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Seven Paintings of Athens antiquities by Vasilis Zenetzis painted during The Athens Olympics 2004. The paintings are unique and especially dated and inscribed Athens Olympics 2004 on a blue rectangle on the reverse of the paintings.
The artist was photographed painting these pictures on location.
Only inquiries from serious collectors and museums will be responded to. Estimate on request and in excess of £60,000. Quick Reference Link (click the paintings or links to go straight to relevant section The SEVEN paintings of the Athens Olympiad 2004
Athens , The Acropolis, The Parthenon and the Olympic Idea were the epicentre of the whole world during the month of August
2004 and especially between the 13th and the 29th when the Olympics were taking place. Zenetzis a true artist of Athens, a true re-creator of the ancient and modern spirit of Athens remained in Athens during the Olympics. No other artist Greek or foreign was visible during the Olympic days in the Plaka area, The Acropolis area, the Acropolis itself and The Stylae of Olympian Zeus. Only Zenetzis re-visited
his beloved locations, saw them through a new lense and spirit and found new spots to paint extremely fresh and spiritual paintings. In a frenzy of creative passion Zenetzis painted seven
magnificent views of the Acropolis, the Acropolis with Plaka, The Temple of Olympian Zeus and of course the Parthenon during the Olympics of 2004. 
Painting No 1. Painted on the 14th of August 2004 . 'The Acropolis with the Parthenon'
40x50 cm, oil on canvas, signed and especially dated and located by the artist on reverse with a blue rectangle inscribed 'Athens Olympics 2004' 
Seated across the road from the monuments of the Acropolis, Zenetzis captured the Acropolis with the southern part of the Parthenon without a preliminary drawing. It was magic to watch him structure the painting from the sky downwards without any kind of sketch. He painstakingly created the vegetation just in front of him and gradually trees, leaves, branches and colour's became a living being together with the tourists who were climbing up the Acropolis. The visitors gathered and admired. The crowds photographed and marveled. What a joy for the artist and what scenes of wonder! 
Time and again he re-touched the Parthenon and added more warmth and colour. The wall surrounding the Acropolis with the Herod Atticus Theatre and the Propylea just visible were not forgotten. Zenetzis captured their significance and influence on the eye and the visitor with hard work and tender care. The path leading to the top was skillfully crafted and a few visitors climbing to the rock were also painted. He added colour to the vegetation many times and the end result is a sweet harmony of greens, browns and yellows. A small painting that stands apart with The Parthenon imposing and grandiose, the Acropolis and its foothills vibrating life. The painting from somewhere is emanating the spirit of the times. Zenetzis methodically applied the magic of his spatula and colour's to deliver and finish an interesting painting in his own inimitable way in about five hours. Painting N0 2. Painted on 15th and 16th August 2004 . 'The Acropolis with The Parthenon' Oil on canvas, 50x70 cm, signed , signed and especially dated and located by the artist on reverse with a blue rectangle inscribed 'Athens Olympics 2004'  Athens was very hot but also extremely bright and colourful.
A real princess welcoming the hundreds of thousands of Olympic fans from all over the world. Zenetzis wanted to paint the same view of the Acropolis and the Parthenon as in painting N0 1 but from a different spot further south, down the road. He also wanted to use a bigger canvas to include part of the road and the edge of the hill with the people climbing up the rock, the Acropolis. The sun was blazing, the colour's seemed unbelievably strong, vibrant and attacking the eye mercilessly. After two minutes of drawing the painting Zenetzis applied and spread the first basic layers of colour, immediately attracting crowds around him. Europeans, Asians, Americans, Hispanics, hundreds of people stood close by to see the artist painting. Slowly and gradually from the sky, to the Acropolis, the trees, the Parthenon, the theatre, the Propylea, all the main elements appeared and turned the canvas into a cosmos of ancient spirit with today's colourfully dressed people. The crowds kept coming to watch and then carried on climbing the rock while Zenetzis painted and painted. He was in a different world, he was in a world of artistic creation that I had rarely seen before in him. At about 1:30 and after four hours of non-stop painting he got up from his stone- bench, stopped and started gathering his staff. Tomorrow I will finish it, he said. Zenetzis is an easy going man. His only passion is painting. He paints non-stop and even physical needs are either ignored or forgotten. The following day he carried on where he stopped. Same location, same spot, same stone seat, same sunny, bright weather. Zenetzis has no half measures in his work. He is serious about his painting and when he works he is passionate about it. The painting developed into a bonanza of colour that I seldom witnessed in Vasilis' work. The Parthenon was fantastically bright, clear and imposing. The people in astonishing, bright colour's were thronging to climb, to admire the most revered monument of the Western World. The trees in tune with the people were also gay, happy and drenched in bright colour's Their summer foliage reflected the happy mood of the artist and the city of Athens . The painting was completed at about one o'clock . Vasilis sculpted the last blops of colour on the foliage and this celebration of colour was finally finished. 
