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 (zo͞ok′sĭs) Fifth century bc.
Greek artist who was among the first Athenians to use shading, thereby achieving a degree of realism previously unknown in Greek painting.


(Biography) late 5th century bc, Greek painter, noted for the verisimilitude of his works


(ˈzuk sɪs)

fl. c430–c400 B.C., Greek painter.
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References in classic literature ?
It is the same in painting; and here lies the difference between Zeuxis and Polygnotus.
As we turned and moved again through the temple, I wished that the illustrious men who had sat in it in the remote ages could visit it again and reveal themselves to our curious eyes--Plato, Aristotle, Demosthenes, Socrates, Phocion, Pythagoras, Euclid, Pindar, Xenophon, Herodotus, Praxiteles and Phidias, Zeuxis the painter.
For instance, in a titulus dedicated to the Virgin of Guadalupe, God, the ultimate author of the image on Juan Diego's tilma, was said to "paint for eternity when he paints the soul," an illusion to Zeuxis, the ancient Greek painter, who responded to Agatharchus' complaint that he painted so slowly, by saying that he was painting "for eternity" (Appendix).
The show's title referenced the story of Zeuxis, the legendary Greek painter whose lifelike rendering of grapes fooled birds into trying to eat the fruit, according to Pliny the Elder.
Pues las tragedias de la mayor parte de los poetas modernos carecen de caracteres, y, por lo general, poetas de esa especie hay muchos, como ocurre entre los pintores con Zeuxis en relacion con Polignoto.
According to Pliny the Elder, the great Greek painter Zeuxis, born in Heraclea in southern Italy in the latter 5th century BC, for example, is said to have painted a bunch of grapes so realistic that a flock of birds flew down to eat them but could only peck at the canvas.
La anecdota en cuestion es un agon estetico protagonizado por Zeuxis y Parrasio, dos artistas de la Grecia clasica que compiten entre si para demostrar la superioridad de sus respectivas obras.
In his Historia naturalis, Pliny the Elder tells the story of a competition between the artists Zeuxis and Parrhasius.
The grapes of Zeuxis were inartistic, unless in a bird's-eye view; and not even the curtain of Parrhasius could conceal his deficiency in point of genius.
Greek artist Zeuxis laughed so hard at one of his own paintings that he burst a blood vessel and died in 5th century BC.
En ese sentido la celebre disputa entre Apeles y Zeuxis, planteada en ocasiones como paradigma de la perfeccion que habia alcanzado la pintura en Grecia, viene mas bien a ser, paradojicamente, la muestra de su limitacion y, en definitiva, de su pobreza; uno engano a un pajaro pintando un racimo de uvas, el otro a su rival con un vaso de agua; ambos enganos lo que de verdad muestran es como la capacidad artistica puramente imitativa puede dar satisfaccion plena, mediante la ficcion sensible, a la parte animal del hombre, de modo que este resulte tan frustrado como el pajaro.
Clitophon's attempt to reduce Leucippe to an anatomised object finds a parallel in Dionysius' story of Zeuxis, while Heliodorus' Charicleia, who is the copy of Andromeda's painting, comes directly (according to Whitmarsh) from Dionysius' anecdote of the ugly farmer and his beautiful children, products of his wife's gazing at handsome pictures.