http://www.malouartconsulting.com/

MaLou Art Consulting Online Gallery, Aginoros 10, Athens (2026)

17/10/2026

‼️ Press Release
♦️ ‘’CREATE’’ A Group Art Exhibition 17–18 October 2026
🌟 Celebrating the Artists of Voula, Vari, Vouliagmeni and Glyfada An exhibition celebrating the art and creativity of our local community With the aim of discovering, connecting with and showcasing the artistic talent within our local community, the Cultural Association of Voula “Hypatia” presents CREATE, a group art exhibition featuring artists who live and work in Voula, Vari, Vouliagmeni and Glyfada. The exhibition is part of the two-day art event “Discover • Inspire • Create”, celebrating the power of artistic expression and the unique creative spirit of our neighbourhood.
💑 Our local area is more than simply the place we call home. It is shaped by its people, its landscapes, its natural beauty, our everyday journeys, encounters and shared experiences. All these elements become sources of inspiration, inviting us to see the familiar through new eyes. Each artist offers a distinctive perspective, interpreting the world through their own creative vision. Personal experiences, emotions and images drawn from everyday life are transformed into works of art that reflect both individual expression and the richness of the community we share. CREATE is an invitation to discover the artists in our neighbourhood, experience their diverse approaches to art and celebrate the creativity that flourishes all around us. It is an opportunity to come together through art, exchange ideas and recognise the talent that makes our local community so vibrant and inspiring.
💥 Participating Artists: Angeliki Vlaxioti, Mikhail Gervits, Natalya Gulevata, Aliki Dimitoglou, Vasilis Diamantis, Aristidis Karabalasis, Danai Kotsyfa, Katerina Koutouxiadou, Maria Maggiorou, Theodora Mazaraki-Fitzsimmons, Ourania Bakakea, Evi Beligianni, Mary Paschou, Vlasia Retsos, Aliki Peterson, Maria Sarri-Belle, Ioannis Siemos (Yianart), Werner Hermann and Despina Schoina.
Exhibition Curator: Maia Christidou
‼️ 17–18 October 2026 Organised by the Cultural Association of Voula “Hypatia”, as part of the two-day art event Discover • Inspire • Create. Celebrating local talent. Inspiring new perspectives. Bringing our community together through art.

28/09/2026

ATTENTION! NEWS!!!

OPEN CALL
GROUP ART EXHIBITION ‘’CREATE’’
express yourself freely through your art
17-18 October 2026
The Cultural Association of Voula “Hypatia” invites artists and amateur creators who live in Voula • Vari • Vouliagmeni • Glyfada to participate in the group art exhibition “CREATE.”
Pnevmatiki Estia Voula, Zefyrou 2, Voula
THE THEME IS OPEN
Painting, drawing, mixed media and other visual art forms are welcome.
📅 SUBMISSION DEADLINE: 5 October 2026
For information & submissions
📧 [email protected]
☎️ 6956203620

13/09/2026

BACK TO MONA LISA!

A SECOND AND THIRD MONA LISA?

Everyone knows the famous Mona Lisa at the Louvre in Paris and the mystery surrounding her. But, honestly, it has pretty much been solved, she was painted by Leonardo da Vinci and we know her identity, but what remains murky is if there are two other Mona Lisas floating around and if he also painted those.

MONA LISA LOUVRE
Let's start with the most iconic, THE Mona Lisa hanging in the Louvre and owned by the French government. I’ll gloss over this one a little because she is just so well known. We’re not questioning her at all, she was definitely painted by da Vinci between 1503 and 1506. We also (probably) know that she is Italian noblewoman Lisa Gherardini, the wife of Francesco del Giocondo, which is why she is sometimes called La Gioconda. Also, fun fact, the Mona Lisa holds the Guinness World Record for highest known insurance valuation in history at $100 million in 1962 ($660 million in 2019).

ISLEWORTH MONA LISA
Isleworth Mona Lisa is an early sixteenth-century oil on canvas depicting what is generally agreed to be the same subject as THE Mona Lisa but painted 10 years earlier, when she was a younger woman. It has changed hands a number of times over the years and since the 1910s there has been some debate within the art community as to whether or not da Vinci painted this as an earlier version of the Mona Lisa.

