Apelles


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Related to Apelles: Zeuxis

Apelles

(əpĕl`ēz), fl. 330 B.C., Greek painter, the most celebrated in antiquity but now known only through descriptions of his works. He is thought to have studied under Ephorus of Ephesus and under Pamphilus of Amphipolis at Sicyon. He was court painter to Philip II of Macedon and to Alexander the Great. His portraits of Alexander included one in the Temple of Diana at Ephesus that showed Alexander wielding the thunderbolts of Zeus. Apelles excelled in painting horses, and according to Pliny the portrait of Antigonus Cyclops on horseback was his masterpiece. Most famous, perhaps, was the painting of Aphrodite rising from the sea. A painting made by Botticelli from Alberti's description of Apelles' Calumny is in the Uffizi. Apelles is said to have been the first to recognize the talents of ProtogenesProtogenes
, fl. c.300 B.C., one of the most celebrated Greek painters of Rhodes and Athens. Apelles is said to have been the first to recognize the talents of Protogenes, then 50 years old and known only as a painter of decorations for ships.
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. He also influenced MantegnaMantegna, Andrea
, 1431–1506, Italian painter of the Paduan school. He was adopted by Squarcione, whose apprentice he remained until 1456, when he procured his release.
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 and TitianTitian
, c.1490–1576, Venetian painter, whose name was Tiziano Vecellio, b. Pieve di Cadore in the Dolomites. Of the very first rank among the artists of the Renaissance, Titian was extraordinarily versatile, painting portraits, landscapes, and sacred and historical
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.

Apelles

4th century bc, Greek painter of mythological subjects, none of whose work survives, his fame resting on the testimony of Pliny and other writers
References in periodicals archive ?
other aspects of the painting, Apelles is said to have replied:
22) Lyly had invoked Apelles as a "model for any artist who might wish to consider a career as a royal portraitist" in the dedication to Euphues (1: 179), but such an identification in Campaspe seems unlikely, since, except for Apelles' cagey response to Alexander's request for criticism (3.
There he records some anonymous verses that link Pesellino and Apelles: just as Apelles earned fame through his drawings, so, too, did Pesellino in his rare works.
Known as "the Apelles of his age" and "the most learned painter in the world," Rubens was hardworking; multilingual; a prodigious collector; and a fine diplomat, negotiating treaties all over Europe for more than 25 years.
Portus also examines religious notions of the painter, from God as divine artifex to the portrait of the Virgin by St Luke, which as tropes of creativity highlight the difference between the Church's concerns from those of renaissance humanism figured by Zeuxis and Apelles.
Dilthey, "Die Artemis des Apelles and die Wilde Jagd," Rheinisches Museum, 25 (1870) 321-336.
Recognizing that some may interpret her method as biased, she nevertheless moves forward with her analysis and suggests that like Apelles, her audience should heed her advice, take her critique, and change their practices.
In Petronius ([section] 83), Encolpius comes to a picture gallery where he sees paintings by Zeuxis, Protogenes and Apelles.
Moreover, beholders could infer that Baldung's skill surpasses even that of Apelles, in that he could depict a woman more beautiful than Venus.
Pliny mentions that the portraits of Apelles were so perfect that he prophesied "people's future by their countenance" (Michaud, p.
Like so many Spaniards before him, such as Manuel de Falla, Ricardo Vines, Pablo Casals, Joan Miro, Pablo Picasso, Apelles Fenosa, Celso Lagar, Enrique Granados, Manuel Turina and Issac Albeniz, Mompou established himself in "that sonorous garden of France, where all genus of plants and flowers were cultivated .
He recounts how a painting by Aristeides of Thebes, a contemporary of Apelles, representing "A Tragic Actor and a Boy," "was mined through the ignorance of the painter to whom Marcus Junius as praetor [c.