Zenetzis seated himself about a hundred metres from the rock.
He painted a magnificent painting in which he paid tribute to the Parthenon, the Acropolis and the faithful visitors prepared to climb in their thousands to admire the miracle created some twenty-five centuries ago during the Athens Olympics 2004. Painting No 3 Painted on 18th and 19th August 'Plaka with the Monument of Aerides and the Acropolis with
The Erechthion above' Oil on canvas, 45 x 60 cm, signed, signed and especially dated by the artist and located on reverse with a blue rectangle inscribed 'Athens Olympics 2004' 
The studio of the artist is about eight hundred metres from Plaka and the location of this painting. 'When I am happy I paint happy paintings' the artist Zenetzis keeps telling me. Certainly the two paintings of the three previous days were proof of such a statement. 
Even though we left the taverna at three o'clock in the morning, Vasilis showed no signs of tiredness or lack of sleep when I saw him at nine o'clock . He seemed refreshed, very happy and ready to paint. At ten o'clock we walked to Plaka from his studio with all our gear. A canvas, a tripod, paints, spatulas, water, cameras and our hats. He loved his Van Gogh style hat from London. After all, he keeps saying that he is the Van Gogh of Greece. The tourists were in their thousands all over Plaka. He kept walking to the spot he wanted to paint. I followed him. 'I want to paint the ancient Greek, the Roman, the neo-classical and the modern together', he said. He stopped at the corner of the road just before the Roman Agora where the monument of the Aerides is located. The Acropolis was imposing further up and clearly on it the Erechthion. Neo-classical Plaka was nestling between the Acropolis and the Aerides monument and the Roman Agora. The view was a great marriage of buildings from different eras and historical periods. Zenetzis looked more than eager to start. He sat right on the pavement and off he went for the next five hours. Just one drink of water. He kept sculpting on the canvas and slowly and
gradually the structure of the painting became obvious but far from clear as this painting has so many divergent elements in it. The various levels, the buildings and monuments took shape and colour. Vasilis kept painting, engrossed in the magic of the place and the view. The Ancient Greek, The Greco-Roman and the neo-classical all together and yet so far apart in time and importance. It was nearly two o'clock when he stopped. 'This is difficult' he said, but it will be done tomorrow. The following day and at the same spot, at the same time he continued where he stopped the day before. The end result is a superb painting of one of the most amazing locations of Athens and Plaka. The buildings stand unique on their own and yet they are an integral part of this place called Plaka and the Acropolis. The colour's stood aloof at one point but in the end Zenetzis sculpted away and added to present us harmony of colour and unity of composition which he himself called gratifyingly 'beautiful' . 
Painting No 4 that followed was really a continuation of the passion and spirit shown in painting No3. The artist was in the same happy mood and painted two views of Athens to
immortalize the Olympics and the Athens of 2004. In this work Zenetzis presents a masterful composition of architecture, colour and Athenian historical spirit. Watching him to start and finish this painting was an unforgettable experience. Painting No 4. Painted on 20th and 21st August 'Stylae of Olympian Zeus with The Acropolis and The Parthenon Beyond' Oil on canvas, 45x60 cm, signed, signed and especially dated by the artist and located on reverse with a blue rectangle inscribed 'Athens Olympics 2004' 
The ruins of the ancient Temple of Zeus are in the centre of Athens just about three hundred meters from the north side of the Acropolis. Colour's are nearly always bright in Athens and on days such as this one all the colour's become a sea of blue, sky blue for Vasilis. He sat under a tree in the area of the ruins and about thirty metres from the columns of the ancient temple. He made sure that he had a clear view of the Acropolis and the south-west side of the Parthenon. He wanted a medium size canvas so that he could finish in two days. He quickly drew the columns, the Acropolis and then the trees in between. The splash of colour's followed within seconds. Zenetzis loves colour, not pencils. 
The sky was clear bleu, the Acropolis and the Parthenon appeared beautiful on the canvas and the columns took their time to be formed. On hot days like that one you look for cover. At one
o'clock the sun turned, the shadows and shapes started shifting and Zenetzis stopped. Tomorrow I must finish, he whispered. It looked a great picture already and the visitors of the site were captivated by the only artist around The following day Zenetzis carried on as if he never stopped. The colour's became subtler, the tones became gentler and the greens, blues and browns under the masterly touch of Vasilis became a composition of great sensitivity in applying colour's on a canvas. There were photos, posing and positioning by the tourists. The two figures, a father and son from Munich, to the left of the picture stood there for Zenetzis to paint. They came to visit and see the Olympics. The figure to the right in a mix of brown colour's is myself, photographing the columns for the myriad time. 