PRADO MONA LISA
Finally, our third lady is held by the Louvre it has been displayed at the Museo del Prado in Madrid since 1819. It is generally agreed that this painting too is of the same subject as the Mona Lisa, Lisa Gherardini, and some even think that it was painted at the same time as the Mona Lisa. This would explain why the subject appears to be the same age as she is in the more famous version.

For years this painting was dismissed as an anonymous copy of the Mona Lisa because it just showed the subject on a black background. However, restoration was done to the piece between 2010 and 2012 and it was discovered that the painting actually has a super detailed and beautiful background, similar to the one in the Louvre, that had been painted over with black in the 1700s. Once the background was revealed its value and importance immediately skyrocketed.

13/09/2026

BRAVO!!! NEWS!!!
BEYONCE GIFT $2 MILLION TO THE STUDIO MUSEUM IN HARLEM FOR HER 45TH BIRTHDAY
📌 The superstar’s contribution to Harlem’s Studio Museum comes as the institution enters a new era.

‼️ The superstar, entrepreneur, and art collector donated $2 million to the Studio Museum in Harlem on Sept. 4, according to The Art Newspaper. The contribution comes less than a year after the museum opened its new $300 million building on 125th Street, giving the institution an expanded platform for exhibitions, artist development, and its renowned artist-in-residence program.

❤️ “Art tells all our stories; the past and the present, but is not always accessible to everyone,” said Knowles-Carter in a statement released by her management company and record label Parkwood Entertainment. “I have always been impressed with the Studio Museum in Harlem because of its intention to make the Museum an integral part of the community. I have been introduced to several of my favorite young and upcoming Black artists through exhibits at the Museum. It is a place of inspiration where all audiences can discover new stories through the canvases of diverse storytellers that reflect our humanity.”
📌 Founded in 1968, the Museum describes its mission as serving as a “nexus for artists of African descent locally, nationally, and internationally.” Its artist-in-residence program has helped launch the careers of generations of Black artists. Thelma Golden, the museum’s director and chief curator, said Beyoncé’s contribution would help the institution continue that work ‼️

12/09/2026

‼️ ΓΝΩΡΙΜΙΑ ΜΕ ΤΙΣ ΝΕΕΣ ΤΑΣΕΙΣ ΣΤΗΝ ΣΥΓΧΡΟΝΗ ΤΕΧΝΗ

‼️ Πέμπτη,17 Σεπτεμβρίου, ώρα 19.00 -20.00

‼️ -MAT, Λεωφόρος Συγγρού 155, Νέας Σμύρνη

👋 Στα πλαίσια της ομαδικής έκθεσης ‘’ ATMOSPHERES’’ στο φιλοξενούμενο χώρο του COCO-MAT η MaLou Art Consulting & Gallery οργανώνει ενημερωτικό σεμινάριο « Νέες μορφές ψηφιακής τέχνης» με τον Ιωάννη Σιέμο, digital artist,γραφίστα , εκπαιδευτικό.

💥 Γεννημένος στην Αθήνα το 1981, ο Γιάννης Σιέμος – γνωστός ως Yianart – είναι ψηφιακός καλλιτέχνης και designer, με έργο που γεφυρώνει τη φαντασία και την τεχνολογία. Απόφοιτος με άριστα του VAKALO Art & Design College, με εξειδίκευση στο 3D Animation, το Web Design και την Ψηφιακή Τέχνη, δραστηριοποιείται επαγγελματικά ως freelancer από το 2005.

Η καλλιτεχνική του δραστηριότητα περιλαμβάνει ψηφιακές εκτυπώσεις, 3D visualization, φωτογραφία, multimedia και NFTs, αναδεικνύοντάς τον σε έναν πολυδιάστατο δημιουργό με διεθνή προσανατολισμό.

🔆 Πολλά από τα έργα και τα πρότζεκτ του έχουν διακριθεί τόσο στην Ελλάδα όσο και στο εξωτερικό, ενισχύοντας τη φήμη του ως οραματιστή δημιουργού στον χώρο της σύγχρονης ψηφιακής τέχνης.

