{"id":803,"date":"2026-06-22T04:52:33","date_gmt":"2026-06-22T04:52:33","guid":{"rendered":"https:\/\/evikatara.gr\/?page_id=803"},"modified":"2026-06-27T11:14:03","modified_gmt":"2026-06-27T11:14:03","slug":"article","status":"publish","type":"page","link":"https:\/\/evikatara.gr\/en\/article\/","title":{"rendered":"\u0395\u03cd\u03b7 \u039a\u03b1\u03c4\u03ac\u03c1\u03b1 \u0391\u03c1\u03b8\u03c1\u03bf\u03b3\u03c1\u03b1\u03c6\u03af\u03b1"},"content":{"rendered":"
\n
\n
\n

<\/p>\n\n\n\n

Articles <\/h2>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\n
\n
The Starry Night \u03c4\u03bf\u03c5 Vincent van Gogh<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\ud83d\uddbc\ufe0f Could it be that you see the world differently\u2026 and have not yet named it?<\/strong> In the painting The Starry Night<\/em> In Vincent van Gogh\u2019s work, the sky is never still. It swirls, pulsates, and feels with heightened intensity. And yet, within this intensity, there is an order of its own and an inner harmony that is not immediately visible. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
\u00abWe\u2019ll always have Paris.\u00bb \u2014 Casablanca (1942)<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

At an airport against the backdrop of the Second World War, Rick says goodbye to Ilsa. No, the lovers do not leave together. The fairytale is not affirmed. Instead of holding on to the woman he loves, he gives her the freedom to leave with her husband. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\n
\n
\n
Melancholy \u03c4\u03bf\u03c5 Munch<\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\ud83c\udfa8 \u03a3\u03c4\u03bf \u03ad\u03c1\u03b3\u03bf Melancholy<\/em> In Munch\u2019s work, a man stands alone on the shore, while two figures disappear into the distance. We do not see the rupture. Yet we see, directly, the pause that follows an encounter. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
The Metamorphosis of Narcissus
Salvador Dal\u00ed<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

In this surrealist composition, on the left, Narcissus bends over his reflection. He falters and becomes paralysed, absorbed in an egocentric mirror. A figure cut off from life. Read more<\/em>…<\/span>
<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\n
\n
\n
Edward Hopper - Morning Sun (1952)<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

A woman sitting on a bed looks out of the window. The light touches her, yet she remains motionless, as if frozen. I wonder: \u2728 What might someone see when looking at the painting? <\/strong>Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Gustave Dor\u00e9: Cupid with a Pistol on Top of a Mountain of Skulls<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\ud83d\udda4 \u201cIn love, we do not seek only life, but also the repetition of loss.\u201d\nSigmund Freud\n\n\ud83d\udcc1 This work does not idealise love. On the contrary, it reveals it. Read more<\/em>…<\/span><\/p>\n\n\n\n

\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\n
\n
The Labyrinth of Pleasures
Hieronymus Bosch<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

A sea of small figures, animals, and strange objects. At first, they seem playful and luminous, as if inviting you to relax. Yet the more you observe, the more you begin to see something else: each one appears to be pursuing their own pleasure, and while some enjoy their own joy, they simultaneously disturb the demons of others. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Ophelia<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

 \u039f John Everett Millais \u03b6\u03c9\u03b3\u03c1\u03ac\u03c6\u03b9\u03c3\u03b5 \u03c4\u03b7\u03bd Ophelia<\/em> Inspired by the Shakespearean heroine who, after rejection and loss, surrenders herself to the water. The artist sought to capture the delicate moment between life and death, rather than to dwell on the fact of drowning. Ophelia\u2019s face does not show terror. It shows resignation. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n


<\/p>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
\u03a6\u03b1\u03af\u03b4\u03c1\u03b1 \u03c4\u03bf\u03c5 \u03a1\u03b1\u03ba\u03af\u03bd\u03b1<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

