Vasily Lepanto

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Wassili Lepanto, approx. 2000

Wassili Lepanto (born June 17, 1940 in Nafpaktos as Vasilios Loukopoulos , Greek Βασίλειος Λουκόπουλος ; † August 30, 2018 in Heidelberg ) was a Greek-German painter and Heidelberg city councilor. From the town of Nafpaktos (Greek Ναύπακτος, German often also Naupaktos) on the Gulf of Corinth , which the Italians call Lepanto ( Battle of Lepanto 1571 ), he derived his stage name "Lepanto". He lived and worked in Heidelberg since 1964 - first as a student there and in Mannheim and later as a freelance artist .

His work was rooted in the student and ecology movement of the 1960s / 70s. The artist's thought and work were characterized by the affirmation of the positive and pure in the world as well as the simultaneous, mirror-image rejection of everything negative and negative. Lepanto's artistic intention was "ecological modernity". The painter, who was also ambitious in art theory , was linked by a student-teacher relationship with the philosopher Hans-Georg Gadamer .

Life

Athens

From 1945 Wassili Lepanto lived in Athens , in the old district of Akadimia Platonos, near today's city center, Omonia Square . He attended a high school not far from the Akropolis rock and the Thission , and the nearby youth library introduced him to European literature. The stage of the Royal Theater of Athens engaged him as a young actor.

Change to Heidelberg

Wassili Lepanto (left) in conversation with Hans-Georg Gadamer

In 1964, Heidelberg became his adopted home. At the universities of Heidelberg and Mannheim he studied German, history, pedagogy and art history and was committed to a peaceful student movement. A teacher-student relationship with the philosopher Hans-Georg Gadamer began through his further minor in philosophy.

In 1969 a turning point occurred in his life when he went to a spa in the Black Forest . The encounter with the nature of the Black Forest opened his eyes to the magnificence of nature. He was politicized by the Club of Rome's report on forest dieback, the pollution of the seas and rivers, the Cold War and nuclear armament in the East and West.

During his master's thesis in 1974 on Heinrich von Kleist's Der Zweikampf , Lepanto was also employed as a research assistant at the German Department of Heidelberg. In 1975 he received a doctoral scholarship from the Friedrich Ebert Foundation . To do his doctorate, he had to leave Heidelberg University and move to neighboring Mannheim. At the then still new University of Mannheim , he received his doctorate in German studies in 1978 with a thesis on grammar theory and language practice , which defends traditional linguistics against the newly emerged linguistic theories. In the same year he published his thesis on Max Frisch's Homo faber .

A new phase began in Vasily Lepanto's private life in the years that followed. His intellectual and artistic connection deepened with a graduate of Ruperto Carola , Heidelberg, an art historian whose roots are in Finland . Wassili Lepanto married her in 1982.

Opting for art

Lepanto received an offer to teach at the University of Athens , but he turned it down and also abandoned a scientific career at his alma mater in Heidelberg. Instead, he chose the life of a freelance artist. This was a decision for a vita contemplativa and against a vita activa and meant a turning point in his life. From now on he devoted himself to painting .

"It was like a new birth: he became a painter and it turned out that he was born a painter."

- Hans-Georg Gadamer

1979–81 the foundation for his picture program was created, which unfolded fully in the following years in three basic painting periods - yellow-brown , green and white . The productive artistic creation was accompanied by a lively exhibition activity, which also took him to Paris , Vienna , Helsinki , Montpellier , Athens, New York , Geneva and Florence . Lepanto's art became known to a wider public not only with exhibition catalogs, but also with art prints, postcards and calendars.

In 1983, his fundamentally programmatic manifesto Art for Humans or For Ecological Art was published. In addition, he held the dissemination and promotion of its ecological aesthetics and art theory lectures, among others at the University of Heidelberg and also at the Jyväskylän yliopistos in Finland.

In the summer semester 1991 and in the winter semester 1991/92 he worked as an academic teacher in German literature ( Thomas Mann and Expressionism ; German literature at the turn of the century ) at Heidelberg University . In 1993 Lepanto published his artist diary early spring , in which he looked back on the fundamental years of his artistic work. 1992–1995 Lepanto worked on his large commissioned work for Heidelberg University, the painting cycle Abendland . This was followed in 1996/97 by his biggest, groundbreaking retrospective in Geneva, Athens and Düsseldorf . In the same year he was awarded the Willibald Kramm Prize for Art in Heidelberg.

