The Greek portraiture is gradually shaped within the framework of a long painting tradition that extends from the 4th century BC to the present day, and although its trajectory cannot be characterized as absolutely linear, it proves to be remarkably resilient over time. Its continuous course is evidenced starting from antiquity, reaching a peak in the moment when the transition occurs from the idealized face of classical art to its more realistic portrayal during the Hellenistic period.

This book focuses on the study of Greek painting, primarily portraiture, from antiquity to the 20th century and the Generation of '30, and the way in which the "secrets" of ancient painting survive within Byzantine art. Starting from the observations of Fotis Kontoglou and the insightful remarks of Giannis Tsarouchis regarding the technique and the "how" of ancient Greek and Byzantine painting, monuments from the 4th century BC are examined, while a significant portion is dedicated to the portraits of Fayum and the artistic tradition that accompanies them. A tradition that expands, influencing the formation of Byzantine painting, now "encoded" in the forms of the new religion, first with the frescoes found in the catacombs and gradually with the portable icon. The significance of the mosaics, which play their own special role in this transition from late antiquity to the new era, is considered particularly important. Special mention is made of the Palaiologan period, particularly the work of Manuel Panselinos, which will stamp the art of his time and decisively influence the painting of the 14th century and beyond.

The majority of the study is dedicated to the renowned Generation of '30, which, thanks to its instinct and within the framework of the conscious demand for Greekness, re-discovers what was lost, painting values that lead it from Theofilos and Karagkiozis, to Byzantium, and from there, back to ancient – and great – Greek painting. Finally, a special chapter is dedicated to the Tetra-chromy and its use, as it constituted a stable palette from antiquity, the Hellenistic period, and the portraits of Fayum, up to Byzantine painting and the Generation of '30. Thus, a stunning continuity regarding the rendering of the face and primarily the Greek identity is revealed, bringing us very close to what we call ancient Greek painting.

Katerina Boulakou holds a degree from the Department of History and Archaeology of the National and Kapodistrian University of Athens and holds a Master’s and a Doctorate in Art History. Her interest has mainly focused on the research and study of ancient Greek painting and late antiquity, while she attended a seminar on Epigraphy and Paleography at the Institute of Byzantine Research. She has been an external collaborator at the Department of Conservation & Restoration of Works of Art of the National Gallery, has participated in archaeological excavations in Thira, and in scientific conferences with publications and research experience in European programs for the Management & Preservation of Cultural Heritage. She was a member of the Journalists' Union of Athens and worked at the newspapers Ethnos and Imerisia in the editing of texts as well as in cultural reporting with articles. She has undertaken long-term music studies. Today, she teaches at the Experimental Music School of Pallini, while her scientific interest and participation in conferences and innovative educational programs remain stable, where the main axis is interdisciplinarity and the combination of Humanities, Philosophy, Art, and Science. Aesthetic education and the teaching of Art History form a fundamental part of her broader educational vision, within the framework of educational practice and action.