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painting, Apelles walked over to the easel, and taking up a brush told the servant to tell
Protogenes "this came from me," and drew in colour an extremely fine line across the panel. When Protogenes returned, and the old woman explained what had taken place, he examined the line and pronounced that only Apelles could have done so perfect a piece of work; Protogenes then dipped a brush into another colour and drew a still finer line above the first one, and asked his servant to show this to the visitor should he return. When Apelles returned, and was shown Protogenes' response, ashamed that he might be bettered, he drew in a third colour an even finer line between the first two, leaving no room for another display of craftsmanship. On seeing this, Protogenes admitted defeat, and went out to seek Apelles and meet him face-to-face.
571:, who must have been a great master of symmetry and proportion. It was especially in that undefinable quality "grace" that Apelles excelled. He probably used but a small variety of colours, and avoided elaborate perspective: simplicity of design, beauty of line and charm of expression were his chief merits. When the naturalism of some of his works is praised—for example, the hand of his Alexander is said to have stood out from the picture—we must remember that this is the merit always ascribed by ignorant critics to works which they admire. In fact the age of Alexander was one of notable idealism, and probably Apelles succeeded in a marked degree in imparting to his figures a beauty beyond nature.
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592:—" when to take the hand from the picture." Another refers to his practice of exhibiting his works in the front of his shop, then hiding nearby to hear the comments of passers-by. When a cobbler commented on his mistakes in painting a shoe, Apelles made the corrections that very night; the next morning the cobbler noticed the changes, and proud of his effect on the artist's work began to criticize how Apelles portrayed the leg—whereupon Apelles emerged from his hiding-place to state:
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353:(i.e., freedom from mental perturbance) is achieved. The acquisition of ataraxia was likened to the process where Apelles was trying to paint a horse. He wished to represent its foam (in Greek mythology, Poseidon created horses out of sea foam). He was so unsuccessful that, in a rage, he gave up and threw the sponge he was using to clean his brushes with at the medium, and its mark produced the effect of the horse's foam.
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We are told, for example, that he attached great value to the drawing of outlines, practising every day. The tale is well known of his visit to
Protogenes, and the rivalry of the two masters as to which could draw the finest and steadiest line. The power of drawing such lines is conspicuous in the
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to make the acquaintance of this painter he had heard so much about. Arriving at
Protogenes' studio, he encountered an old woman who told him that Protogenes was out and asked for his name so she could report who had enquired after him. Observing in the studio a panel Protogenes had prepared for a
736:"But it was Apelles of Cos, in the hundred and twelfth Olympiad, who surpassed all the other painters who either preceded or succeeded him. Single-handed, he contributed more to painting than all the others together, and even went so far as to publish some treatises on the principles of the art."
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was among the unimpressed, deciding that it had failed to accurately reproduce
Alexander's colouring: "He made Alexander's complexion appear too dark-skinned and swarthy, whereas we are told that he was fair-skinned, with a ruddy tinge that showed itself especially upon his face and chest."
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Few things are more hopeless than the attempt to realize the style of a painter whose works have vanished. But a great wealth of stories, true or invented, clung to
Apelles in antiquity; and modern archaeologists have naturally tried to discover what they indicate.
310:, in which an innocent youth is falsely accused by Ignorance, Envy, Treachery and Deceit. The story occasioning the painting was alleged to have been false accusations by a rival artist that Apelles took part in a conspiracy against
604:—"Not a day without a line drawn." Apelles was also reportedly asked why he touched and retouched his paintings so continually, trying to achieve perfection (at least in his own mind); to which he replied, "I paint for eternity."
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was suborned by
Apelles' rivals to convey to the artist a spurious invitation to dine with Ptolemy. Apelles' unexpected arrival enraged the king. Ptolemy demanded to know who had given Apelles the invitation, and with a piece of
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decoration of red-figured vases of Athens. Apelles is said to have treated his rival with generosity, for he increased the value of his pictures by spreading a report that he meant to buy them and sell them as his own.
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Pliny connects a number of sayings to
Apelles, which may come from Apelles' lost treatise on the art of painting. One comes from Apelles' judgement on Protogenes, that Protogenes knew when his painting was finished:
218:. This onetime general of Alexander disliked Apelles while they both were in Alexander's retinue. Many years later, while travelling by sea, a storm forced Apelles to land in Ptolemy's Egyptian kingdom. Ptolemy's
281:, Apelles fell in love with her. As a mark of appreciation for the great painter's work, Alexander presented her to him. Apelles is said to have been working on a painting of
617:—which served both to preserve his paintings and to soften their colour, and created an effect that Pliny praises to no end—Apelles kept secret and was lost with his death.