In 2000 he opened his own gallery in Heidelberg's old town . In 2002 the artist's monograph Wassili Lepanto - Positive Utopias was published by the Belser Verlag in Stuttgart .

In 2009 the artist, who is also involved in urban politics, succeeded in entering the municipal council with his Heidelberg Maintain and Preserve cultural initiative . Lepanto also gave his lectures on art theory at Dalhousie University in Halifax / Canada on art and ecology (2009) and in 2012 at East China Normal University on Gadamer's hermeneutics and ecological modernity .

Lepanto died on August 30, 2018 after a long illness. He is to be buried in Greece.

Political commitment

In 1985/86 the artist intervened with great personal commitment in questions of Heidelberg city design. He went public with a wide-ranging campaign (“100 Letters”) against two art projects by the city of Heidelberg : the redesign of Heidelberg University Square with a Dani Karavan project and the avant-garde, unaesthetic, progressive window designs by Johannes Schreiter for the late Gothic Heiliggeistkirche Heidelberg . In this context, Lepanto again sought the connection with his teacher from his student days, the philosopher Hans-Georg Gadamer . He became involved nationwide a. a. at the Kulturpolitische Gesellschaft and took a very active part in the cultural talks of the newly formed party Bündnis 90 / Die Grünen .

In 2001, the artist got involved in a series of art campaigns for the replanting of a felled weeping willow in the courtyard of Heidelberg Castle and collected 10,000 signatures for it. In the same year Lepanto was awarded the citizen's badge of the city of Heidelberg for “cultural diversity and socio-political issues”.

In 2006 a controversial urban development project in Heidelberg's old town challenged him again to protests. Again Lepanto collected 10,000 signatures against the demolition of the neoclassical market colonnades and the felling of 17 linden and plane trees on Friedrich-Ebert-Platz, which ultimately had to give way to a modern, city-friendly underground car park.

In 2009, the politically ambitious artist founded the Heidelberg Care and Preservation cultural initiative , which earned him a seat on the city council in the Heidelberg municipal elections.

His particular commitment was to the historical building culture - the "historically grown" - in particular to the listed complex Alt-Heidelberg. The historic old town is an architecturally closed unit in the sense of him Gesamtkunstwerk , so for him every change meant a negative intervention in the whole. Therefore he demanded their unconditional receipt. Above all, he sought to preserve the historical image of Heidelberg from the superfluous and disruptive building projects of Zeitgeist architecture , such as the recent wooden seating on the Heidelberg market square.

plant

Lepanto's life decision for art instead of a university career was on the one hand supported by his enthusiasm for German poetry and shaped by the peace and ecology movement and on the other hand by his critical examination of contemporary modernism and the avant-garde art theories of the early 20th century.

From then on he helped a genre of painting that had ceased to exist in the second half of the 20th century to flourish again: landscape painting . It enabled him to realize his central picture idea “ oikos ” - that of a manageable cosmos on a small scale.

“Here was someone who was finally painting landscapes again that wanted to be much more than just wall decorations for hotel rooms or 'parlors'. The spirit of order prevailed on them, which the Greeks tried to describe with the word 'oikos' in order to point out the inner connection between heaven, earth, nature and being human. "

- Jost Hermand

Lepanto designed his idea of ​​landscape in conscious contrast to the destroyed environment as a positive utopia - a re-greening of the earth :

“Its Finnish forests, Thessalian fields, Bavarian landscapes and its gently winding Neckar valley with the beautiful rural Heidelberg: a sun shines over everything that never threatens to set. And yet the whole thing does not give the impression of that “ideal world” criticized by Theodor W. Adorno, which is based on a false idyll. They are not nostalgic depictions of a bygone 'good old days'. "

- Jost Hermand

With all their naturalness and the realistic reproduction of their characteristic pictorial objects such as houses and groups of trees, “Lepanto's pictures of nature are not pictures of nature.” ( Reinhard Wegner : Pictures of nature, in: Ökologische Kunst, Stadt Heidelberg / Kulturamt 2006).

They were created in the mind, are “composed” landscapes that are characterized by a principle of order.

