Apelles Kos : diforc'h etre ar stummoù
Endalc’h diverket Danvez ouzhpennet
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==Mojennoù diwar e benn== |
==Mojennoù diwar e benn== |
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[[Image:Giovanni Battista Tiepolo 002.jpg|thumb|300px|Alesant Veur ha Kampaspe e stal-labour Apelles, livet gant [[Giovanni Battista Tiepolo]]]] |
[[Image:Giovanni Battista Tiepolo 002.jpg|thumb|300px|Alesant Veur ha Kampaspe e stal-labour Apelles, livet gant [[Giovanni Battista Tiepolo]]]] |
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Gant [[Plinius an Henañ]] eo bet kontet gweladenn [[Alesant Veur]] e stal-labour Apelles. |
Gant [[Plinius an Henañ]] eo bet kontet gweladenn [[Alesant Veur]] e stal-labour Apelles. <ref>Plinius an Henañ, '' Istor Naturel '', Levrenn XXXV, 81-83</ref> |
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Alesant, un deiz, a welas poltred e serc'h [[Kampaspe]] hag a gomprenas e oa orgedet an arzour outi. E-lec'h fuloriñ - troet e oa da gonnariñ buan -e roas ar roue e serc'h da Apelles. |
Alesant, un deiz, a welas poltred e serc'h [[Kampaspe]] hag a gomprenas e oa orgedet an arzour outi. E-lec'h fuloriñ - troet e oa da gonnariñ buan -e roas ar roue e serc'h da Apelles. |
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Alesant, a soñje gantañ e oa un doue, a gare Apelles hag e arz kement ken e c'houzañvas taolioù all digant al livour. |
Alesant, a soñje gantañ e oa un doue, a gare Apelles hag e arz kement ken e c'houzañvas taolioù all digant al livour hep sevel e vouezh. Reiñ a rae an arzour da gompren da Alaesant e komze a-hed hag a-dreuz eus liverezh, ma c'hoarzhe gantañ e eilerien a veze o prientiñ al livaj. |
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{{dablink|Another Apelles was the founder of a [[Gnostic]] sect in the [[2nd century]]; [[Apelles (gnostic)]].}} |
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{{dablink|"Apelles" was also a pseudonym used by the Jesuit [[Christoph Scheiner]] in writing on [[sunspot]]s.}} |
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'''Apelles''' of [[Kos]] (flourished [[4th century BC]]) was a renowned [[painter]] of ancient [[Greece]]. [[Pliny the Elder]], to whom we owe much of our knowledge of this artist (''[[Natural History (Pliny)|Naturalis Historia]]'' 35.36.79-97 and ''passim'') rated him superior to preceding and subsequent artists. He dated Apelles to the 112th [[Olympiad]] (332-329 BC), possibly because he had produced a portrait of [[Alexander the Great]]. |
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== Biography == |
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Probably born at [[Colophon]] in [[Ionia]], he first studied under [[Ephorus of Ephesus]], but after he had attained some celebrity he became a student to [[Pamphilus (painter)|Pamphilus]] at [[Sicyon]] (N.H. 35.36.75). He thus combined the [[Dorian]] thoroughness with the [[Ionic]] grace. Attracted to the court of [[Philip II of Macedon|Philip II]], he painted him and the young Alexander with such success that he became the recognized court painter of Macedon, and his picture of Alexander holding a [[thunderbolt]] ranked with the Alexander with the spear of the sculptor [[Lysippus]]. |
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Much of what we know of Apelles is derived from [[Natural History (Pliny)|Pliny's Natural History]], xxxv. His skill at drawing the human face is the point of a story connecting him with [[Ptolemy I Soter]]. This onetime general of Alexander disliked Apelles while they both were in Alexander's retinue, and many years later, while travelling by sea a storm forced Apelles to land in [[Ptolemy I Soter|Ptolemy]]'s Egyptian kingdom. Ptolemy's [[jester]] was suborned by Apelles' rivals to convey to the artist a spurious invitation to dine with Ptolemy. Apelles's unexpected arrival enraged the king. Ptolemy demanded to know who had given Apelles the invitation, and with a piece of [[charcoal]] from the fireplace Apelles drew a likeness on the wall, which Ptolemy recognized as his [[jester]] in the first strokes of the [[sketch]]. |
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Apelles was a contemporary of [[Protogenes]], whose reputation he advocated. [[Pliny's Natural History]] recorded an anecdote that was making the rounds among [[Hellenistic]] connoisseurs of the first century CE: Apelles travelled to Protogenes' home on [[Rhodes]] 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 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 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.<ref>[[Guillaume Apollinaire]] retold this story in his essay "On the Subject of Modern Painting", originally published in ''Les Soirées de Paris'', February 1912. This tale is a [[Trope|literary trope]] epitomizing the [[sublime]] simplicity of the greatest art in the hands of a consummate artist: comparable examples are [[Giotto]]'s perfect circle, drawn freehand, and the scholar-painter [[Chuang-tzu]]'s perfect crab, which, following ten years of preparation, was drawn in a single stroke without lifting his ink brush from the paper.</ref> |
