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A second-rate imitator or follower, especially of an artist or a philosopher.

[French épigone, sing. of épigones, from Greek Epigonoi, sons of the seven heroes against Thebes, from pl. of epigonos, born after : epi-, epi- + gonos, child, seed; see genə- in Indo-European roots.]

ep′i·gon′ic (-gŏn′ĭk) adj.
e·pig′on·ism (ĭ-pĭg′ə-nĭz′əm) n.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


1. (Art Terms) an imitation of an artist by a subsequent generation
2. the work of an epigone
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
References in periodicals archive ?
Should we then attempt to characterise the music that was produced at the time without applying ideological platitudes, it appears to make more sense to work with the aesthetic categories of historicism, epigonism, watering down of the 19th-century artistic arsenal and the sociologising terms of pop or populist culture.
Yet Matthew Day Jackson's recent project rarely felt like simple epigonism. (And make no mistake: While it was split into two independently titled shows, each in its own Chelsea gallery, this was unmistakably one project.) In fact, it rarely felt like simple anything--rummaging through the histories of culture and society, looking for fungible commodities on which to build his unorthodox meditations on belief and mortality, Jackson engineered a physically sprawling and intellectually complex twofer that more often than not lived up to its considerable ambitions.
We read about the change in the nature of Dionysus from the early to the late works (Dylan Jaggard), the rhetorical tradition (Fiona Jenkins), the conflict of the ancients and the moderns in Zur Genealogie der Moral (David Horkott), epigonism (Burkhard Meyer- Sickendiek), the tragic genre (Barry Stocker), interpretation and truth (David Campbell), and Nietzsche's prognosis of our future based on his remarks about the state (Mark Hammond).