"[It] is a process of reconciliation between man and nature, the goal of which is a long way off, but the path of which is depicted with creative means."

- Norbert Werner

While his early work was done in mixed media ( watercolor and tempera on laid paper ), he has used almost only oil paints ( oil on canvas ) since the late 1980s .

The continuity of his forms of representation is characteristic of Lepanto's work. That is why his landscapes largely evade a fixed chronological classification. Rather, there is a juxtaposition of three color-dominant groups of works - the yellow-brown , the green and the white :

  • The yellow-brown pictures determine the structure of his art in their earth-boundness. In the earthy, atmospheric lecture the landscape and its settlements appear to be carried by the darkness of the earth and embedded in the warmth of the grain fields - archaically heavy and peacefully secure in "Mother Earth". In an organic-constructive picture structure, integrated in a tension of space and surface, the picture of landscape arises, regardless of whether it is inspired by the visible or a felt historical reality. Contemplative and defensive at the same time: Landscapes that are home to people, but whose fragility also appears to be in need of protection.
  • The green pictures , based mostly on nature, develop a programmatic visual character in their expressiveness - often dynamized by a strong red or yellow. They were created in the 1980s against the backdrop of forest decline and the ongoing destruction of nature . Here, “vegetal growths” cover the landscape image space in a dense fabric of organic-naturalistic structure. Or the green landscape is set in dynamic movement in a constructive area. They are depictions of landscapes that conjure up the vitality of organic nature - growing and becoming - with the evocative power of greenery: symbols for the “re-greening of the earth”.
  • The white pictures were created as a characteristic group of works in the late 1980s, in which the non-color white - for Lepanto the "color in the form of silence" - carries the picture message. “For Lepanto, white is the color of light, behind which the secret of life is hidden. In it the painter brings the Apollonian splendor of his homeland back into the work of art ”.

Mediterranean landscapes and the city portraits of Heidelberg in the cycle “Heidelberg - A City of the South” form the essential part here in the transparent lightness of white. Its development goes hand in hand with the introduction of "a translucent oil technique". Instead of the blurring background known from time immemorial, for example in German romanticism , it is here "not the background, but the actual center of the appearance with which the apparently emptiness of white unites"

From then on, all three color periods - originated in the first two decades of his artistic work - form the main strands of Lepanto's art in varied transitions and “in their entirety [...] a triptych that traces the artist's path - from earthly warmth to Light, [...] from topos to utopia ”.

In Heidelberg's Palais Bunsen , a university institute, hangs Lepanto's largest painting to date, the Occident Cycle (1992–1995). It is a polyptych (300 × 580 cm) consisting of six panels , which, in addition to two depictions of landscapes ( Delphi and Nauplia ), shows four scenes from Greek mythology , which are influenced by important German dramas ( Johann Wolfgang von Goethe's Iphigenie auf Tauris and Faust , Heinrich von Kleist's Penthesilea and Hugo von Hofmannsthal's Elektra ) were inspired. Another painting that thematizes the connection of old and new culture with figure representation is called Europe. The Parzen at work : "It takes a position for a peaceful future in Europe".

Particular highlights in his artistic career are the large overview of his works in the United Nations Palace in Geneva on the occasion of the celebration of the World Day of Peace on May 30, 1996, which was then shown in Athens in the Melina Mercouri cultural center and then (1997) in the Kunstpalast Düsseldorf as well as his retrospectives in Kurpfälzisches Museum Heidelberg (2006) and in the Benaki Museum Athens (2011).

Art theory

Parallel to his painting, Lepanto developed his abstract art theory of "ecological art". In doing so, as an advocate of nature and the environment, he opposed the avant-garde with a positively oriented art. He laid out his maxim about the tasks of art in his manifesto Art for Man or: For an Ecological Art , published in 1983 . For overcoming abstract, uncommitted art. It calls for "in a combative tone, a rethinking of the artist on humanistic values ​​and combines ecological goals with aesthetic guidelines."

