113:: The latter painted some grapes so perfectly that a flock of birds flew down to eat them but, instead, only pecked at their picture. Zeuxis had fooled the birds with his picture. Parrhasius and Zeuxis walked to Parrhasius's studio whereupon Parrhasius asked Zeuxis to draw aside the curtain and witness his own masterpiece. When Zeuxis attempted to do so, he realized that the curtain was not a curtain, but a painting of a curtain. Zeuxis acknowledged himself to be surpassed, for while Zeuxis had deceived the birds, Parrhasius had deceived Zeuxis. This one of the earliest examples mentioned of the idea of
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Parrhasius was universally placed in the very first rank among painters. His skillful drawing of outlines is especially praised, and many of his drawings on wood and parchment were preserved and highly valued by later painters for purposes of study. He first attained skill in making his figures
144:, the personified People of Athens, is famous; according to the story, which is probably based upon epigrams, the twelve prominent characteristics of the people, though apparently quite inconsistent with each other, were distinctly expressed in this figure.
140:. His other works, besides the obscene subjects with which he is said to have amused his leisure, are chiefly mythological groups. A picture of the
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and
Parrhasius were painters who belonged to the Ionian School of painting. The Ionian School flourished during the 4th-century BCE.
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A History of Art for
Beginners and Students: Painting, Sculpture, Architecture Painting: An Artistic Journey Through Time
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whom Philip sold into slavery, 346 BC, and tortured him in order to have a model for a picture of the bound
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Parrhasius is commemorated in the scientific name of a species of
Australian lizard,
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on the subject of art; he was therefore distinguished as a painter before 399 BC.
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Gilman, Daniel Coit; Peck, Harry
Thurston; Colby, Frank Moore, eds. (1906).
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On
Imitative Art, with Preliminary Remarks on Beauty, Sublimity and Taste
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This article incorporates text from a publication now in the
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358:. Baltimore: Johns Hopkins University Press. xiii + 296 pp.
60:. The period of his activity is fixed by the anecdote which
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241:. London, England: George Bell and Sons. p. 280-281.
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Beolens, Bo; Watkins, Michael; Grayson, Michael (2011).
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appear to stand out from the background. His picture of
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72:relates a tale that Parrhasius bought one of the
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214:. New Delhi, India: Namasakr Books. p. 14.
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189:(11th ed.). Cambridge University Press.
64:records of the conversation between him and
16:Late 5th/early 4th-century BC Greek painter
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103:described Parrhasius's contest with
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32:) was a famed painter of
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186:Encyclopædia Britannica
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676:Ancient Greek painters
403:Ancient Greek painters
594:Philoxenus of Eretria
283:Memorabilia 3.10.1-5.
150:Lygisaurus parrhasius
20:Parrhasius of Ephesus
681:Trompe-l'œil artists
564:Nicomachus of Thebes
554:Mnasitheus of Sicyon
499:Athenion of Maroneia
52:Born to the painter
629:Timanthes of Sicyon
469:Aristides of Thebes
96:Contest with Zeuxis
110:Naturalis Historia
666:Ancient Ephesians
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262:. Retrieved
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132:adorned the
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116:trompe-l'œil
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107:in his book
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90:Michelangelo
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514:Ctesilochus
454:Apollodorus
414:Agatharchus
660:Categories
639:Timomachus
609:Protogenes
604:Polygnotus
579:Parrhasius
544:Melanthius
539:Heraclides
489:Aristophon
479:Aristolaos
464:Aristarete
429:Antiphilus
424:Androcydes
195:References
181:Parrhasius
78:Prometheus
74:Olynthians
624:Timanthes
589:Peiraikos
569:Pamphilus
524:Euphranor
444:Antorides
439:Antidotus
434:Aglaophon
419:Anaxandra
82:Parthenon
42:Timanthes
29:Παρράσιος
634:Timarete
599:Polyidus
574:Panaenus
529:Eupompus
279:Xenophon
254:"Ionian"
80:for the
66:Socrates
62:Xenophon
584:Pausias
559:Nealkes
534:Galaton
494:Artemon
484:Ariston
449:Apelles
343:xxxv.69
323:xxxv.65
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157:Sources
134:Capitol
130:Theseus
644:Zeuxis
614:Thales
519:Echion
459:Aregon
362:
218:
168:
123:Legacy
105:Zeuxis
86:Athens
70:Seneca
58:Athens
54:Evenor
38:Zeuxis
549:Micon
142:Demos
24:Greek
360:ISBN
303:10.5
266:2023
216:ISBN
138:Rome
48:Life
36:.
183:".
136:in
84:in
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22:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.