In the first online lecture, the influences of Constantinos Volanakis in the artistic movements he came into contact with during his stay in Munich, Germany, have been sought. Flemish painting of the 17th century was presented as well as neoclassicism, the romantic movements he had the opportunity to see during his tour in the art galleries of Munich and more contemporary movements such as the Barbizon school, the Hague school and impressionism, artistic movements with which Volanakis came in contact in the international exhibitions he participated himself. Then the night landscape in European painting was presented, in which the work of Constantinos Volanakis joined too. More specifically, the night ports of Volos and the fireworks were presented, in which the romantic disposition of the painter is brought out as well as the occasion given to him through this subject area to highlight man’s ponderance over the vastness of sea and nature.

In the second lecture, the presentation of night landscapes in the work of Constantinos Volanakis was completed. After first presenting the importance of historical painting in the 19th century, then the painting of Volanakis was analyzed in this field, and more specifically the subject area of naval battles. Detailed analysis was conducted in the work «The Burning of the Turkish Frigate» and the way in which the painter chose to depict this historical event. Then what was mentioned was the meaning of the term sublime and the depiction of the greatness of nature in European painting already since the 17th century. In this subject area, works of significant artists were presented, who depicted nature and especially the sea in extreme conditions, such as J. M. W. Turner and Ivan Aivazovsky. The work of Volanakis was juxtaposed to those painters since he appears more reserved in the depiction of extreme weather conditions and more prone to the depiction of a psychographic disposition.

Starting from the Flemish painting of Peter Bruegel and Hendrick Avercamp, in the work of whom people of all social classes coexist in scenes from the everyday life of the era, then the work of Constantinos Volanakis was analytically examined; the interest of the specific presentation was focused on the people depicted in his work. Being an excellent seascaper himself, Volanakis has not being recorded in the history of modern Greek art for his concentration on the human being, such as Nikolaos Gyzes or Nikephoros Lytras. A closer look into his work, though, highlights how Volanakis, although in the foreground, was interested in seascaping, giving special attention to anecdotal evidence that concerned the everyday life of the people he met at the ports of Piraeus and Volos, or the fishermen at sea. In his work, he depicted the movements, the garments and the coexistence of different social classes with great attention.

The last of the four guided tours of the work of Constantinos Volanakis focuses on the way the artist handles light and color; these are the most important tools of the artist, which determine the atmosphere of the work. Coming again to the teachings the artist received in Munich, this guided tour takes a closer look at the greatest influences of the artist and how they were adapted to his work. Then the wider context of seascaping in the 19th century is analyzed, which exceeds the European framework and extends up to the American continent and the artists of the Hudson river group. The work of Volanakis is juxtaposed not just to great artists in world painting but also to artists lesser known, whose work nevertheless is as important, in an effort to fathom the importance of this painting.