. . . . . . . . . . . . . . "1120363655"^^ . . . . . "Io\u00E1nnis Pagom\u00E9nos"@fr . . . . . . . . . . "Byzantine"@en . . . . "after 1340"@en . . . . . "Io\u00E1nnis Pagom\u00E9nos (grec moderne : \u0399\u03C9\u03AC\u03BD\u03BD\u03B7\u03C2 \u03A0\u03B1\u03B3\u03C9\u03BC\u03AD\u03BD\u03BF\u03C2) est un peintre de fresques grec de la premi\u00E8re moiti\u00E9 du XIVe si\u00E8cle, actif en Cr\u00E8te."@fr . . . . . . "\u039F \u0399\u03C9\u03AC\u03BD\u03BD\u03B7\u03C2 \u03A0\u03B1\u03B3\u03C9\u03BC\u03AD\u03BD\u03BF\u03C2 (1285 \u2013 1350) \u03AE\u03C4\u03B1\u03BD \u0388\u03BB\u03BB\u03B7\u03BD\u03B1\u03C2 \u03B6\u03C9\u03B3\u03C1\u03AC\u03C6\u03BF\u03C2. \u0391\u03BA\u03BF\u03BB\u03BF\u03CD\u03B8\u03B7\u03C3\u03B5 \u03C4\u03B7 \u0392\u03C5\u03B6\u03B1\u03BD\u03C4\u03B9\u03BD\u03AE \u03B6\u03C9\u03B3\u03C1\u03B1\u03C6\u03B9\u03BA\u03AE \u03BA\u03B1\u03B9 \u03B4\u03C1\u03B1\u03C3\u03C4\u03B7\u03C1\u03B9\u03BF\u03C0\u03BF\u03B9\u03AE\u03B8\u03B7\u03BA\u03B5 \u03C3\u03C4\u03B7\u03BD \u039A\u03C1\u03AE\u03C4\u03B7. \u039F\u03B9 \u03C4\u03BF\u03B9\u03C7\u03BF\u03B3\u03C1\u03B1\u03C6\u03AF\u03B5\u03C2 \u03C4\u03BF\u03C5 \u03B2\u03C1\u03AF\u03C3\u03BA\u03BF\u03BD\u03C4\u03B1\u03B9 \u03C3\u03B5 \u03B4\u03B9\u03AC\u03C6\u03BF\u03C1\u03B1 \u03C3\u03B7\u03BC\u03B5\u03AF\u03B1 \u03C4\u03B7\u03C2 \u039A\u03C1\u03AE\u03C4\u03B7\u03C2. \u0397 \u03C4\u03AD\u03C7\u03BD\u03B7 \u03C4\u03BF\u03C5 \u03B5\u03C0\u03B7\u03C1\u03AD\u03B1\u03C3\u03B5 \u03C4\u03BF\u03BD \u0391\u03BD\u03B4\u03C1\u03AD\u03B1 \u03A0\u03B1\u03B2\u03AF\u03B1, \u03C4\u03BF\u03BD \u0386\u03B3\u03B3\u03B5\u03BB\u03BF \u0391\u03BA\u03BF\u03C4\u03AC\u03BD\u03C4\u03BF, \u03C4\u03BF\u03BD \u03BA\u03B1\u03B9 \u03C4\u03BF\u03BD \u039D\u03B9\u03BA\u03CC\u03BB\u03B1\u03BF \u03A4\u03B6\u03B1\u03C6\u03BF\u03CD\u03C1\u03B7. \u0395\u03AF\u03C7\u03B5 \u03AD\u03BD\u03B1 \u03C0\u03BF\u03BB\u03CD \u03B4\u03C1\u03B1\u03C3\u03C4\u03AE\u03C1\u03B9\u03BF \u03B5\u03C1\u03B3\u03B1\u03C3\u03C4\u03AE\u03C1\u03B9\u03BF \u03BA\u03B1\u03C4\u03AC \u03C4\u03BF\u03BD 14\u03BF \u03B1\u03B9. \u03BA\u03B1\u03B9 \u03BF \u03B3\u03B9\u03BF\u03C2 \u03C4\u03BF\u03C5 \u039D\u03B9\u03BA\u03CC\u03BB\u03B1\u03BF\u03C2 \u03AE\u03C4\u03B1\u03BD \u03B5\u03C0\u03AF\u03C3\u03B7\u03C2 \u03B4\u03B9\u03AC\u03C3\u03B7\u03BC\u03BF\u03C2 \u03B6\u03C9\u03B3\u03C1\u03AC\u03C6\u03BF\u03C2."@el . . "Virgin Mary by Ioannis Pagomenos"@en . . "c.1285"@en . . . "Ioannis Pagomenos (Greek: \u0399\u03C9\u03AC\u03BD\u03BD\u03B7\u03C2 \u03A0\u03B1\u03B3\u03C9\u03BC\u03AD\u03BD\u03BF\u03C2, c.1285\u2013after 1340) was a Greek painter in the Byzantine style active in Venetian-ruled Crete. He created fresco cycles for rural Orthodox churches under commission from ordinary members of the local peasant communities, who acted as collective patrons. While he could be considered a forerunner to the Cretan School, which saw success in producing hybrid-style icons for an international clientele, his work was more traditional in character and only incorporated Western influences in secondary details, as it catered to regional tastes. His style nonetheless shows significant development over the years. His frescos survive in four districts of the Chania prefecture, with the majority in the mountainous province of Selino, which displays the highest density of church painting in Crete. His art influenced Andreas Pavias, Angelos Akotantos, Andreas Ritzos, and Nikolaos Tzafouris. By 1337/8 Pagomenos was working together with his son Nikolaos within the framework of a small family workshop of painters, other examples of which are known from contemporary Crete and the Aegean."