👋 Παράλληλα με το δημιουργικό του έργο, ο Γιάννης δραστηριοποιείται και στον χώρο της εκπαίδευσης, διδάσκοντας σε προγράμματα design κορυφαίων εκπαιδευτικών ιδρυμάτων. Επιπλέον, συμμετέχει ως μέλος κριτικών επιτροπών σε διεθνή βραβεία σχεδιασμού NFT, συμβάλλοντας με την εμπειρία και την τεχνογνωσία του στην εξέλιξη της νέας γενιάς καλλιτεχνών και στη διαμόρφωση του διαρκώς εξελισσόμενου παγκόσμιου καλλιτεχνικού τοπίου.
www.malouartconsulting.com

10/09/2026

‼️ ΓΝΩΡΙΜΙΑ ΜΕ ΤΙΣ ΝΕΕΣ ΤΑΣΕΙΣ ΣΤΗΝ ΣΥΓΧΡΟΝΗ ΤΕΧΝΗ

📌 Πέμπτη,17 Σεπτεμβρίου, ώρα 19.00 -20.00
COCO-MAT, Λεωφόρος Συγγρού 155, Νέας Σμύρνη

👋 Στα πλαίσια της ομαδικής έκθεσης ‘’ ATMOSPHERES’’ στο φιλοξενούμενο χώρο του COCO-MAT η MaLou Art Consulting & Gallery οργανώνει ενημερωτικό σεμινάριο « Νέες μορφές ψηφιακής τέχνης» με τον Ιωάννη Σιέμο, digital artist,γραφίστα , εκπαιδευτικό.
🔆 Γεννημένος στην Αθήνα το 1981, ο Γιάννης Σιέμος – γνωστός ως Yianart – είναι ψηφιακός καλλιτέχνης και designer, με έργο που γεφυρώνει τη φαντασία και την τεχνολογία. Απόφοιτος με άριστα του VAKALO Art & Design College, με εξειδίκευση στο 3D Animation, το Web Design και την Ψηφιακή Τέχνη, δραστηριοποιείται επαγγελματικά ως freelancer από το 2005.
‼️ Η καλλιτεχνική του δραστηριότητα περιλαμβάνει ψηφιακές εκτυπώσεις, 3D visualization, φωτογραφία, multimedia και NFTs, αναδεικνύοντάς τον σε έναν πολυδιάστατο δημιουργό με διεθνή προσανατολισμό.
Πολλά από τα έργα και τα πρότζεκτ του έχουν διακριθεί τόσο στην Ελλάδα όσο και στο εξωτερικό, ενισχύοντας τη φήμη του ως οραματιστή δημιουργού στον χώρο της σύγχρονης ψηφιακής τέχνης.
📌 Παράλληλα με το δημιουργικό του έργο, ο Γιάννης δραστηριοποιείται και στον χώρο της εκπαίδευσης, διδάσκοντας σε προγράμματα design κορυφαίων εκπαιδευτικών ιδρυμάτων. Επιπλέον, συμμετέχει ως μέλος κριτικών επιτροπών σε διεθνή βραβεία σχεδιασμού NFT, συμβάλλοντας με την εμπειρία και την τεχνογνωσία του στην εξέλιξη της νέας γενιάς καλλιτεχνών και στη διαμόρφωση του διαρκώς εξελισσόμενου παγκόσμιου καλλιτεχνικού τοπίου.