This painting is a truly magical composition of colour and emotion in an environment and situation that is not going to be reproduced again at least for a few generations. Even though the artist had painted other paintings from other spots in this area he has never before painted this particular view in such hues and such subtlety of colour. This is a unique picture painted for a unique occasion and under unique circumstances. Painting No 5 Painted on Sunday 22nd and 23rd August 2004 ' The Parthenon and the Erechthion from the east on the Acropolis' Oil on canvas, 50x70 cm, signed, signed and especially dated by the artist and located on reverse with a blue rectangle inscribed 'Athens Olympics 2004' 
Climbing the steps leading onto the Acropolis is a tiring exercise. Climbing it in nearly forty degrees temperatures and carrying a tripod, a canvas, paints, spatulas etc was much harder. However, Vasilis wanted to immortalize once more the temple of Athena from close range and from up the Acropolis itself. He wanted to capture the Olympic spirit in the most renowned building of the Western World. The artist sat himself on the east side of the Acropolis at about ten o'clock . He sat looking west towards Saronicos Bay . There were tens of thousands of people around the monuments on this bright, hot day. It was a superb view with the Parthenon as glorious as ever . People needed no invitation to come to admire the only artist painting the Acropolis and the Parthenon on that day and any other day it seemed. They posed next to him; they photographed the painting and Vasilis asking question after question. They admired a true artist painting the most significant location of Western Civilization. There were no other artists around, nobody else painting en plein air in our seventeen days journey around the antiquities of Athens. Only Zenetzis, who has already earned his reputation and admiration of collectors because of his paintings of Plaka and the Acropolis. The canvas kept changing. The Parthenon, the scattered columns, the Erechthion, the bay in the distance to the left, the world of tourists, one by one appeared timidly on the canvas. It was very difficult to paint the Parthenon. So impressive and imposing from such a short distance. Vasilis was sitting only about forty metres away. Time and again Zenetzis added colour and substance to the building but it was elusive. The people were no help. Too many of them perched on the highest point of the Acropolis. 
At one o'clock we climbed down the rock. Vasilis was happy with the painting but it was far from finished, as he said. Nine o'clock tomorrow, he called. Just passed nine o'clock and we were at the same spot the following day. Impatient as ever to paint, Zenetzis hurried to his canvas. He finished the Erechthion, he cleared the sea and the sky. The paths on the rock became clearer and myriads of people could have been added. Then came the hard bit. Painting the Parthenon with the right proportions and the correct shades was a difficult task. The hardest of all was to capture the air and spirit of the time, the Olympics. The Olympics were his inspiration and in these paintings he no doubt captured the spirit of the time. 
It proved harder to paint this painting than he anticipated, but the result was great. A Parthenon drenched in Mediterranean blues, in bright sunlight and the Med in the distance. The Erecthtion successfully keeps company to the main monument whereas the visitors of the monuments complete the whole atmosphere of the work. Vasilis was very pleased. The spectators were extremely impressed. It was a privilege for them to watch a real artist painting real pictures on location and under such conditions. The result was a very dynamic composition of the Parthenon with its twin monument on the Acropolis the Erechthion. Painting No 6 Painted on 25th and 26th August 2004 'The Acropolis from Stylea of Olympian Zeus' Oil on canvas, signed, 60 x 90 cm , signed and especially dated by the artist and located on reverse with a blue rectangle inscribed 'Athens Olympics 2004' 
The visit to the area of the temple of Zeus , painting No 3, was the beginning of this painting of the Acropolis. From the beginning of this visit Zenetzis wanted to concentrate on the rock. He went round the whole area of the temple and in the end he placed his tripod somewhere in the middle of the area just to the right of the temple. It was clear to me that he wanted to include in the painting the Arch of Andrianos which lies just outside the area of the temple. It was a hot, windy day with bright blue skies and restless white clouds in the horizon. Vasilis wasted no time. He got down to work. In literally two minutes he drew a few pencil lines on the canvas and then the colour's expanded gradually until the canvas was completely covered in a thick layer of blue, green, brown and yellow. This brought round him tens of tourists. They photographed, they marveled, they posed next to him and asked me questions. He never stopped, never bothered with the interest of so many people. The wind was a small problem but the tripod was well secured on the ground. Dust kept lifting dust onto the canvas but that was no problem for Zenetzis. 