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Pliny claims that this very painting had been part of the collection of [[Julius Caesar]], but was destroyed when Caesar's mansion on the [[Palatine Hill]] burned down. While sketching one of Alexander the Great's concubines, [[Campaspe]], 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 [[Aphrodite]] of [[Kos]] 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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== Oberennoù== |
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E-touez oberennoù kollet Apelles (n'eus deuet hini betek ennomp) e oa: |
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* ''Alesant wielding a [[luc'hedenn]]'', unan eus ar re niverus a reas gant Alesant hag e dad Fulup; |
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* ''[[Afrodite Anadyomene]]'' ("Aphrodite Rising from the Sea"), showing the [[goddess]] rising from the sea (not the painting he was working on when he died, but an earlier painting), for which [[Pliny the Elder]] relates the tradition he used a former mistress of Alexander, [[Campaspe]], as his model for Aphrodite. According to [[Athenaeus]],<ref>[[Athenaeus]]. ''[[Deipnosophistae]]''. [http://members.aol.com/heliogabby/deipnon/deipnon3.htm Book XIII Concerning Women].</ref> the idea of ''Aphrodite Rising from the Sea'' was inspired by [[Phryne]] who during the time of the festivals of the [[Eleusinian Mysteries|Eleusinia]] and [[Poseidon|Poseidonia]] had no problem swimming nude in the sea. |
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* A portrait of [[Antigonus I Monophthalmus]] on horseback, in a three-quarters view which artfully concealed the subject's blind eye; |
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* A portrait of [[Artemis]] surrounded by a group of maidens offering a [[sacrifice]], based on ''[[Odyssey]]'' 6.102ff; |
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* ''Sacrifice in [[Kos|Cos]]'', described in the ''Mimes'' (4.59) of [[Herodas]]. |
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* The portraits of [[Clitus the Black]] and [[Archelaus I of Macedon]]. |
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* The procession of the high priest of Artemis at Ephesus. |
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* A great allegorical picture representing Calumny, inspiration to in [[Sandro Botticelli]]'s [[Calumny of Apelles (Botticelli)|Calumny of Apelles]]. |
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A number of his paintings were taken to [[Rome]] (including ''Aphrodite Anadyomene'' and placed there on public display; two compositions that included a portrait of Alexander (''Castor and Pollux with Victory and Alexander the Great'', and ''The Figure of War with his Hands Tied Behind Him Following the Triumphal Chariot of Alexander'') the Emperor [[Claudius]] later had Alexander's face replaced with that of his grandfather [[Augustus]]. |
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== Legacy == |
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[[Image:Giovanni Battista Tiepolo 002.jpg|thumb|300px|[[Alexander the Great]] and [[Campaspe]] in the studio of Apelles, by [[Giovanni Battista Tiepolo]]]] |
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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. |
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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 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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Apelles allowed the superiority of some of his contemporaries in particular matters: according to Pliny he admired the ''dispositio'' of [[Melanthius]], ''i.e.'' the way in which he spaced his figures, and the ''mensurae'' of [[Asclepiodorus]], 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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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: ''quod manum de tabula scirat'' -- "[He knew] 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 near by 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: ''Ne sutor ultra crepidam'' -- "Let the shoemaker venture no further." The last saying Pliny attributes to Apelles refers to the painter's diligence at practising his art every day: ''Nulla dies sine linea'' -- "Not a day without a line drawn." |
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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 [[varnish]], called by Pliny ''[[atramentum]]'' -- 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. |
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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 [[Renaissance]] painters repeated his subjects, in a vain hope of giving some notion of the composition of them. [[Raffaello Santi|Raphael]] may have portrayed himself as Apelles in ''[[The School of Athens]]'' and [[Sandro Botticelli]] based two paintings -- ''[[The birth of Venus]]'' and ''[[Calumny of Apelles (Botticelli)|Calumny of Apelles]]'' -- on his works. |
