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Related to Apelles: Zeuxis


 (ə-pĕl′ēz) fl. fourth century bc.
Greek painter whose works, none of which survives, are described in ancient writings.


(Biography) 4th century bc, Greek painter of mythological subjects, none of whose work survives, his fame resting on the testimony of Pliny and other writers


(əˈpɛl iz)

360?–315? B.C., Greek painter.
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References in classic literature ?
But why should I attempt to depict and describe in detail, and feature by feature, the beauty of the peerless Dulcinea, the burden being one worthy of other shoulders than mine, an enterprise wherein the pencils of Parrhasius, Timantes, and Apelles, and the graver of Lysippus ought to be employed, to paint it in pictures and carve it in marble and bronze, and Ciceronian and Demosthenian eloquence to sound its praises?
A man cannot tell whether Apelles, or Albert Durer, were the more trifler; whereof the one, would make a personage by geometrical proportions; the other, by taking the best parts out of divers faces, to make one excellent.
Dius by Pycimede, the daughter of Apollo had two sons Hesiod and Perses; while Apelles begot Maeon who was the father of Homer by a daughter of the River Meles.
In the Onites apelles the tarsi are so habitually lost, that the insect has been described as not having them.
9) Sutor, ne ultra crepidam: The Greek artist Apelles supposedly
12) The painted image, self-portrait, too, is a magic creation, as seen in the paintings of Zeuxis, Apelles, Marcia and Timarete, then, the painter might be considered a magician.
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It is remarkable that Bordon, a miniaturist, was the editor of the first printed Venetian text including an example of ekphrasis, the Lucian compilation described above, which included the De columnia with its ekphrasis of the Calumny of Apelles.
The painting, ``Alexander the Great and Campaspe in the Studio of Apelles,'' dates from about 1740 and is an example of Tiepolo's so-called ``cabinet paintings,'' small canvases commissioned by wealthy patrons.
Fienberg's argument is ultimately vitiated by her determination to see Campaspe as a criticism of "society's failure to support its artists" (Creation of the Courtly Manner, 171) which causes her to identify all the servants as artist-figures, despite the fact that only one of them serves Apelles, and even he is only an apprentice artist.
At the very end of the vita, adding the final touch to his verbal portrait of Botticelli, Vasari recalls the artist's widely-admired Calumny of Apelles of 1494 (Uffizi Gallery, Florence), the composition of which is based in a description of a work that the fourth-century B.
11) But the inclusion of these objects in a late-sixteenth-century inventory of stage props in Henslowe's Diary suggests that they worked to conjure a specific dramaturgical effect rather than create a general sense of "forest" or "woods": the Admiral's Men had on hand a "baye tree," a "tree of gowlden apelles," and a "Tantelouse tre.