Greek icon of the 19th century.

Greek icon of the XIX century.
"Virgin forest of all those who suffer".
Tempera painting on wood panel.
Measurements: 31 x 26 x 2 cm.
Of Greek origin, the term "icon" corresponds to the meaning of image. In relation to art, it is presented to us as the denomination of a series of pictorial works made on wooden board, generally of a portable nature, based on the secular tradition and of sacred character. The icons are works that transcend the material and the deep symbolism of which they are impregnated. The art of icons emerged as part of the artistic expressions of Byzantine culture, developed in the eastern Mediterranean environment during the Middle Ages and up to the date of the disappearance of the Empire, 1453. The production of icons beyond the 15th century is known as "post-Byzantine", a context in which distinctive features involved in the social and cultural histories of the peoples professing Orthodox Christianity developed. Greek icons are attributable to some recurring themes, and are characterized by common elements, as in this case, representing the Mother of God. These are dedicated to the widespread veneration in the Byzantine world of the Most Holy Mother of God (Yperaghia Theotòkos). Crete, mainland Greece and the Ionian islands were among the new artistic centers that came to prominence after the fall of Constantinople, which preserved the Byzantine tradition and sometimes also renewed it. As an example of such a following of Byzantine iconographic motifs, -placing ourselves in the lower right scene of the present icon-, Mary is shown seated and holding the Child with one of her arms, while pressing the baby's cheek against her own cheek, the Child returns that gesture of affection by embracing her. This iconographic motif called "Eleousa" ("tenderness" in Greek) is the most tender version of Marian iconography, making visible the intimate side of the union of the Mother of God with her Son. As for the rest of the icon, the structure reveals that the theme revolves around the Virgin; while the motif of the Mother of God with the Child is repeated both in the central medallion and in the aforementioned scene, the other scenes alluding to the life of the Virgin are located both in the upper register and in the lower left scene. The whole ensemble results in a quadripartite composition with the Virgin as the absolute protagonist.