Freylemaborg in Autumn reflected in the moat


When I look at my landscape paintings I see that my Greek landscapes  show all four seasons  , while my Dutch landscapes are mostly paintings of my home country in Autumn or Winter. Usually I spend a few weeks with my family in Holland at the end of Fall, so most of my landscape paintings of the Groningen countryside are done when the trees are without leaves.  
Trees form an inexhaustible source of inspiration in any landscape at any season.
I did this watercolor painting several years ago. It is one of my favorites because it shows my home country at its best. The vague mustard yellow contours of the trees that still bear leaves are in perfect contrast with the sharp dark silhouettes of the leafless  trees and the warm orange brick stone walls are being reflected in the cool blue water of the moat  whereas the white building in the center forms  a neutral and and the same time  unifying element.

About



Anna Poelstra Traga is a contemporary realist painter who:

  • paints oil paintings of landscapes
  • paints watercolor paintings of  landscapes
  • paints portraits
  • paints byzantine  icons
  • makes pen and ink drawings
  • draws archaeological illustrations
  • teaches art workshops
  • takes commissions

Biography


Born in the Netherlands. Art, history and travelling have been my lifelong passions.

I have a B.A. in Egyptology from State University of Groningen. During my studies in Cairo with a scholarship from the Arab Republic of Egypt I took the opportunity to travel extensively in Egypt. I have been a member of the excavation teams of the Brooklyn Museum  in Luxor and I acted as tour guide with groups of Dutch tourists.

After I met Lord William Taylour, a British archeologist well known for his work on Mycenae, the focus of my interest shifted to Greece. Until his death in 1989, I travelled every summer in the company of Lord William through Europe, the Balkans and Greece.  As a member of Lord William’s expedition team in the Archeological Museum of Nauplia I learned to draw archeological objects.

Since 1985 I live in Greece, where I got married to my Greek husband Panagiotis, with whom I have  a son Spyros Tragas, who now studies in Groningen, the Netherlands. For more than twenty years I lived in the  closed community of the little village of Afissou, Laconia, working in the coffee-house of my husband and in the orange- and olive groves of the  family. A few years ago I moved to Sparta.
In 1996 I remembered my love and talent for painting and since then I’ve spent all my time painting. I’ve devoted myself to painting the many different aspects of rural life and landscape in Laconia.  I find my  inspiration in what I’ve grown  accustomed to call   “ the garden of Menelaos ”:  the by Mount Taygetos dominated Laconian  landscape  around Sparta in  rural Peloponnese, with  donkeys and sheep, olive groves and olive-picking  farmers, the Menelaion,  temple to  Helen and her husband Menelaos,  Mystras, with a fortress and castle built by Frankish crusader knights  and with  many Byzantine churches with well-preserved wall paintings  and last, but not least the ruins of once mighty Sparta.   

I painted my first oil portrait  of my namesake grandmother when I was seventeen; it still adorns one of the walls in the house of my mother. I prefer to use oil paints when I paint a portrait because I find that it provides me with the means to achieve a near lifelike result.

I work from photos which gives me the opportunity to work on the portrait as often and as long as I feel necessary.  I am happy to take commissions.

When I visit my homeland Groningen in the Netherlands I always feel the need  to paint  the beautiful  landscape, but for lack of time I usually have to be contented with taking photographs which I work from later on in my studio. I feel that watercolor is the ideal medium for painting the water-dominated landscape.

Apart from being a “writer of life” or zographos, which is the Greek word for painter, I am also a “writer of images” or eikonographos, in its Anglicized form iconographer. I paint Byzantine icons. The orthodox believe that the icon plays a role in the salvation of man. They believe that man was created in the image of God but that man allowed that image, and with it the world, to be corrupted. When God assumed a fully human nature without ceasing to be fully God He thereby restored the image. Venerating an icon or image of Christ, which is the affirmation of the reconciliation of the human and the divine, the orthodox believe  that they are  enabled to contemplate the person who is the model for their  theosis or union with God.   Realism in byzantine iconography is absent, because it would merely reproduce the likeness of the world in a state of corruption.  The way in which the themes are depicted is standardized, since the purpose of an image is not to display artistic originality but to reveal the subject's deeper, immutable meaning.

