 1930s – sculpting in plaster and bronze, or carving directly into stone – Bella Raftopoulou gradually moved towards stylisation and simplification, a shift that peaked in the mid-1950s. Her “Owls”, created as she began incorporating animal motifs into her work in the 1950s and carved directly into stone, is the largest and most striking of her animal-themed works. Comprising three separately oriented blocks from which roughly carved owl heads emerge, the sculpture radiates a sense of calm and stillness, as if the birds were roosting in a tree under cover of night.

Among Greek sculptors, Frosso Efthymiadi stands alone in her sustained focus on animal subjects. Her dedication sprang from a belief that sculpture should be ‘an art that accompanies people in their everyday lives.’ Small works were intended for interior decoration; larger ones for private gardens or public spaces. ‘I truly love pieces that adorn the garden, and I believe animals are ideal for this,’ she remarked in a 1954 radio interview. ‘You’ll see that all my animals – the little goat, the donkey, the calf, the deer, the foal – are modelled with a realistic spirit, dictated by their intended setting. I sought to capture each animal’s characteristic movement and expression. Every time, I had to bring the live model into my studio. I’d let it roam freely about my garden […].’
Originally modelled in terracotta, her “Baby Donkey” embodies this vision. In her archive, there are photographs of the live model, which has been captured in a pose similar to the work.

Among Greek sculptors, Frosso Efthymiadi stands alone in her sustained focus on animal subjects. Her dedication sprang from a belief that sculpture should be ‘an art that accompanies people in their everyday lives.’ Small works were intended for interior decoration; larger ones for private gardens or public spaces. ‘I truly love pieces that adorn the garden, and I believe animals are ideal for this,’ she remarked in a 1954 radio interview. ‘You’ll see that all my animals – the little goat, the donkey, the calf, the deer, the foal – are modelled with a realistic spirit, dictated by their intended setting. I sought to capture each animal’s characteristic movement and expression. Every time, I had to bring the live model into my studio. I’d let it roam freely about my garden […].’

Originally modelled in terracotta, her “Foal” embodies this vision. In 1939, Kostas Kotzias, minister for the Greater Metropolitan Area of Athens, commissioned Efthymiadi to decorate the city’s public gardens with terracotta animal sculptures, including “Foal”, destined for Kifissia grove. The project was ultimately halted by the outbreak of war.

Among Greek sculptors, Frosso Efthymiadi stands alone in her sustained focus on animal subjects. Her dedication sprang from a belief that sculpture should be ‘an art that accompanies people in their everyday lives.’ Small works were intended for interior decoration; larger ones for private gardens or public spaces. ‘I truly love pieces that adorn the garden, and I believe animals are ideal for this,’ she remarked in a 1954 radio interview.
This perception is particularly reflected in the works she created until the mid-1950s in terracotta, following realistic rendering. Thereafter, she turned to metal, forging brass or iron sheets and rods herself. This shift in material accompanied a striking move towards abstraction. In this context, the “Animals of the Andes” are stylised depictions of llamas she observed during travels to Bolivia and Peru in 1948, which stand motionless, as though on the high plateaus of their native South American habitat.

Efthymiadi’s engagement with bird forms spanned her entire career, resulting in series of stylised owls, roosters, and eagles in various sizes. Her dedication sprang from a belief that sculpture should be ‘an art that accompanies people in their everyday lives.’ However, in contrast to other thematic units, in which, until the early 1950s, she followed realistic rendering, the birds are characterized from the outset by an abstract mood and stylizations based on a variety of patterns. These characteristics were strengthened after the mid-1950s. From 1955 onwards, she began crafting solid forms from hammered metal, capturing moments of stillness and harmony in works such as “Birds”, where static poise becomes a source of quiet power.

Efthymiadi’s engagement with bird forms spanned her entire career, resulting in series of stylised owls, roosters, and eagles in various sizes. Her dedication sprang from a belief that sculpture should be ‘an art that accompanies people in their everyday lives.’ However, in contrast to other thematic units, in which, until the early 1950s, she followed realistic rendering, the birds are characterized from the outset by an abstract mood and stylizations based on a variety of patterns. These characteristics were strengthened after the mid-1950s. From 1955 onwards, she began crafting solid forms from hammered metal, such as “Eagle”, where she seeks to express energy and grandeur through the sudden flare of outstretched wings.

Among Greek sculptors, Frosso Efthymiadi stands alone in her sustained focus on animal subjects. Her dedication sprang from a belief that sculpture should be ‘an art that accompanies people in their everyday lives.’ Small works were intended for interior decoration; larger ones for private gardens or public spaces. ‘I truly love pieces that adorn the garden, and I believe animals are ideal for this,’ she remarked in a 1954 radio interview. ‘You’ll see that all my animals – the little goat, the donkey, the calf, the deer, the foal – are modelled with a realistic spirit, dictated by their intended setting. I sought to capture each animal’s characteristic movement and expression. Every time, I had to bring the live model into my studio. I’d let it roam freely about my garden […].’

Originally modelled in terracotta, her “Calf” embodιεσ this vision. In 1939, Kostas Kotzias, minister for the Greater Metropolitan Area of Athens, commissioned Efthymiadi to decorate the city’s public gardens with terracotta animal sculptures, including “Calf”, destined for Pangrati grove. The project was ultimately halted by the outbreak of war.

Among Greek sculptors, Frosso Efthymiadi stands alone in her sustained focus on animal subjects. Her dedication sprang from a belief that sculpture should be ‘an art that accompanies people in their everyday lives.’ Small works were intended for interior decoration; larger ones for private gardens or public spaces. ‘I truly love pieces that adorn the garden, and I believe animals are ideal for this,’ she remarked in a 1954 radio interview.
This perception is particularly reflected in the works she created until the mid-1950s in terracotta, following realistic rendering. Thereafter, she turned to metal, forging brass or iron sheets and rods herself. This shift in material accompanied a striking move towards abstraction.

In 1955 she created “Ibex”, her final work in the animal series, which is strongly stylised and decorative. Originally also made in terracotta, the wild goat – of a species native to the mountainous regions of Crete – appears poised on a rocky outcrop, evoking its natural agility on steep slopes.

Efthymiadi’s engagement with bird forms spanned her entire career, resulting in series of stylised owls, roosters, and eagles in various sizes. Her dedication sprang from a belief that sculpture should be ‘an art that accompanies people in their everyday lives.’ However, in contrast to other thematic units, in which, until the early 1950s, she followed realistic rendering, the birds are characterized from the outset by an abstract mood and stylizations based on a variety of patterns.
These characteristics were strengthened after the mid-1950s. From 1960 onwards, inspired by Pre-Columbian metalworking techniques – characterised by the dense soldering of fine gold rods or wires – which she studied during a 1959 journey to Peru and Colombia, she began using hammered brass rods, welded together. In works such as “The Winged Chief”, her largest and one of the most iconic pieces in this style, she seeks to express energy and grandeur through the sudden flare of outstretched wings.
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