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==Painters' colours== |
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The number of colours used by painters in their art has varied greatly. Until the time of Apelles but four were known - [[white]], [[yellow]], [[red]], and [[black]]. [[green|Green]], [[purple]], and [[blue]] were discovered later. |
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==References== |
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{{reflist}} |
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==Publications== |
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* [[Pliny the Elder]], ''[[Natural History (Pliny)|Historia Naturalis]]'' xxxv, 91 ff. |
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==Sources== |
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*{{1911}} |
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*{{NIE}} |
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*[http://www.1stmuse.com/alex3/apelles.html John J. Popovic, "Apelles, the greatest painter of Antiquity"] Source quotes from [[Pliny's Natural History]]. |
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*[http://www.typepad.com/t/trackback/198498 (rodcorp) "Giotto's circle, Apelles' lines, Chuang-tzu's crab"]: Tracing a literary topos. |
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==Lennadurezh== |
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* [[Alfred Woltmann|Woltmann]] and [[Karl Woermann|Woermann]], ''History of Painting'', volume i (English translation, New York, 1886) |
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* [[Henry Houssaye|Houssaye]], ''Histoire d'Apelles'' (Paris, 1867) |
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* [[Gustav Wustmann|Wustmann]], ''Apelles' Leben und Werke'' (Leipzig, 1870) |
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* [[Ernst H. Gombrich]], 'The Heritage of Apelles', ''The Heritage of Apelles: Studies in the Art of Renaissance'', (Cornell University Press: [[Ithaca]], New York, 1976), pp 3-18. |
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<!-- Apelle aurait par exemple fait comprendre à Alexandre qu'il parlait de peinture à tort et à travers en lui disant qu'il faisait rire jusqu'aux assistants qui préparaient ses couleurs.--> |
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[[Rummad: arzourien an Henamzer]] |
[[Rummad: arzourien an Henamzer]] |
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[[Rummad: livourien Hellaz]] |
[[Rummad: livourien Hellaz]] |
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[[ast:Apeles]] |
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[[ca:Apel·les de Colofó]] |
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[[de:Apelles]] |
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[[el:Απελλής]] |
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[[es:Apeles]] |
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[[fr:Apelle]] |
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[[hr:Apel]] |
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[[it:Apelle (pittore)]] |
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[[hu:Apellész]] |
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[[ja:アペレス]] |
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[[nl:Apelles]] |
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[[ru:Апеллес]] |
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[[tg:Апеллес]] |
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[[uk:Апеллес із Колофона]] |
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Stumm eus an 1 Meu 2008 da 13:42
Apelles, pe Apelles Kos, a oa brudetañ livour Hellaz en Henamzer er IVvet kantved kent JK.
Hervez skridoù Plinius an Henañ hag Ovidius e vije ganet e Kos e 352 kent JK. Koulskoude, hervez ar Souda, e vije e Kolofon. Ne chom oberenn ebet diwar e zorn, met anaout a reer deskrivadurioù darn anezho.
Mojennoù diwar e benn
Gant Plinius an Henañ eo bet kontet gweladenn Alesant Veur e stal-labour Apelles. [1] Alesant, un deiz, a welas poltred e serc'h Kampaspe hag a gomprenas e oa orgedet an arzour outi. E-lec'h fuloriñ - troet e oa da gonnariñ buan -e roas ar roue e serc'h da Apelles.
Alesant, a soñje gantañ e oa un doue, a gare Apelles hag e arz kement ken e c'houzañvas taolioù all digant al livour hep sevel e vouezh. Reiñ a rae an arzour da gompren da Alaesant e komze a-hed hag a-dreuz eus liverezh, ma c'hoarzhe gantañ e eilerien a veze o prientiñ al livaj.
Oberennoù
E-touez oberennoù kollet Apelles (n'eus deuet hini betek ennomp) e oa:
- Alesant wielding a luc'hedenn, unan eus ar re niverus a reas gant Alesant hag e dad Fulup;
Lennadurezh
- Woltmann and Woermann, History of Painting, volume i (English translation, New York, 1886)
- Houssaye, Histoire d'Apelles (Paris, 1867)
- Wustmann, Apelles' Leben und Werke (Leipzig, 1870)
- Ernst H. Gombrich, 'The Heritage of Apelles', The Heritage of Apelles: Studies in the Art of Renaissance, (Cornell University Press: Ithaca, New York, 1976), pp 3-18.
- ↑ Plinius an Henañ, Istor Naturel , Levrenn XXXV, 81-83