The blues of the sky were great. High up was the Acropolis with the Parthenon perched as grandiose as ever. The Parthenon was shining great, the Greek Flag was flowing majestic and hundreds of people were moving up the rock. The greens of the trees below were getting ever so bluish and the arch of Emperor Andrianos was taking shape in the middle. Five hours after we arrived Vasilis got up tired but happy. This is very beautiful, he mused. I will definitely finish tomorrow. It was about two o'clock and the sun was really blazing. The painting looked finished already but that was for the eyes of the onlookers, not Zenetzis. On Friday 27th August we entered the temple's area at ten o'clock . Our bench was waiting and Zenetzis set his tripod and arranged his colour's on his palette. Same spot, same place, same sun and wind. The zest, fervor and desire to paint were astonishing considering the fact that Zenetzis is a seventy year old man who has been painting since sixteen. The canvas kept looking prettier and prettier. The bright colour's mellowed a little, the greens became azure and the sky was still as blue as ever with some white clouds scattered around. The whole canvas became a symphony of blue with the Acropolis beautifully seated on the rock and at its highest point the Parthenon as majestic as I have ever seen it. The Greek flag kept floating proudly like Athens and the whole of the country . 
This was indeed a very special picture. It was a poem of colour and a hymn to the glory of Ancient Greece. Vasilis Zenetzis created a great picture in his own way, in his own impressionist/divisionist style and of his own mental state.
Painting No 7 Painted on 28th and 29th August 2004 'The Acropolis with Saint George Lykavitos from the West' Oil on canvas, 60x90 cm, signed , signed and especially dated by the artist and located on reverse with a blue rectangle inscribed 'Athens Olympics 2004 ' 
The approaching finale of the Olympics energized Zenetzis. He wanted this series of paintings very much and nothing else was on his mind. He wanted to capture the atmosphere of the occasion from all possible views new and old. The hills on the west of the Acropolis had been visited before and especially from the Filopappos area. The area from the Asteroskopion though was not fully explored. Zenetzis never painted the Acropolis from this area before, as he admitted to me. 
We climbed the hill loaded with paints, a canvas 60x90 cm, a tripod, water, cameras and an umbrella. No need to mention the Van Gogh hat of Zenetzis. It was his inspiration perhaps. There were many locations to stop and start work. Vasilis was in a great mood and wanted the best possible spot for this last painting of the series. He stopped at this pine tree, sort of a bush rather with a crooked trunk. He looked and looked towards the Acropolis. This is it, he said. The location and the view for this painting looked magical. Zenetzis could see the whole of the rock beyond the small grove. Standing bright and pulsating with life were the Propylea, the Parthenon and the Erechthion and the whole of the south-west of the Acropolis. Also magnificent to the left of the Acropolis was part of Athens and in the distance the hill of Likavitos with the whitewashed church of Saint George seated prettily on the top. What a view, what a fusion of ancient and modern architecture, what a fusion of ancient and modern religion. Vasilis sat in between the branches of the pine tree and he literally used the trunk of the tree to sit on and paint. He acted as if it was the first time he painted. He sketched in pencil very quickly and in a moment the canvas was full of vibrant colour's. Blues, greens, browns, yellows and pinks filled the canvas in an abstract and yet clear way. He soon gave shape to the sky, the Acropolis, the Parthenon, the hills beyond, the pine trees in the foreground and the dark volume of Athens and the hill of Likavitos to the left. Painting in such conditions was not easy for Vasilis. He took a couple of minutes break at some point and perched in his tree again. The canvas was constantly changing and the artist was immersed in his world of creating a beautiful painting. Even on this remote spot tourists came and watched. They lingered, they talked, they photographed and admired the artist demystifying nature and human creation. It was just about two o'clock when Vasilis got up. I think we are going to call it a day, he said. I shall finish tomorrow. The painting even though unfinished looked great. The colour's were already complimentary, subtle and pleasing to the eye. The Parthenon and the Propylea were discernible and in general all was in place but far from complete and finished. Sunday was the last day of the Olympics. We were up on the hill at nine-thirty. Nothing changed ! The sky, the sun, the heat. Only Zenetzis was in a hurry. It was important for him to finish. The Acropolis with the Parthenon, the Propylea and the visible side of the Erechthion were finished first. The buildings of Athens to the left and the church of Saint George were added next. The colour's looked beautiful and ever so subtle and harmonious. Finally he began working on the trees in the forefront of the painting. He loves the multitude of colour's in his paintings. The soft greens and pale blues became an azure colour. It was about one o'clock and Zenetzis was nearly finished with the painting. Figures climbing up the Acropolis were added. 
Then we had an unexpected audience. A young family with three children approached. They marveled at the painting. They took photos, they asked questions. I asked them whether they wanted to be included in the painting. They gladly posed for Vasilis by sitting on the small rock to the right. The icing on the cake was in place. What an amazing painting! What an achievement on the last day of the Athens Olympics 2004! It was two-thirty on the 29th of August 2004 . The series of seven paintings became history and their significance will only be known in the years to come. Peter Constant | 