Alexandre Cabanel depicts, in his work of the same name, Phaedra<\/em>, the tragic heroine of Greek mythology at a moment of inner tension, as her internal drama consumes her. Her eyes turn inward. Love and guilt in conflict\u2026 Read more<\/em>…<\/span><\/p>\n\n\n\n

\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\n
\n
The Accolade \u03c4\u03bf\u03c5 Edmund Leighton<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

In the painting The Accolade<\/em> In Edmund Leighton\u2019s work, the figure of the knight bows before a woman he does not know. Yet he recognises her. Not as a person, but as a sign. A moment that makes no sense. And yet, something within him knows: \ud83c\udfaf \u201cYou were the calling.\u201d Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Gustave Courbet \u2014 The Wounded Man (1844\u20131854)<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

Perhaps\u2026 how many encounters of the soul have we avoided, hidden behind a resounding, insurmountable alibi, with fear as its bottom line? A bipolar alibi that makes us, at once, heroes of self-protection and prisoners of loneliness; justified before our own mirror, yet distanced from our truth and from the point of encounter with the Other. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n


<\/p>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Henry Fuseli \u2014 The Nightmare (1871)<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\ud83d\udcc1 The Nightmare :<\/em> In Henry Fuseli\u2019s painting, a woman sleeps, surrendered. Upon her chest, a demon. It is her desire weighing upon her. In the deep darkness, a horse with wide, staring eyes. It is the night that has become\u2026 a nightmare! Read more<\/em>…<\/span><\/p>\n\n\n\n

\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\n
\n
Frederic William Burton \u2014 The Meeting on the Turret Stairs (1864)<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\ud83d\udcc1 The Meeting on the Turret Stairs :<\/em> Frederic William Burton\u2019s work presents a scene in which she, a royal daughter, and he, her silent guardian, live a hidden love that could not withstand the weight of the world. A love that is not enough. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Peter Paul Rubens \u2014 Prometheus Bound (1611\u20131612)<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\ud83c\udfa8 Prometheus Bound :<\/em> In Peter Paul Rubens\u2019s work, the myth of Prometheus is captured: he is eternally tormented because he dared to give humanity fire. Knowledge. Light. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n\n\n\n


<\/p>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
\u0394\u03bf\u03bc\u03ae\u03bd\u03b9\u03ba\u03bf\u03c2 \u0398\u03b5\u03bf\u03c4\u03bf\u03ba\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2 \u2014 \u039f \u03a7\u03c1\u03b9\u03c3\u03c4\u03cc\u03c2 \u03c6\u03ad\u03c1\u03c9\u03bd \u03c4\u03bf\u03bd \u03a3\u03c4\u03b1\u03c5\u03c1\u03cc\u03bd (1580)<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

In the painting Christ Carrying the Cross<\/em>In Christ Carrying the Cross, El Greco depicts a Christ who does not resist pain. He carries his cross in silence, as though he has made peace with the inevitable. Perhaps because true strength is not found in the denial of pain, but in its acceptance. Read more<\/em>…<\/span><\/p>\n\n\n\n

\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\n
\n
\u00ab\u039f\u03b9 \u0395\u03c1\u03b1\u03c3\u03c4\u03ad\u03c2\u00bb \u03c4\u03bf\u03c5 Ren\u00e9 Magritte<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\ud83d\udcc1 The Lovers :<\/em> Ren\u00e9 Magritte\u2019s work depicts two figures between whom some kind of relationship exists, yet their faces are covered with white fabric. Through this particular work, the artist makes reference to the memory of his mother, who died by suicide in the Sambre. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Springtime<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\ud83d\udc49 Springtime<\/em> Pierre-Auguste Cot\u2019s work captures the magic of youthful love. A couple sits on a swing, wrapped in the freshness of spring, in a fairytale landscape filled with light and harmony. Can you remember the moment when the world seemed ideal, as you saw it through the eyes of love? Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n