06/09/2026

THE SMILE OF THE MONA LISA AND THE ARCHAIC SMILE

For quite some time, there is something that has quietly occupied my thoughts whenever I look at Leonardo da Vinci’s Mona Lisa.
Her smile reminds me — in a strange, almost inexplicable way — of the Archaic Smile of the ancient Greek kouroi of the 6th century BC.
Perhaps it is nothing more than a personal visual impression.
And yet, perhaps it is an impression worth lingering over.
The smile of the Mona Lisa is so delicate, so ambiguous, that we can never be entirely certain whether she is truly smiling at all.
The corners of her lips seem to rise by the smallest fraction. Her expression appears to retreat and return, changing subtly each time we look at her — as though the face itself were suspended somewhere between stillness and movement, between silence and speech.
Something strangely similar can be found in the faces of the ancient kouroi.
The Archaic Smile is that quiet, characteristic smile that appears on the lips of so many Archaic Greek statues.
It is not a smile of happiness, at least not in the sense in which we understand happiness today. It is something more enigmatic.
A calm and unwavering expression that seems to awaken the motionless stone — giving the face a peculiar sense of life, presence, and almost consciousness.
And perhaps this is where the real mystery begins.
There is no proven historical connection between the Archaic Smile and the smile of the Mona Lisa.
We cannot say that Leonardo created her expression with the ancient Greek Κouroi consciously in mind.
Leonardo lived during the Renaissance, an age in which the ancient world was being rediscovered, studied, admired, and brought back into the imagination of Europe.
And although we may never know whether there was any direct influence, another question seems worth asking:
Could it be that, across different centuries and different civilizations, artists were searching for the same elusive thing — a way to make a motionless face appear alive?
The ancient sculptor had a block of marble.
Leonardo had a flat wooden panel.
And both confronted something almost impossible:
to persuade the human eye that behind an unmoving surface, there is someone who is present.
The ancient sculptor achieves this through the smallest curve of the lips, through the cheeks, the eyes, and the solemn frontal stillness of the figure.
Leonardo achieves it through sfumato, through the gaze, through the subtle turning of the body, through transitions of light and shadow so delicate that they seem almost to disappear.
One speaks through stone. The other through paint.
And yet both seem to whisper the same secret: Stillness does not necessarily mean absence. Perhaps that is why these faces continue to disturb us.
They do not move. They do not speak. And yet, somehow, they seem to be there.
And perhaps this is where the great mystery lies.
The Archaic Smile is approximately 2,500 years old.
The smile of the Mona Lisa is approximately 500 years old.
Nearly two thousand years stand between them.
Two thousand years of history, of civilizations rising and falling, of languages Two thousand years of history, of civilizations rising and falling, of languages disappearing, of beliefs changing, of human beings being born, loving, suffering, and dying.
And still, across that immense distance, the two faces seem to reach us with something strangely familiar.
They can make us feel something that is difficult to put into words:
THAT THE FACE BEFORE US IS NOT DEAD, BUT PRESENT.
Perhaps, in the end, the Archaic Smile and the smile of the Mona Lisa are two different languages, spoken by two different worlds, separated by thousands of years —
and yet attempting to say the same thing.
Not I am happy. Not I am smiling.
But something much more ancient.
Something almost primordial.
A quiet declaration against the silence of stone and time:
“I AM HERE.”

02/09/2026

THE MONA LISA: AN ICON OF ENIGMATIC BEAUTY
History, Meaning, & Facts
Part 1
The painting Mona Lisa by Leonardo da Vinci is probably the most famous piece of art in the world. The Mona Lisa is more than just a painting; it’s a cultural phenomenon. Displayed in the Louvre Museum in Paris, it draws millions of visitors each year, all eager to catch a glimpse of that famous enigmatic smile. But what is it about this particular portrait that has captured our imaginations for centuries? Well, it’s a combination of factors, starting with Da Vinci’s revolutionary techniques. He used sfumato, a technique that involved subtly blending colors and softening lines, creating a hazy, almost dreamlike effect. This gave the Mona Lisa an incredible sense of depth and realism, making her appear almost alive. Notice the way the light plays across her face, the way her gaze seems to follow you, and the subtle shifts in her expression. It’s truly mesmerizing!
Leonardo’s skill in this painting particularly impressed the sixteenth-century painter and historian Vasari, who had the following to say about it:
‘’In this head, whoever wished to see how closely art could imitate nature, was able to comprehend it with ease; for in it were counterfeited all the minutenesses that with subtlety are able to be painted, seeing that the eyes had that lustre and watery sheen which are always seen in life, and around them were all those rosy and pearly tints, as well as the lashes, which cannot be represented without the greatest subtlety. The eyebrows, through his having shown the manner in which the hairs spring from the flesh, here more close and here more scanty, and curve according to the pores of the skin, could not be more natural. The nose, with its beautiful nostrils, rosy and tender, appeared to be alive. The mouth, with its opening, and with its ends united by the red of the lips to the flesh-tints of the face, seemed, in truth, to be not colours but flesh. In the pit of the throat, if one gazed upon it intently, could be seen the beating of the pulse. And, indeed, it may be said that it was painted in such a manner as to make every valiant craftsman, be he who he may, tremble and lose heart.’’
To be Continued

