Praxiteles


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Related to Praxiteles: Lysippos

Prax·it·e·les

 (prăk′sĭt′l-ēz′) fl. fourth century bc.
Greek sculptor whose few surviving works include Hermes Carrying Dionysius, discovered in 1877 at Olympia.

Praxiteles

(prækˈsɪtɪˌliːz)
n
(Biography) 4th-century bc Greek sculptor: his works include statues of Hermes at Olympia, which survives, and of Aphrodite at Cnidus

Prax•it•e•les

(prækˈsɪt lˌiz)

n.
fl. c350 B.C., Greek sculptor.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Praxiteles - ancient Greek sculptor (circa 370-330 BC)Praxiteles - ancient Greek sculptor (circa 370-330 BC)
Translations
Praxitèle
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References in classic literature ?
History says that the temples of the Acropolis were filled with the noblest works of Praxiteles and Phidias, and of many a great master in sculpture besides--and surely these elegant fragments attest it.
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.
Love is a sculptor greater than Praxiteles. He takes an unsightly piece of clay and moulds it into a thing divine.'
Oh, for a Phidias or a Praxiteles to have made the wonder of her body immortal!
In 3.1, discussing the Eros of Praxiteles, as a `sacred work of art', Callistratus proclaims
Michelangelo Could not be his Mummsy's daddy, so He had to become Italy's Praxiteles.
The novel's central metaphor is a statue of a faun by Praxiteles that Hawthorne had seen in Florence.
|Ancient and Modern Tragedy', 292: |Michael Angelo was not contented, like Pheidias or Praxiteles, with carving the serenity of godlike men and women.
His resemblance to the Faun of Praxiteles, a symbol for Hawthorne of natural innocence, is noted by the three other important characters: the sculptor Kenyon, and the two young art students, <IR> MIRIAM </IR> and Hilda.
Fry was judging them in just the terms he would have applied to Praxiteles or Bernini, subtracting, as irrelevant, considerations of naturalism in representation, which Picasso had in any case put in brackets.
It was suggested by the statue of a youthful faun by Praxiteles, now in the Capitoline Museum in Rome.
Beneath this morbid cadaver the artist inscribed not just his signature but a pithy meditation on the continuity of tradition and a sly joke: I was not made by Praxiteles but by Marco d'Agrate.