Biography

Evangelos Moustakas was born on February 14, 1930, in Piraeus, into a family with roots in different corners of Greece—his grandfather was from Megara, while his grandmother came from Andros. His father, Ioannis, was born in Aerides, beneath the Acropolis, and his mother, Eleni, in Eleusina, the sacred city of mysteries. From a young age, he showed a natural talent for painting and sculpture. At school, he sketched his classmates and teachers; at home, he drew his family. During summer camps, he gave form to lifeless materials, carving intricate designs into wood or engraving female figures onto pieces of chalk.

In Salamis, he met the great poet Angelos Sikelianos, with whom he developed a special friendship. They shared simple midday meals, while their discussions ignited in the young artist a deep love for intellect and art. After high school, the need to earn a living led him to work at the ceramics workshop “Ajax,” where he painted hundreds of cups daily. It was there that he first molded porcelain, discovering a new dimension of artistic expression. At “Kerameikos,” where he later worked, he not only decorated ceramics but also began creating his own compositions. On weekends, he visited the Archaeological Museum, sketching ancient sculptures, striving to uncover the secrets of monumental art.

Although he was offered a scholarship to study in Italy, fate led him down a different path. He secretly took the entrance exams for the Athens School of Fine Arts, as his father had envisioned a career in engineering for him. When his mother revealed his success in the exams, his father was initially doubtful, warning him that art would leave him poor and deprived. However, as Moustakas began winning his first awards, his father’s perspective gradually changed.

He studied sculpture under Michalis Tombros in a workshop he shared with future renowned artists such as Sklavos, Kalamaras, and Panourgias. At the same time, he participated in intellectual discussions in the famous artistic circle of Loumides Café and the literary group “Kastalia.” Graduating with honors in 1954, he became a member of the Chamber of Fine Arts and began teaching, mentoring students who would later excel in the arts. His first commission was the creation of two marble busts, while in 1957, he participated in the International Exhibition in Moscow and the 5th Panhellenic Exhibition with his work “Marousa,” a life-size nude sculpture.

His encounter with his future wife, the poet Zoe Savina, was pivotal. He sketched one-line drawings that captured the essence of her poetry, creating slender, elongated figures that he later translated into his sculptures. In 1958, he won his first major award for the Unknown Soldier Monument in Moschato, and in the following decades, he became one of the most significant sculptors of his time.

In 1960, Moustakas and his wife moved to Florence, where he studied engraving and decorative arts. At the same time, he trained in bronze casting, gaining new skills that would enrich his future creations. His wife’s pregnancy became a source of inspiration, leading him to create a series of sculptures dedicated to motherhood. From then on, pregnant female figures became one of the dominant motifs in his work, expressing the sacredness of life and the power of femininity. Together with Zoe, he had three children.

In 1968, he won First Prize at the Alexandria Biennale, and in 1969, he represented Greece at the São Paulo Biennale with his works “Icarus” and “Sarcophagus.” In 1971, Moustakas won the competition for the Alexander the Great Monument in Thessaloniki. The composition of the sculpture—a dynamic depiction of Alexander on horseback—was the result of deep study. The artist envisioned a horse that was almost mythical, a symbol of untamed strength, and a commander who was grand, determined, and ready to sever the “Gordian Knot.”

During the 1970s, he held solo exhibitions in the United States, and his work was included in museum collections due to his close friendship with the writer W. H. Poteat. The American poet Elon G. Eidenier, inspired by his art, dedicated the collection Sonnets to Eurydice to him.

In the years that followed, Moustakas continued to create, blending ancient Greek plasticity with modern artistic explorations. His artistic philosophy was clear:
“I create voids within my sculptures so that light can play with shadow. I want the viewer to complete the artwork, to become part of the creation.”

Through his art, Evangelos Moustakas leaves an indelible mark on modern Greek sculpture. His monuments and free compositions are timeless works that engage in a dialogue with the past, present, and future of art.

Georgia Dimopoulou
Classics Scholar – Editor

Source: The information and photographic material in this text come from the official website of Evangelos Moustakas.