<\/p>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Sacrifice of Isaac, 1603\u20131604<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

In the painting The Sacrifice of Isaac :<\/em>In The Sacrifice of Isaac, the shocking Caravaggio captures the moment when faith and fear collide. Chiaroscuro :<\/em> It emphasises the anguish and intensity of the moment: Isaac\u2019s sacrifice seems inevitable. What would you think if that head, with its look of terror, were your own? Read more<\/em>…<\/span><\/p>\n\n\n\n

\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\n
\n
La persist\u00e8ncia de la mem\u00f2ria, 1931<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\u03a3\u03c4\u03b7\u03bd The Persistence of Memory:<\/em>The melting clocks seem to wink at us knowingly: \u201cRelax, time is stranger than you think!\u201d<\/span> It therefore invites us to reflect\u2026 Read<\/em> more...<\/em><\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
The Sleep of Reason Produces Monsters, 1797\u20131799\/ Springtime, 1873<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

Francisco Goya : The slumber of reason breeds monsters.<\/em>He is depicted hunched over his desk, lost in a sleep that is anything but peaceful. All around him, bats, owls, and felines emerge\u2014strange creatures that symbolize fear, irrationality, and the dark aspects of the human mind. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n


<\/p>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Le Mod\u00e8le Rouge 1935<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\u03a3\u03c4\u03bf Le Mod\u00e8le Rouge<\/em> The shoe-skin-foot breaks down the boundaries between the body and external impositions. Is it a shoe, or perhaps a role? It certainly means speed and plenty of shoes to fit us all. How often do we listen to one another? Read more<\/em>…<\/span><\/p>\n\n\n\n

\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\n
\n
Romeo and Juliet\u2019s Last Kiss, 1823<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

Love or romantic delusion? February 14\u2014how many times have we confused love with the passion of romance that burns brightly and then fades away? With the longing for someone who seems irreplaceable, but who ultimately leaves a void in our lives? Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Giorgio de Chirico \u2014 The Enigma of a Day, 1914<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

As we grow up, we learn to make decisions based on logic, experience, and our desires. But when uncertainty and anxiety become part of our daily lives, those decisions start to feel like a mountain to climb. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n


<\/p>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Narcissus, 1597\u20131599<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

In Caravaggio\u2019s painting, Narcissus gazes at his reflection and is \u201cenchanted\u201d by it. However, the reflection is nothing more than a distortion of reality. Read more<\/em>…<\/span><\/p>\n\n\n\n

\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\n
\n
Love<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\u03a3\u03c4\u03bf Love :<\/em>Klimt depicts love as a deep need for connection. The vulnerable woman symbolizes trust. The man, hidden in the shadows, evokes the mystery of love. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
\u0393\u03ad\u03bd\u03bd\u03b7\u03c3\u03b7 \u03c4\u03b7\u03c2 \u0391\u03c6\u03c1\u03bf\u03b4\u03af\u03c4\u03b7\u03c2 \u03c4\u03bf\u03c5 Botticelli<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

As Carl Rogers points out, \u201cLove is the act of self-acceptance in the midst of chaos.\u201d In the The Birth of Aphrodite<\/em> The goddess of love, newly born atop a seashell, stands vulnerable yet steadfast, while the sea, full of movement and chaos, sets her off. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n\n\n\n


<\/p>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
\"The Birth\" by Piero della Francesca<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

Piero della Francesca\u2019s *The Nativity* does not merely depict the beginning of life, but becomes a symbol of transformation and renewal in the Christmas narrative. It is a moment that invites us to pause before the Miracle, to observe, to reflect. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n


<\/p>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
The Pleasure Principle<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\u039f Ren\u00e9 Magritte \u03c3\u03c4\u03bf \u03ad\u03c1\u03b3\u03bf The Pleasure Principle<\/em> calls on us to question \u201cvisible reality.\u201d Edward James, featureless but with a head made of light, reminds us that human existence transcends mere image. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n