In dealing primarily with the avant-garde art theory of Wassily Kandinsky's Das Geistige in der Kunst (1911), he calls here to overcome its abstract, mathematical formal language. The turn to sensual reality, the "return to the object" is the pioneering program here. However, this does not happen from the perspective of a “romantic who demonizes modern art”, as one could mistakenly understand it - according to a sensible reviewer - when skimming over the surface. Lepanto calls for an "opposition to the denaturation, abstraction of the world, against the dismemberment and minimization of reality". The repressed sensuality - due to the effects of technology and science and the subjectivist interpretation of reality - is rediscovered by him and propagated for painting, poetry and music:

“The elements of nature regain their symbolic character and thus have the power to point beyond themselves and thus to address people. The transparency of things on something permanent, archetypal, which seemed to be extinguished, is given back to them. The groundwater of existence no longer dries up, but multiplies under the work of the ecological artist. The depth of meaning and the beauty of the world are increased. The abundance of forms of the living comes to life, the awakening power in it can be experienced. "

- Vasily Lepanto

As radically as Lepanto calls for a turnaround from a subjectivist art of post-war modernism and postmodernism to a holistic, ecological one and thus “defines a new understanding of the avant-garde”, for him the fundamental task of the artist is not to abstract the world, but to alienate it to restore "the world that modern man has distorted: the artist does this to preserve life until new life returns". He presents the picture of the ecological artist u. a. in his sixteen theses on “What distinguishes the ecological artist”. In these antithetical definitions, Lepanto polemicises not only against the “torn” artist of today who “desperately wants to provoke”, but also against the “officious critics and museum people” and the “ruling cultural industry”, which “manipulates and standardizes people to weld them together to form a unified consumer class ”(15th thesis).

Exhibitions

  • 1978: First solo exhibition Mother Nature - Orderly World with a parallel lecture at the German-American Institute in Heidelberg
  • 1979: Solo exhibition in the cultural office Neustadt an der Weinstrasse with exhibition catalog (in the catalog the contribution design principle and intellectual motivation in the works of Wassili Lepanto)
  • 1980: Solo exhibition at the Hans-Thoma-Gesellschaft in Reutlingen with exhibition catalog (in the catalog the contribution design principle and intellectual motivation in the work of Wassili Lepanto)
  • 1980: Solo exhibition at the Art Association Helsinki with exhibition catalog (in the catalog the contribution The Law of Nature in Art and in Man by W. Lepanto, and Form and Content of a Landscape )
  • 1981: Solo exhibition of the Orderly World in the Heidelberg University Library with exhibition catalog
  • 1984: Solo exhibition in Lindau Town Hall, participation in a group exhibition entitled Gesammelte Angst in Tübingen, Freiburg, Mannheim, Aachen and Washington (DC),
  • 1984: Participation in the international art market in Chicago
  • 1985: Participation in the art market in New York
  • 1986: Solo exhibition Landscape - Positive Utopias in Montpellier in the Maison de Heidelberg with exhibition catalog, solo exhibition in the Tower Gallery in Bonn and in the City Hall in Worms
  • 1987: Solo exhibitions in the municipal galleries of Offenburg and Ostfildern with exhibition catalog (in the catalog the article Landscape as a Symbol by Reinhard Wegner)
  • 1987: Participation in the Panhellenic exhibition in Athens
  • 1987: Solo exhibition in Paris, Galerie de Causans and Sole d'Oro, Heidelberg
  • 1989: Solo exhibition at the Evangelical Academy in Loccum
  • 1989: Solo exhibition in the Goethe-Institut in Athens with exhibition catalog (in the catalog the article Landscapes - Positive Utopias by Norbert Werner)
  • 1989: Solo exhibition at the Austrian cultural center Palais Palffy in the Vienna Hofburg with an exhibition catalog (in the catalog Vibrations of the Heart or painting a picture )
  • 1989: Solo exhibition and lecture in the Pantheon Theater in Bonn on the subject of diversity instead of simplicity - shaping the multicultural society!
  • 1991: Solo exhibition at the German-American Institute in Heidelberg with the exhibition catalog Heidelberg - A City of the South and a contribution by Hans-Georg Gadamer
  • 1991: Participation in an exhibition at the Henri Benezit gallery in Paris
  • 1991: Solo exhibition in the Ministry of the Environment in Stuttgart
  • 1996: Retrospective in the United Nations Palace in Geneva on the World Day of Peace and in the "Melina Mercouri Cultural Center" in Athens with exhibition catalog (in the catalog the article Return to Myth. The Visual Messages of the Painter Wassili Lepanto by Friedrich Strack)
  • 1997: Retrospective of Geneva and Athens in the Kunstpalast Düsseldorf
  • 2000: proud opening of his own gallery (in addition to the studio) in the historic old town of Heidelberg
  • 2003: Solo exhibition Landscapes - Positive Utopias in the federal office of Bündnis 90 / Die Grünen, Berlin
  • 2003: Participation in the Internationale Dell'Arte Biennale in Florence
  • 2006: Retrospective - Wassili Lepanto - Ecological Art in the Kurpfälzisches Museum Heidelberg with exhibition catalog with contributions by Reinhard Wegner, Dieter Henrich, Jost Hermand u. a.
  • 2007: Solo exhibition of ecological art in Montpellier, Maison de Heidelberg
  • 2011: Retrospective in the Benaki Museum Athens with exhibition catalog Landscapes - Ecological Order and Inspiration
  • 2015: Solo exhibition Ecological Order in Art and the World in the Shandong Cultural Center in Jinan (China)
  • 2015: Solo exhibition Ecological Order in Art and the World in the Shanxi State Library in Taiyuan (China)
  • 2016: Solo exhibition ecological order re-greening of the earth in the city of Lepanto (Nafpaktos)