598:—"Let the shoemaker venture no further than the shoe." The last saying Pliny attributes to Apelles refers to the painter's diligence at practising his art every day:
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doubted that
Alexander ever literally sat for Apelles: "certes, Alexandre n'a jamais posé devant Apelles". He was probably right, given that the sculptor
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The renowned work of
Apelles provided several exemplars for the narrative realism admired by Greco-Roman connoisseurs, succinctly expressed in
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There can be little doubt that
Apelles was one of the most bold and progressive of artists. Such was his fame that several Italian
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from the fireplace Apelles drew a likeness on the wall, which Ptolemy recognized as his jester in the first strokes of the
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Apelles allowed the superiority of some of his contemporaries in particular matters: according to Pliny he admired the
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the exemplar of the poetic painting which was invariably cited whenever the art-poetry question was discussed was the
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Pliny states that Apelles made a number of useful innovations to the art of painting, but his recipe for a black
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when he died, and the painting was left unfinished for no one could be found with skill enough to complete it.
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rising from the sea (not the painting he was working on when he died, but an earlier painting), for which
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Reconstruction of a mosaic depiction of the Battle of Issus after a painting supposed to be by Apelles or
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depicted the story of Alexander the Great gifting his concubine Campaspe to Apelles in the 1819 painting
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painters repeated his subjects, in a vain hope of giving some notion of the composition of them.
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The Figure of War with his Hands Tied Behind Him Following the Triumphal Chariot of Alexander
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simplicity of the greatest art in the hands of a consummate artist: comparable examples are
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retold this story in his essay "On the Subject of Modern Painting", originally published in
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on horseback, in a three-quarters view which artfully concealed the subject's blind eye;
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and personification, which he carried far in his rendering of Calumny, described by
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connoisseurs of the first century CE: Apelles travelled to Protogenes' home in
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ranked in the minds of many with the Alexander with the spear of the sculptor
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Pliny claims that this very painting had been part of the collection of
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burned down. While sketching one of Alexander the Great's concubines,
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was painted in conscious striving to equal the painting in Lucian's
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This article incorporates text from a publication now in the
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later had Alexander's face replaced with that of his grandfather
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Behind the Picture: art and evidence in the Italian Renaissance
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1121:(rodcorp) "Giotto's circle, Apelles' lines, Chuang-tzu's crab"
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relates the tradition he used a former mistress of Alexander,
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This article incorporates text from a publication now in the
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John J. Popovic, "Apelles, the greatest painter of Antiquity"
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120:(332–329 BC), possibly because he had produced a portrait of
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The Heritage of Apelles: Studies in the Art of Renaissance
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The procession of the high priest of Artemis at Ephesus.
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Castor and Pollux with Victory and Alexander the Great
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Apelles' paintings (none of which survive) included:
314:. This almost led to the artist's execution. "In the
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204:Much of what is known of Apelles is derived from
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946:Christiane J. Hessler, Ne supra crepidam sutor,
563:the way in which he spaced his figures, and the
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959:J N Hallock. 1892. The Christian Life. New York
379:("Aphrodite Rising from the Sea"), showing the
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628:may have portrayed himself as Apelles in
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988:"Alexander Ceding Campaspe to Apelles"
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1141:(1st ed.). New York: Dodd, Mead.
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192:is believed to be based on Apelles'
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349:used Apelles in an analogy for how
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164:grace. Attracted to the court of
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520:in the studio of Apelles, by
397:Aphrodite Rising from the Sea
861:A Companion to Greek Studies
176:. Hundreds of years later,
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16:4th century BC Greek painter
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1480:4th-century BC Greek people
1123:: Tracing a literary topos.
1107:, New York, 1976), pp 3–18.
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948:Fifteenth Century Studies
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416:Antigonus I Monophthalmus
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21:Apelles (disambiguation)
1485:4th-century BC painters
1115:Pliny's Natural History
1043:Encyclopædia Britannica
887:Outlines of Pyrrhonism,
693:gifting his concubine,
595:Ne sutor ultra crepidam
535:Encyclopædia Britannica
1465:Ancient Greek painters
1202:Ancient Greek painters
701:References and sources
689:depicted the story of
687:Jérôme-Martin Langlois
683:Générosité d'Alexandre
681:In 1819, the painting
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675:Générosité d'Alexandre
670:Jérôme-Martin Langlois
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469:The great allegory of
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259:to the Painter Apelles
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160:thoroughness with the
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1393:Philoxenus of Eretria
973:The Divine Proportion
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863:3rd ed. 1916, p. 329.
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1363:Nicomachus of Thebes
1353:Mnasitheus of Sicyon
1298:Athenion of Maroneia
832:Les Soirées de Paris
638:based two paintings—
631:The School of Athens
483:Aphrodite Anadyomene
376:Aphrodite Anadyomene
19:For other uses, see
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1268:Aristides of Thebes
1113:Source quotes from
1071:History of Painting
691:Alexander the Great
514:Alexander the Great
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122:Alexander the Great
1081:Histoire d'Apelles
1056:Historia Naturalis
885:Sextus Empiricus,
726:. Tufts University
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647:Calumny of Apelles
641:The Birth of Venus
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859:Leonard Whibley,
720:"Natural History"
656:Leonardo da Vinci
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1438:Timomachus
1408:Protogenes
1403:Polygnotus
1378:Parrhasius
1343:Melanthius
1338:Heraclides
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1278:Aristolaos
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