<\/p>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
The Day After<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\u039f Edvard Munch, \u03c3\u03c4\u03bf “The Day After”, \u03b5\u03c3\u03c4\u03b9\u03ac\u03b6\u03b5\u03b9 \u03c3\u03c4\u03b7 \u03bc\u03bf\u03bd\u03b1\u03be\u03b9\u03ac \u03ba\u03b1\u03b9 \u03c4\u03b7 \u03c3\u03c5\u03bd\u03b1\u03b9\u03c3\u03b8\u03b7\u03bc\u03b1\u03c4\u03b9\u03ba\u03ae \u03b4\u03c5\u03c3\u03c6\u03bf\u03c1\u03af\u03b1. \u039c\u03b9\u03b1 \u03b3\u03c5\u03bd\u03b1\u03af\u03ba\u03b1 \u03b1\u03c0\u03b5\u03b9\u03ba\u03bf\u03bd\u03af\u03b6\u03b5\u03c4\u03b1\u03b9 \u03b5\u03be\u03b1\u03bd\u03c4\u03bb\u03b7\u03bc\u03ad\u03bd\u03b7, \u03bc\u03b5\u03c4\u03ac \u03b1\u03c0\u03cc \u03bc\u03b9\u03b1 \u03bd\u03cd\u03c7\u03c4\u03b1 \u03c5\u03c0\u03b5\u03c1\u03b2\u03bf\u03bb\u03ae\u03c2, \u03c0\u03b5\u03c1\u03b9\u03c4\u03c1\u03b9\u03b3\u03c5\u03c1\u03b9\u03c3\u03bc\u03ad\u03bd\u03b7 \u03b1\u03c0\u03cc \u03bc\u03c0\u03bf\u03c5\u03ba\u03ac\u03bb\u03b9\u03b1 \u03b1\u03bb\u03ba\u03bf\u03cc\u03bb. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Medusa<\/em> <\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\u03a3\u03c4\u03b7 Medusa<\/em> In Caravaggio\u2019s painting, her terrifying figure draws us in, while at the same time \u201cchallenging\u201d us to look her straight in the eye. The danger beckons: will we plunge into it, or will we hold back? Read more<\/em>…<\/span><\/p>\n\n\n\n

\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n
\n
\n
\n
\n
Philosopher Reading<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\u039f Rembrandt, \u03c3\u03c4\u03bf \u03ad\u03c1\u03b3\u03bf \u03c4\u03bf\u03c5 Philosopher Reading<\/em>, it captures a sense of contemplation and how it can illuminate the soul. And yet, we often fill our moments of silence with \u201cnoise\u201d: scrolling, work, going out, etc. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Escaping Criticism<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\u03a3\u03c4\u03bf Escaping Criticism<\/em>, Pere Borrell del Caso challenges our perception. A boy breaks free from the painting, shattering the confines of the frame. Are the boundaries we see real, or do we ultimately impose them on ourselves? Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Le Blanc Seing<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

\u03a3\u03c4\u03bf Le Blanc Seing<\/em>, Ren\u00e9 Magritte challenges our logic. A woman and her horse are moving through nature, but the image is fragmented and something is missing\u2014or is it? Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
The desperate Man<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

Gustave Courbet seems to have deeply understood the magnitude of despair when it overwhelms you. In his self-portrait, he accurately captures this despair, revealing his fear in the face of \u201cuncharted waters.\u201d Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
Roles and Carl Jung's Theory Through the Lens of Theater.<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

Carl Jung, a psychiatrist and psychoanalyst, developed the theory of the Persona archetype \u2014 Persona<\/em> \u2014 arguing that we all wear a \u201cpublic mask\u201d in order to adapt to social expectations and accept the roles assigned to us. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n\n

\n
\n
\n
\n
\"Little People\"<\/em><\/h5>\n\n\n\n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