literature

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  • Wassili Lepanto - 瓦西 里 ・ 雷 攀 拓: Ecological Order in Art and in the World - 在 艺术 和 世界 里 的 生态 秩序 - Ecological Order in Art and in the World . On the occasion of the exhibition in the cultural center of Jinan City / Shandong Province, PR China. Belser, Stuttgart 2015, ISBN 978-3-7630-2729-3 .
  • Wassili Lepanto: Landscapes. Ecological order and inspiration . Belser, Stuttgart 2011, ISBN 978-3-7630-2595-4 .
  • Wassili Lepanto: Positive Utopias . Belser, Stuttgart 2002, ISBN 3-7630-2410-7 .
  • Wassili Lepanto: Early spring or painting a picture. An artist's diary 1979-1983 . Guderjahn, Heidelberg 1993, ISBN 3-924973-22-9 .
  • Wassili Lepanto: Art for people or: For an ecological art. A manifesto . Freiburg 1983, ISBN 3-8107-5037-9 .
  • Wassili Lepanto: Landscapes. Ecological order and inspiration . Auss. Cat., Benaki Museum 2011, ISBN 978-3-7630-2595-4 .
  • Wassili Lepanto: Heidelberg - a city in the south . Exhibition catalog, German-American Institute Heidelberg, 1991.
  • Jost Hermand u. Hubert Müller (Ed.): Eco-Art? On the aesthetics of the Greens . Hamburg 1989, ISBN 3-88619-183-4 .
  • Dieter Henrich: space, cosmos, contemplation. In: City of Heidelberg / Cultural Office: Wassili Lepanto. Ecological art , exh. Cat., Heidelberg 2006
  • City of Heidelberg / Cultural Office: Wassili Lepanto. Ecological art , exh. Cat., Heidelberg 2006, ISBN 3-88423-262-2 .
  • Friedrich Strack: return to myth? The visual messages of the painter Wassili L. In: Landschaft des Oikos , exhib.cat. United Nations Palace, Geneva 1969.
  • Norbert Werner: The utopia of the inner gaze. Reflections on Wassili Lepanto's landscape representation. In: Wassili Lepanto: Positive Utopien , Stuttgart 2002.

