Παρατηρείται επίσης ότι οι Έλληνες

Παρατηρείται επίσης ότι οι Έλληνες καλλιτέχνες απομακρύνονται σταδιακά από την κυρίαρχη, μέχρι τα μέσα της δεκαετίας του ’60, αφαίρεση και επιλέγουν διαφορετικά μέσα έκφρασης που είχαν αρχίσει να εμφανίζονται στο Δυτικό Βερολίνο, ενώ άλλοτε στρέφονται σε μέσα περισσότερο παραστατικά. Σε αυτή την επιλογή συνέβαλαν η ευρεία διάδοση της εικόνας κυρίως μέσω των ΜΜΕ και η ανάγκη των καλλιτεχνών, όχι απλώς να πειραματιστούν με νέα μέσα, αλλά να εκφράσουν με έναν πιο εύγλωττο τρόπο την αντίθεσή τους στην πολιτική κατάσταση της χώρας. Έτσι μερικοί από αυτούς επιστρέφουν στην παραστατική ζωγραφική, με αποτέλεσμα η φωτογραφική αισθητική να τοποθετηθεί στο επίκεντρο του ενδιαφέροντος καθώς εκπληρώνει την ανάγκη τους για την άμεση μετάδοση του μηνύματος. Και σε αυτή την περίπτωση όμως ακολουθούν γερμανικά πρότυπα και συγκεκριμένα τον Κριτικό Ρεαλισμό, επιδιώκοντας την αφύπνιση και την ενεργοποίηση της κριτικής λειτουργίας του θεατή απέναντι στη σύγχρονη κοινωνική και πολιτική πραγματικότητα. Στρέφονται δηλαδή ιδιαίτερα δε ο Ψυχοπαίδης προς την πολιτικοποιημένη ζωγραφική, που έχει επιρροές από την ασπρόμαυρη αισθητική της φωτογραφίας-ντοκουμέντου. Με αυτό τον τρόπο επιτυγχάνεται ο κριτικός σχολιασμός των πολιτικών καταστάσεων καθώς μεταφέρεται η πολιτική συνθήκη της καταστολής και της απαγόρευσης των πολιτικών δικαιωμάτων.

Αποτελέσματα (Αγγλικά) 1:

also observed that Greek artists gradually removed from the dominant until the mid 60s, subtraction

and choose different means of expression that had begun to appear in West Berlin, while sometimes turning into a more figurative. In this option helped the widespread image mainly through the media and the need of artists, not just to experiment with new media, but to express in a more eloquent way their opposition to the country's political situation. So some of them return to figurative painting, resulting photographic aesthetics to be placed in the spotlight as fulfilling their need for immediate transmission of the message. And in this case, however, following German standards, namely the Critical Realism, seeking awakening and activation of function critical viewer towards contemporary social and political reality. Turning i.e. especially the Psychopedis to politically drawing, which is influenced by the monochrome aesthetic photo-documentary. Thereby achieve the critical commentary of political situations as transposing the political condition of repression and prohibition of political rights.

Αποτελέσματα (Αγγλικά) 2:

It is also noted that Greek artists are gradually removed from the dominant, until the mid-60, subtraction

And they choose different means of expression that had begun to appear in West Berlin, while sometimes turning to media more graphically. This option contributed to the widespread dissemination of the image mainly through the MEDIA and the need of artists, not just to experiment with new media, but to express in a more eloquent way their opposition to the political situation of the country. So some of them return to the figurative painting, with the result that the photographic aesthetics be placed at the centre of interest as it fulfills their need for the direct transmission of the message. In this case, however, they follow German standards and in particular the critical realism, seeking to awaken and activate the critical function of the viewer in the face of modern social and political realities. In particular, the psychopides are directed towards the politicised painting, which has influences from the black and white aesthetics of photography-document. In this way, the critical commentary of the political situation is achieved as the political Treaty of repression and the prohibition of civil Rights is transposed.

Αποτελέσματα (Αγγλικά) 3:

It is also noted that Greek artists are gradually moving away from the dominant until the mid-1960s
and choose different means of expression that had begun to appear in West Berlin, while sometimes they turn to more figurative means. This choice was helped by the widespread dissemination of the image mainly through the media and the need for artists, not just to experiment with new means, but express in a more eloquent way their opposition to the country's political situation. So some of them go back to performing painting, with the result that photographic aesthetics are placed at the centre of attention as they meet their need for the immediate transmission of the message. In this case too, however, German standards are being followed, namely Critical Realism, seeking to awaken and activate the critical functioning of the viewer in the face of modern social and political reality. In other words, Psychopathy is particularly concerned with politicised painting, which is influenced by the black and white aesthetics of the photo-document. In this way, the critical comment of political situations is achieved as the political treaty of repression and prohibition of political rights is transposed.