This dissertation focuses on the secular painting of Photis Kontoglou (1895-1965). Although Kontoglou is best known for leading a revival of Byzantine religious painting, he also produced a number of secular paintings which were rendered in the style of religious icons. In the course of my study, I suggest that these "secular icons" can only be understood by exploring his conception of the sacred. I show that the sacred for Kontoglou was not limited to the life of the Greek Orthodox Church but included a Romantic conception of Greek nationalism grounded in folk culture. I argue that Kontoglou's view of the sacred was broad enough to encompass numerous instances of pre-modern life and society, many of which were not confined to the Greek nation. The dissertation is organized in the following way. In Chapter 1, I explore the meaning of the term 'icon' within the theoretical framework of discussions about the categories of 'sacred' and 'secular,' especially those of Mircea Eliade. In the next section, I examine the wider context out of which Kontoglou's artistic views took shape. Chapter 3 explores Kontoglou's theory of Greek national continuity. Chapter 4 focuses on Kontoglou's conception of icon painting. Finally, Chapter 5 includes an analysis of five of Kontoglou's so-called 'secular icons' and seeks to account for the resemblance of these works to conventional religious icons.