Web links

Individual evidence

  1. ↑ Dora Markatou: Introduction to the person and work. In: Wassili Lepanto. Landscapes. Ecological order and inspiration , Auss. Cat.Benaki-Museum 2011, p. 12 ff.
  2. ↑ Katja Nagel: The Province in Motion. Student riots in Heidelberg from 1967 to 1973. Book series of the city of Heidelberg , Vol. XIII, Heidelberg a. a. 2009.
  3. ↑ Wassili Lepanto: Ecological Order and Inspiration , Stuttgart 2011, p. 252.
  4. ^ City of Heidelberg / Cultural Office: Wassili Lepanto. Ecological art , exh. Cat., Heidelberg 2006, p. 88.
  5. ↑ Dora Markatou: Introduction to the person and work. In: Exhibition catalog Benaki Museum 2011 (ed.): Wassili Lepanto. Landscapes. Ecological order and inspiration. Athens 2011, p. 10 .
  6. ↑ Dora Markatou: Introduction to the person and work. In: Wassili Lepanto. Ecological order and inspiration , Stuttgart 2011, p. 13 f.
  7. ↑ Wassili Lepanto: Heidelberg - A City of the South , exhibition cat. German-American Institute Heidelberg, 1991, oS
  8. ^ City of Heidelberg / Cultural Office: Wassili Lepanto. Ecological art , exh. Cat., Heidelberg 2006, p. 88.
  9. ^ City of Heidelberg / Cultural Office: Wassili Lepanto. Ecological art , exh. Cat., Heidelberg 2006, p. 88.
  10. ↑ Wassilli Lepanto: landscapes. Ecological order and inspiration , exhib.cat. / Benaki Museum, 2011, p. 260.
  11. ↑ Ruprecht-Karls-Universität Heidelberg: Course catalog vol. 2, SS 1991, p. 212 u. WS 1991/92, p. 201.
  12. ^ Heide Seele: Arkadien in Heidelberg , in: RNZ, June 2, 1997 and art as an expression of the beautiful. In: RNZ, June 3, 1997.
  13. ↑ Micha Hörnle: This is the new advice. The newly elected town council started its work yesterday. In: RNZ, September 24, 2009.
  14. ↑ Micha Hörnle: A list for the "most expensive capital in the city". The artist Wassili Lepanto competes in the local elections with "Heidelberg Pflege und Receive". In: RNZ, April 20, 2009.
  15. ↑ Holger Buchwald: Will Gadamer be forgotten? The artist Wassili Lepanto criticizes the fact that there was no commemorative event on the tenth anniversary of his death. , in: RNZ, December 12, 2012.
  16. ↑ Obituary in the Rhein-Neckar-Zeitung , accessed on September 30, 2018
  17. ↑ Holger Buchwald: Artist and city councilor Lepanto is dead. Rhein-Neckar-Zeitung , September 8, 2018, accessed on the same day
  18. ^ Karl Ruhrberg: Dispute over the design of the Heidelberg University Square. Coalition of the philistines against Karavan's stone spiral. In: Art Journal No. 6, p. 9.
  19. ↑ above: grossest ignorance with total lack of inner virtue. Wassili Lepantos Phillippika against the plans to redesign the University Square, Heidelberg. In: Communale, June 5, 1985, p. 5.
  20. ↑ above: "Too academic, too abstract". Karavan project for the university square failed in the local council. In: RNZ, July 17, 1985, o. P.
  21. ↑ Stained glass window Heiliggeistkirche (Heidelberg)
  22. ↑ Dieter Haas: The majority voted against the Schreiter window. To an information event at the Heidelberger Kunstverein. In: RNZ, February 14, 1986, o. P.
  23. ↑ Jutta Schneider: Wailers and Requiem for the weeping willow. The Heidelberg artist Wassili Lepanto remembered the tree in the courtyard that was felled last year. In: RNZ, May 21, 2002, o. P.
  24. ↑ above: Mayor Jürgen Beß presented the award to deserving citizens. In: Stadtblatt Heidelberg, December 11, 2002, o. P.
  25. ↑ Ingrid Thoms-Hoffmann: What happens to the colonnades? The subject is controversial in the city - signature campaign by the painter Lepanto. In: RNZ, August 30, 2006, o. P.
  26. ^ Heinrich Kemper: The municipal decision. In: Die Zeit , March 9, 2007, o. P.
  27. ↑ Homepage Kulturinitiative Heidelberg Maintain and Preserve
  28. ↑ see City of Heidelberg
  29. ↑ Wassili Lepanto , gal-heidelberg.de, February 17, 2017