The sculptor and painter Yannis Gaitis, known for his expressionless, identical \u201cLittle People,\u201d used his work to protest the homogenization of modern humanity. This particular work personally reminds me of the striking depiction of the multiple self. Read more<\/em>…<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

\n
<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

\u0391\u03c1\u03b8\u03c1\u03bf\u03b3\u03c1\u03b1\u03c6\u03af\u03b1 The Starry Night \u03c4\u03bf\u03c5 Vincent van Gogh \ud83d\uddbc\ufe0f \u039c\u03ae\u03c0\u03c9\u03c2 \u03b2\u03bb\u03ad\u03c0\u03b5\u03b9\u03c2 \u03c4\u03bf\u03bd \u03ba\u03cc\u03c3\u03bc\u03bf \u03b4\u03b9\u03b1\u03c6\u03bf\u03c1\u03b5\u03c4\u03b9\u03ba\u03ac\u2026 \u03ba\u03b1\u03b9 \u03b4\u03b5\u03bd \u03c4\u03bf \u03ad\u03c7\u03b5\u03b9\u03c2 \u03bf\u03bd\u03bf\u03bc\u03ac\u03c3\u03b5\u03b9; \u03a3\u03c4\u03bf\u03bd \u03c0\u03af\u03bd\u03b1\u03ba\u03b1 The Starry Night \u03c4\u03bf\u03c5 Vincent van Gogh, \u03bf \u03bf\u03c5\u03c1\u03b1\u03bd\u03cc\u03c2 \u03b4\u03b5\u03bd \u03b7\u03c3\u03c5\u03c7\u03ac\u03b6\u03b5\u03b9 \u03c0\u03bf\u03c4\u03ad. \u03a3\u03c4\u03c1\u03bf\u03b2\u03b9\u03bb\u03af\u03b6\u03b5\u03c4\u03b1\u03b9, \u03c0\u03ac\u03bb\u03bb\u03b5\u03c4\u03b1\u03b9, \u03c5\u03c0\u03b5\u03c1-\u03b1\u03b9\u03c3\u03b8\u03ac\u03bd\u03b5\u03c4\u03b1\u03b9. \u039a\u03b9 \u03cc\u03bc\u03c9\u03c2, \u03bc\u03ad\u03c3\u03b1 \u03c3\u03b5 \u03b1\u03c5\u03c4\u03ae \u03c4\u03b7\u03bd \u03ad\u03bd\u03c4\u03b1\u03c3\u03b7, \u03c5\u03c0\u03ac\u03c1\u03c7\u03b5\u03b9 \u03bc\u03b9\u03b1 \u03b4\u03b9\u03ba\u03ae \u03c4\u03bf\u03c5 \u03c4\u03ac\u03be\u03b7 \u03ba\u03b1\u03b9 \u03bc\u03b9\u03b1 \u03b5\u03c3\u03c9\u03c4\u03b5\u03c1\u03b9\u03ba\u03ae \u03b1\u03c1\u03bc\u03bf\u03bd\u03af\u03b1 \u03c0\u03bf\u03c5 \u03b4\u03b5\u03bd \u03c6\u03b1\u03af\u03bd\u03b5\u03c4\u03b1\u03b9 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"iawp_total_views":138,"footnotes":""},"class_list":["post-803","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/evikatara.gr\/en\/wp-json\/wp\/v2\/pages\/803","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/evikatara.gr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/evikatara.gr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/evikatara.gr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/evikatara.gr\/en\/wp-json\/wp\/v2\/comments?post=803"}],"version-history":[{"count":226,"href":"https:\/\/evikatara.gr\/en\/wp-json\/wp\/v2\/pages\/803\/revisions"}],"predecessor-version":[{"id":1520,"href":"https:\/\/evikatara.gr\/en\/wp-json\/wp\/v2\/pages\/803\/revisions\/1520"}],"wp:attachment":[{"href":"https:\/\/evikatara.gr\/en\/wp-json\/wp\/v2\/media?parent=803"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}