29/08/2026

‼️ LADY WITH AN ERMINE BY LEONARDO da VINCI
📌 Leonardo's Lady with an Ermine is one of the most important works in all of the Western art. An object of the greatest rarity, the Lady with an Ermine is a captivating image of exquisite elegance and reveals the artistic genius of Leonardo da Vinci's incomparable creative mind.
❤️ Leonardo da Vinci’s Lady with an Ermine (c. 1489–1491) is a portrait of Cecilia Gallerani, the teenage mistress of Ludovico Sforza, Duke of Milan. The painting is packed with hidden layers, visual puns, and political symbolism centered primarily on the titular animal.
‼️ The Hidden Meanings and Secrets
The Lover's Emblem: Ludovico Sforza was nicknamed "the white ermine" after being inducted into the prestigious Order of the Ermine. Holding the animal was a subtle, public way to link Cecilia to the Duke. A Clever Name Pun: The Greek word for ermine or weasel is galē, which serves as a clever phonetic pun on the sitter’s surname, Gallerani.
Symbol of Purity: Leonardo wrote in his personal notebooks that an ermine would rather die than soil its pristine white coat in the mud. Placing this ultimate symbol of chastity and moral purity in the arms of the Duke's mistress elevated her status and virtue.Sign of Pregnancy: Scientific analysis using advanced scanning shows that Leonardo painted the portrait in stages—first with no animal, then a small grey ermine, and finally a large white one. Art historians suggest the final large creature also symbolized fertility and protection during pregnancy, as Cecilia was carrying the Duke’s illegitimate child at the time.
📌 Advanced Technical Secrets:
✅ The Contrapposto Twist: Cecilia’s body turns left while her head turns right. This dynamic posture creates a realistic sense of sudden movement.
✅ The Sfumato Shadowing: Leonardo applied ultra-thin glaze layers. This blends colors seamlessly, softening the edges around her eyes and mouth.
✅ The Living Hand: He painted detailed tendons and knuckles. This makes her grip on the ermine look anatomically perfect and alive.
✅ Chiaroscuro Contrast: A strong light hits the subject from the right. This creates deep shadows on the left, making the figures look three-dimensional.

24/08/2026

ABOUT THE PORTRAIT GINEVRA DE BENCI BY LEONARDO da VINCI
Continuation of the story

A POSSIBLE LOVE STORY
The portrait may have been connected to Ginevra’s engagement to Luigi Niccolini in 1474. But there is another intriguing possibility.
The Venetian ambassador to Florence, Bernardo Bembo, was one of Ginevra’s admirers and a cultivated poet himself. The laurel and palm on the reverse were also associated with Bembo.
Even more fascinatingly, scientific examination revealed traces of Bembo’s motto, “Virtue and Honor,” beneath the inscription that we see today. This has led scholars to suggest that Bembo may have commissioned the reverse of the portrait—and possibly the portrait itself, although this remains unproven.
So hidden beneath the visible painting is another layer of history: poetry, admiration, friendship, and perhaps a Renaissance love story.

LEONARDO PAINTED MORE OF GINEVRA THAN WE SEE TODAY
The portrait we see today is incomplete.
At some point in its history, the wooden panel was cut down along the bottom. A surviving drawing by Leonardo suggests that the original composition included Ginevra’s hands resting at her waist.
She may also have been holding a small flower, possibly a dianthus, or pink, which in Renaissance portraiture could symbolize devotion or virtue.
This changes the way we imagine the original portrait. We are not looking at the complete Ginevra that Leonardo painted; we are looking at a fragment of her.
And yet Leonardo managed to give even this fragment an extraordinary sense of presence.

A PORTRAIT THAT TRAVELED ACROSS HISTORY

The painting eventually entered the collection of the Princes of Liechtenstein, where it remained for more than two centuries. In 1967, the National Gallery of Art in Washington, D.C., purchased it.
Ginevra flew to the US in a custom suitcase and a first-class seat

Today, Ginevra de’ Benci holds a special distinction: it is the only painting by Leonardo da Vinci in the Americas.

And there is something wonderfully poetic about its journey.

Ginevra began her life as a young Florentine woman, surrounded by Renaissance poetry, intellectual conversation, family expectations, and the possibility of marriage. Leonardo captured her at one particular moment—but somehow preserved something that feels larger than that moment.
She is not smiling for us.
She does not invite us in.
She simply looks out from the painting, calm and unreadable, as though she knows something that we do not.
Perhaps this is what makes Leonardo’s portrait so compelling.

He did not give us an answer to the mystery of Ginevra.
He gave us the mystery itself.

MaLou Art Consulting Online Gallery

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