Ioannis Pagomenos was a Greek painter in the Byzantine style active in Venetian-ruled Crete. He created fresco cycles for rural Orthodox churches under commission from ordinary members of the local peasant communities, who acted as collective patrons. While he could be considered a forerunner to the Cretan School, which saw success in producing hybrid-style icons for an international clientele, his work was more traditional in character and only incorporated Western influences in secondary details, as it catered to regional tastes. His style nonetheless shows significant development over the years. His frescos survive in four districts of the Chania prefecture, with the majority in the mountainous province of Selino, which displays the highest density of church painting in Crete. His art influenced Andreas Pavias, Angelos Akotantos, Andreas Ritzos, and Nikolaos Tzafouris. By 1337/8 Pagomenos was working together with his son Nikolaos within the framework of a small family workshop of painters, other examples of which are known from contemporary Crete and the Aegean.

Michael Astrapas and Eutychios (Greek: Μιχαήλ Αστραπάς και Ευτύχιος were Byzantine Greek painters from Thessaloniki. They had a very active workshop in the area and some of their work survived. Famous Thessalonian painter Manuel Panselinos was active around the same period. Thessaloniki was considered the second capital of the Byzantine Empire. The region featured many iconographic workshops. Most historians consider Thessaloniki the epicenter of the Macedonian School of painting during the Palaeologan Renaissance. Other prominent Byzantine artists were Ioannis Pagomenos, Theophanes the Greek and Theodore Apsevdis. The Byzantine style influenced countless Italian and Greek artists. The style eventually evolved into the Maniera Greca.