@en . . "Ioannis Pagomenos (Greek: \u0399\u03C9\u03AC\u03BD\u03BD\u03B7\u03C2 \u03A0\u03B1\u03B3\u03C9\u03BC\u03AD\u03BD\u03BF\u03C2, c.1285\u2013after 1340) was a Greek painter in the Byzantine style active in Venetian-ruled Crete. He created fresco cycles for rural Orthodox churches under commission from ordinary members of the local peasant communities, who acted as collective patrons. While he could be considered a forerunner to the Cretan School, which saw success in producing hybrid-style icons for an international clientele, his work was more traditional in character and only incorporated Western influences in secondary details, as it catered to regional tastes. His style nonetheless shows significant development over the years. His frescos survive in four districts of the Chania prefecture, with the majority in the mountainous province of Selino, which displays the highest "@en . . . . . . . "Ioannis Pagomenos"@en . . . "Io\u00E1nnis Pagom\u00E9nos (grec moderne : \u0399\u03C9\u03AC\u03BD\u03BD\u03B7\u03C2 \u03A0\u03B1\u03B3\u03C9\u03BC\u03AD\u03BD\u03BF\u03C2) est un peintre de fresques grec de la premi\u00E8re moiti\u00E9 du XIVe si\u00E8cle, actif en Cr\u00E8te."@fr . . . . "\u0399\u03C9\u03AC\u03BD\u03BD\u03B7\u03C2 \u03A0\u03B1\u03B3\u03C9\u03BC\u03AD\u03BD\u03BF\u03C2"@el . . . "Greek"@en . "\u039F \u0399\u03C9\u03AC\u03BD\u03BD\u03B7\u03C2 \u03A0\u03B1\u03B3\u03C9\u03BC\u03AD\u03BD\u03BF\u03C2 (1285 \u2013 1350) \u03AE\u03C4\u03B1\u03BD \u0388\u03BB\u03BB\u03B7\u03BD\u03B1\u03C2 \u03B6\u03C9\u03B3\u03C1\u03AC\u03C6\u03BF\u03C2. \u0391\u03BA\u03BF\u03BB\u03BF\u03CD\u03B8\u03B7\u03C3\u03B5 \u03C4\u03B7 \u0392\u03C5\u03B6\u03B1\u03BD\u03C4\u03B9\u03BD\u03AE \u03B6\u03C9\u03B3\u03C1\u03B1\u03C6\u03B9\u03BA\u03AE \u03BA\u03B1\u03B9 \u03B4\u03C1\u03B1\u03C3\u03C4\u03B7\u03C1\u03B9\u03BF\u03C0\u03BF\u03B9\u03AE\u03B8\u03B7\u03BA\u03B5 \u03C3\u03C4\u03B7\u03BD \u039A\u03C1\u03AE\u03C4\u03B7. \u039F\u03B9 \u03C4\u03BF\u03B9\u03C7\u03BF\u03B3\u03C1\u03B1\u03C6\u03AF\u03B5\u03C2 \u03C4\u03BF\u03C5 \u03B2\u03C1\u03AF\u03C3\u03BA\u03BF\u03BD\u03C4\u03B1\u03B9 \u03C3\u03B5 \u03B4\u03B9\u03AC\u03C6\u03BF\u03C1\u03B1 \u03C3\u03B7\u03BC\u03B5\u03AF\u03B1 \u03C4\u03B7\u03C2 \u039A\u03C1\u03AE\u03C4\u03B7\u03C2. \u0397 \u03C4\u03AD\u03C7\u03BD\u03B7 \u03C4\u03BF\u03C5 \u03B5\u03C0\u03B7\u03C1\u03AD\u03B1\u03C3\u03B5 \u03C4\u03BF\u03BD \u0391\u03BD\u03B4\u03C1\u03AD\u03B1 \u03A0\u03B1\u03B2\u03AF\u03B1, \u03C4\u03BF\u03BD \u0386\u03B3\u03B3\u03B5\u03BB\u03BF \u0391\u03BA\u03BF\u03C4\u03AC\u03BD\u03C4\u03BF, \u03C4\u03BF\u03BD \u03BA\u03B1\u03B9 \u03C4\u03BF\u03BD \u039D\u03B9\u03BA\u03CC\u03BB\u03B1\u03BF \u03A4\u03B6\u03B1\u03C6\u03BF\u03CD\u03C1\u03B7. \u0395\u03AF\u03C7\u03B5 \u03AD\u03BD\u03B1 \u03C0\u03BF\u03BB\u03CD \u03B4\u03C1\u03B1\u03C3\u03C4\u03AE\u03C1\u03B9\u03BF \u03B5\u03C1\u03B3\u03B1\u03C3\u03C4\u03AE\u03C1\u03B9\u03BF \u03BA\u03B1\u03C4\u03AC \u03C4\u03BF\u03BD 14\u03BF \u03B1\u03B9. \u03BA\u03B1\u03B9 \u03BF \u03B3\u03B9\u03BF\u03C2 \u03C4\u03BF\u03C5 \u039D\u03B9\u03BA\u03CC\u03BB\u03B1\u03BF\u03C2 \u03AE\u03C4\u03B1\u03BD \u03B5\u03C0\u03AF\u03C3\u03B7\u03C2 \u03B4\u03B9\u03AC\u03C3\u03B7\u03BC\u03BF\u03C2 \u03B6\u03C9\u03B3\u03C1\u03AC\u03C6\u03BF\u03C2."@el . . . . . . . . . . . . . . . "67987461"^^ . . . . . . . . . . . . . . . "Candia, Crete"@en . . . . "11747"^^ . . . . . . . . "Crete"@en . . . . . . . . . . .