CRITICS

ΚΑΥ DAUGHDRILL
(Executive Director - American Sport Art Museum and Archives)
When I first encountered the sport art of Mina Papatheodorou - Valyraki, I immediately recognized her ability to evoke emotion and movement with each piece reflecting her intense energy and vibrant personality. 

THOMAS P. ROSANDICH
(Ph.D, President of the United States Sport Academy)
Exuberant is the extreme, the paintings of Mina Papatheodorou - Valyraki truly pulsate with life. It is impossible not to notice the passion that exudes from her works, as they explode with colors and shapes.

The Sport Artist of the Year 2002 is a wondrous artist indeed.

CAROL MATTHEWS LASCARIS & SUZAN FISHER STERLING
(President Emerita, Director of the National Museum of Women in the Arts)
Mina Papatheodorou-Valyrakis is a prolific and exciting expressionist painter who we have come to know well at the National Museum of Women in the Arts.

It is wonderful that her work is receiving such wide recognition through this important retrospective at Palazzo Vittoriano. 

IRIS CRITICOU
(From the book "Birth Place")
"Metropolis" by Mina Papatheodorou - Valyraki, one more reflects Athens as natal city: a place with suffocating volumes and frenzied rhythms of daily life, forms the starting point for her intense gestural painting: lights, colour and materials, concrete, steel and glass. 

RAFAELLO BERTOLI
(For the exhibition CAR ART in CIANI gallery)
Nel secolo delle magic, chesta per concluderisi con millennio delle grandi conquiste, e entruta a far parte della vita amano uno quarta dimensione: il rapporto spazio - tempo, la velocita, la relativa generale. E di questa dimensione "composita" l' automobile e coefficiente tondamentale. 

LUZIO BARBERA
From the journal GAZETTA DEL' SUD - 1983)
Una grande concentrazione e, al tempo stesso, una non frenabile tendenza all' espansione: in questo sottilissimo punto, che non e arrivo, ma soglia, si muove ia pittura di Mina Papatheodorou, artista greca la cui personale e attualmente esposta alla galleria Morabito di Reggio Calabria.  

IRIS CRITICOU
(From the INSIDER magazine- 2007)
On the occasion of the forthcoming exhibition of Mina Papatheodorou - Valyraki at Citronne gallery, Iris Criticou meets with the artist at her summer house in Eretria.  

VASSILIS VASSILIKOS
Mina Papatheodorou-Valyraki is the painter of movement, tension and spiritedness (“thymos”). She says, “… image is the conception of a moment. The form comes back through the procedure that each individual chooses to use as a semiotic symbol.”  

Dr. YUAN HIKUN
Mina Papatheodorou-Valyraki does not hesitate to employ her bright colors when it comes to the composition of the painting, but she is not short on details either in terms of the spirit of the object she paints, which reminds us very much of the great masters such as Siqueiros and Rivera.  

GUILIANO SERAFINI
Opposite to Cezanne, the great deconstructor and reconstructor of the visible order, in the beginning of the twentieth century modernity in art affirms itself through the necessity to liberate, using sign and gesture, the psychic pulse of the artist.  

NIKOS PAPANDEOU
Loud, vivacious colors, splashed liberally on canvas, characterize the verve and spirit of Mina Valyraki’s work. Her cranes, taxis and cars literally quiver with movement. The theme of her exhibition, Metallic Reflections, is modern in the best sense of the word: the subject matter of her works are well-known and instantly recognizable objects of modernity.  

DORA ELIOPOULOU-ROGAN
(PhD-Art Historian-Art Critic)
Mina Papatheodorou’s dynamic, pulsating and energised painting is utterly personal in expression and a source of inexhaustible surprise. Her painting, the inspiration of which, as well as its rhythms and lines, is so personal, convinces the viewer – whatever the particular stimulus in an individual painting – that she has absorbed some essential part of the rhythm and the pulse of the cosmogony.  

CAROL MATTHEWS LASCARIS
(President Emerita, The National Museum of Women on Arts, Washington DC, USA)
Graceful runners, speeding automobiles, seagoing vessels, intimate still-lifes, and breathlessly alive sea and landscapes. No matter what the subject, Mina Papatheodorou-Valyrakis's paintings have an electricity, a dynamism tha issues directly from her skilled use of a gemlike palette and a loaded brush.  

LUIS GONZALES ROBLES
(Former Director of the Spanish Museum of Modern Art in Madrid Member of the A.I.C.A)
It is satisfying to a critic to analyse a work of art of which all the elements correspond to a complete coherence, an aesthetic principle I have always upheld during the entire course of my long professional career. In the present instance, Mina Papatheodorou directs the morphological composition of her work basing herself on the potentiality.  

DORA ELIOPOULOU-ROGAN
(PhD-Art Historian-Art Critic)
Dominant in the painting of Mina Papatheodorou Valyraki, the creative instinct combines consummately and in a uniquely intense way together with the genuine talent of the artist to achieve, freely and independently, a full and complete synergy and collaboration between the two basic pillars of a composition, colour and line.  

KATERINA KOSKINA
Mina Papatheodorou studied painting and is one of the few artists who have remained faithful to this art, as a means of expression, as an act, as the description of a truth, even as movement. It is true that that which mainly characterises her work is movement. 

KATERINA DROSOPOULOU
(Art Historian)
From the moment we first come into visual contact with the paintings of Mina Papatheodorou Valyraki, we are overwhelmed, Their large, imposing dimensions, the clear colours which describe the rapid movement, create intense pictorial forms typical of our modern, man-made environment. 

DORA ELIOPOULOU-ROGAN - THE UNSEEN THROUGH THE VISIBLE
(PhD-Art Historian-Art Critic)
Exuberant in the extreme, the paintings created by Mina Papatheodorou-Valyraki truly pulsate with life. Profoundly imbued with an ineffable energy, they react against any sterile classification and pedantic inclusion in specific trends, precisely because they 'are', and do not merely project themselves as, self-sufficient. This is a property which applies to all the creations of her career up to the present, as her cars and her formulas, her ships and her seas, the nervy bodies of her athletes, her succulent still-lifes - 'still' only in name - convey to us.