  30. ↑ The benches on the market square are back - and will they be gone soon? - RNZ-Online ( Memento from November 8, 2014 in the Internet Archive )
  31. ↑ Dieter Henrich: Space, Cosmos, Contemplation , in: City of Heidelberg / Cultural Office: Wassili Lepanto. Ecological art , exh. Cat., Heidelberg 2006, p. 15.
  32. ↑ Jost Hermand: Appearance in the Past - The utopian moment with Wassili Lepanto. In: Positive Utopien , Stuttgart 2002, p. 15.
  33. ↑ Heide Seele: The idea of ​​a landscape. Watercolors by W. Loukopoulos in the America House in Heidelberg. In: RNZ, June 7, 1978.
  34. ↑ Wassili Lepanto: Landscapes. Positive utopias. , Auss.Kat. Maison de Heidelberg Montpellier (Center Culture Allemand) 1986.
  35. ↑ Jost Hermand: Without a model? On the role of the positive in a critical art. In: Avant-garde and Regression. 200 years of German painting. , Leipzig 1995, p. 198.
  36. ↑ The ability and the art . An interview with the painter Wassili Lepanto. Moderation Ingrid Moser, SDR I, September 24, 1990.
  37. ↑ Jost Hermand: Appearance in the Past - The utopian moment with Wassili Lepanto. In: Positive Utopien , Stuttgart 2002, p. 15.
  38. ↑ Norbert Werner: The utopia of the inner gaze. Reflections on Wassili Lepanto's landscape representation. In: Wassili Lepanto: Positive Utopien , Stuttgart 2002, p. 12.
  39. ↑ L. v. Winter: Green art as a horizon for life. In: Landscapes. Positive utopias. , Auss.Kat. Maison de Heidelberg Montpellier (Center Culture Allemand) 1986., p. 1.
  40. ^ Kurt Otten: Gestifteteordnung - Soul Landscapes. In: Positive Utopien , Stuttgart 2002, p. 151.
  41. ↑ a b c Friedrich Strack: Return to Myth? The visual messages of the painter Wassili L. In: Landschaft als Oikos , exhibition cat., United Nations Palace, Geneva 1969, o. P.
  42. ↑ Norbert Werner: The utopia of the inner gaze. Reflections on Wassili Lepanto's landscape representation. In: Wassili Lepanto: Positive Utopien , Stuttgart 2002, p. 13.
  43. ↑ Hans-Georg Gadamer: To the pictures of the painter Lepanto. In: Heidelberg - A City of the South , exh. Cat. DAI, 1991, no p.
  44. ↑ Maria Kakavoulia: Landscape as a revelation of ideas. In: Landscapes, topoia, landscapes. Ecological order and inspiration , exhib.cat. Benaki Museum, 2011, p. 86.
  45. ↑ Friedrich Strack: Return to Myth? The visual messages of the painter Wassili L. In: Landschaft des Oikos , exhib.cat. United Nations Palace, Geneva 1969, no p.
  46. ↑ Nina Traut: Catalog texts on paintings. In: Wassili Lepanto - Positive Utopien , Stuttgart 2002, p. 110.
  47. ↑ Reinhard Wegner: Pictures from nature. In: City of Heidelberg / Cultural Office: Wassili Lepanto. Ecological art , exh. Cat., Heidelberg 2006, p. 9.
  48. ↑ Flavia Dietrich-England: Landscape painting as a defense of nature in the work of Wassili Lepanto. In: Wassili Lepanto. Ecological order and inspiration , Auss. Cat.Benaki Museum 2011, p. 155.
  49. ↑ a b The ability and the art . An interview with the painter Wassili Lepanto. Moderation Ingrid Moser, SDR I, September 24, 1990.
  50. ↑ Norbert Werner: The utopia of the inner gaze. Reflections on Wassili Lepanto's landscape representation. In: Wassili Lepanto: Positive Utopien , Stuttgart 2002, p. 12.
  51. ↑ Wassili Lepanto: Letter from a painter to his friend - or The love of art and life. In: Eco-Art? Green aesthetics. Literature in the historical process , New Series 25, Hamburg 1989, pp. 95-105.
  52. ↑ Wassili Lepanto: What distinguishes the ecological artist. In: Positive Utopien , Stuttgart 2002, pp. 145 f.


personal data
SURNAME Lepanto, Vasily
ALTERNATIVE NAMES Loukopoulos, Wassilios; Lepanto-Loukopoulos, Wassili; Λουκόπουλος, Βασίλειος (Greek)
BRIEF DESCRIPTION Greek artist
DATE OF BIRTH June 17, 1940
PLACE OF BIRTH Nafpaktos
DATE OF DEATH August 30, 2018