For a great number of years I have been working on a freelance basis for the Ministry of Culture of Greece drawing pottery excavated in Laconia at different sites and from different periods.

Since 2006 I have been conducting courses in oil painting.

I have taken part in several group exhibitions in the Netherlands as well as in Greece. In December 2011 I had my first solo exhibition in the Cultural Center of Sparta which was a great success.

Currently I am working on a new series of paintings in which water plays the leading role.

Byzantine church of saint Dimitrios, Mystras



The castle on top of the hill at an altitude of 620 m. was built in 1249 by the greatest of all Frankish princes, William II of Villehardouin. William was  a “second generation “crusader knight : he was born in Kalamata the second son of Geoffrey of Villehardouin, who had taken the cross in the fourth crusade . He spoke both French and Greek. Somewhere I read that   prince William  made a point of spending   every Spring in Mystras, because he  loved  the many  flowers that decorate the hill in that period.  In 1261 the Frankish  castle and palace were ceded to  the Greeks. Because of the ongoing hostilities  between  Franks , Greeks ,  Albanian tribes and Turkish mercenaries  the population  living  in the Lacedaemonian plain flocked to the better defendable hill side of Mystras.  In 1270 metropolitan Eugene started   the building and decoration   of the metropolitan church of saint Dimitrios. This oil painting shows  a cobbled path that leads down the hill to  the building complex  that was added to the church of saint Dimitrios  during the Ottoman Empire. The many flowers  are bathing in bright sunlight and in the background the Eurotas valley  can be seen. What inspired me to paint this landscape was the way in which the flowers  seemed  to  radiate light. The trunk of  the  cypress tree casts a shadow forming a line that guides the eye to the sun lit flowers, playing the leading part. I’ve argued before (see here) that many landscape paintings gain interest by incorporating some kind of human intervention; without the building complex there would be no “stage” for the flowers to play their leading role.

Cobbled path leading down to  the church of saint Dimitrios,  Mystras
40 x 50 cm, oil painting


Pantanassa Monastery , Mystras


Laconia in early Spring  is one of the most beautiful places to be.  The abundance  of colours is  impressive. The highest peaks of Mount Taygetos  are covered  in brightly shining white; yellow, red, pink and violet  flowers enliven the green meadows and  the sky  is nearly always blue. It’s not difficult for a painter to find a subject to paint.  No matter how inspiring nature may be though , quite often a landscape becomes more interesting when one can include an architectural  construction. My dear father, Jan Poelstra,  who left us last year only a week before his eighty-third birthday (may his memory last forever)  was a successful architect. It was his opinion that a building appropriately designed accomplishes nature.
In many of my paintings I’ve acted upon his principle (see for instance here). Human intervention does not necessarily have to be the point of focus in a painting. In this oil painting  the bell tower of the  Pantanassa Monastery in Mystras  serves as  background to  the Mediterranean Spurge.

Byzantine church in Mystras


Nearly twenty years ago now, when my son was still a little baby, I started painting. My life in the little Greek village I lived in after my marriage to the owner of the local coffee shop had become so unbearably dull that I decided that I had to find something to do to give meaning to my life. When I was a little girl I’d liked  to draw and to paint.  I even had won a price in a drawing contest  for basic schools in Belgium and the Netherlands.  Every  morning  when I woke up the first thing I saw was the snow topped mountain range of Taygetos. From the terrace of my house I could see both the Byzantine castle town  of Mystras and the pre-historic sanctuary of  Menelaos and Helen. The little village was surrounded by olive groves  and along the banks of the river Eurotas  grew many orange trees. The ideal environment for a creative spirit.
Every time I went to visit  my parents and sister in Holland I returned with my suitcases filled to the brim with art books on how to learn to paint. I bought oil paints and brushes. An easel was slept from Holland to Laconia by my sister and her husband in their old Opel. And I started to paint.
My first painting was a large one: 50 x 70  cm. The subject of the painting is the Byzantine church of the   holy two  saints Theodoros in springtime Mystras. In the painting one can see the snowtopped  mountain Taygetos in the background, while in the center one sees the flesh coloured octagonal Byzantine church in the midst of  green meadows topped with flowers and flanked by rows of elegant cypresses.