The dramatic scene depicted in this painting is set in front of the sanctuary gate in the interior of an Orthodox church. The church has suffered great vandalism and sacrilege by the Turks; it has been robbed of its sacred utensils, seen piled up on the floor. Yet, the protagonist is the beautiful, almost naked Greek girl tied on the church bench. Her face conveys pain, outrage, anger.
The scene has been painted with the characteristic accuracy and mastery of French academic painting, seriously influenced by photography. The red belt is the only bold colour in this painting, in which brown tones are dominant.

This excellent work, acquired in 2002 by the National Gallery, may be considered as one of Volanakis’ most free “impressionistic” achievements. Painted in Munich, it depicts fishermen pulling the nets at sunrise. The boat and the fishermen are shown as silhouettes, as the light is coming from behind, from the background. The sky and the waves are flooded with light, which is rendered in orange and violet tones. The brushwork is free, and the entire work pulsates with life.

Iakovidis is the last great exponent of the Munich School. Although he distinguished himself in many genres (genre painting, portraiture, still life), he was mainly known and loved by the people as a painter of childhood. Most of his works on this theme were painted in Munich, where he lived from 1877 to 1900, when he was invited to return to Greece and become the director of the National Gallery, which had only recently been established. Iakovidis inimitably captured the relation of the elderly, grandfathers and mothers, with their grandchildren.
This work features a dark-clad goodly grandmother, holding a cute blonde little girl in her lap; the child is wearing a white flowery apron and red socks. The bronze fruit plate has captured her attention — a great opportunity for the artist to create a wonderful still life. The scene unfolds against a white wall, contrasting sharply to the dark-coloured main subject. Everything has been painted with an extraordinary knowledge of drawing, colour, light as well as profound insight into the psychology of the relation between the two ages.

A poet, musician and painter who studied in Italy, Georgios Avlichos, the Cephalonian artist who created this masterpiece, was completely removed from the academic tradition of his times. There is something poetic and eerie about the atmosphere in his works; an almost metaphysical aspect, heralding de Chirico and Balthus, a contemporary painter. Another characteristic quality that set Avlichos apart from other artists of his period is that he steered clear of the brown asphalt employed by academic painters, painting instead in clear and bright colours.
What is it that the young Roubina (for her name is known to us), the daughter of Ioannis Gerasimos Kavalieratos, is gazing at through the open window of her country house at Vlachata, Sami? She is gazing at the blue sky in reverie, and the little white dog she has in her arms seems equally absorbed by the same vision, invisible to us. Her ethereal white dress, painted in light lilac and ochre hues, contrasts with her black fan and loose, crow-black hair. A sea breeze, the scented zephyr of the Ionian Sea, blows on the girl’s hair, scattering the petals of the red rose in it. Can it be that this scattering of the rose petals is a symbolic allusion to the fleeting youth, torn apart like a rose by time?