Stephopoulos was born in Amfissa, Phocis.
His father, who was a self-taught
iconographer, died in 1931. In 1946
completed his school studies while attending
the preliminary section of the Athens School
of Fine Arts with professors Dimitrios
Biskinis and Pavlos Mathiopoulos, and in
1947 with Yiannis Moralis.
From 1947 on, he continuously showed his work to Spyros Papaloukas and Nikos Hadjikyriakos-Ghikas, from whose advice/guidance he benefited greatly. In 1952 he received a painting diploma with two honors "Outdoors" and a "Certificate of the Theoretical and Historical Lessons". From 1952 to 1954 he attended classes in engraving by the master Giannis Kefallinos, one of the most important Greek art teachers.
In May 1954, he received a scholarship from the University of Athens for two years and from 1956 to 1957 a scholarship from the State Scholarship Foundation and continued his studies in Paris.
In Paris, he studied painting at the École nationale supérieure des Beaux-Arts from 1954 to 1957 under the direction of Maurice Brianchon. Alongside, during 1954 and 1955, he studied lithography with professor René Jaudon. From 1955 to 1957 at the École pratique des hautes études he studied architectural analysis of the ancient Greek style and anecdotal evidence for Delphi with professor Pierre de La Coste-Messelière who was also the department manager. In 1958 he attended the first and second year of studies at the École du Louvre and also the general history of art.
Having studied for many years in Greece and abroad, with guidance from important artists he continued until 1964. The resulting sensory perception in this first period of his work is the series of Nature morte, which were exposed for the first time in France at the Musée d'Art Moderne de la Ville de Paris, in Salon d'Automne at Grand Palais, at Musée des Beaux-Arts de Rouen and elsewhere. Many art critics have studied his paintings and in the newspaper Beaux-Arts, M. Sauriere wrote: "...la belle nature morte aux oiseaux noirs de Stephopoulos..."
In the second period he was evidently in search of freedom. This search is interpreted in the re-composition of plastic elements of the painting, creating new pictures in the spirit of abstraction. These quests, which started in 1959, and lasted for over ten years, were exposed for the first time in 1960 in individual exhibitions on "New Forms" and "Astor". Abstraction will henceforth affect in different ways his work until the end.
In the third period there are elements from his previous work, featuring himself and his motion. In the latter period, overcoming difficulties and arbitrariness that we meet to divide the life and work of an artist into periods, accumulating plastics expressing contemplation, soul searching, contemplation, usually creating three zones which remind us of the counterpoint in music. Thus creating his own artistic space.