Alexander the Great and Campaspe in the studio of Apelles, 1725-26, Giovanni Battista Tiepolo |
How do you write about a painter whom few have ever heard of; who lived more than three-hundred years before Christ; and who, not surprisingly, has not one, single example of his work which survives? Yet, the man was a legend in his own time, perhaps the first great painter of whom we know very much about. His name was Apelles; and he was born in the fourth century BC (sorry, that's as close as I can come to a birth date). We can thank the famous first-century Roman writer, Pliny the Elder, for the fact that we even know this man's name, not to mention the fact that what little we know about his life and work comes from the same source.
Tile 18, Apelles Painting a Picture, Nino Pisano, 1334-1336, |
Apelles was probably born at Colophon in Ionia (west coast of present-day Turkey). He first studied under Ephorus of Ephesus, then later became a student to Pamphilus at Sicyon (near Corinth), Greece, his work said to have combined Dorian depth with Ionic grace. At an early age, Apelles was attracted to the court of Philip II, King of Macedonia, whom he painted along with the young Alexander (the Great) with such success that he became the official court painter of Macedonia. Although Pliny the Elder was obviously a great fan of Apelles, several hundred years later, the Greek philosopher, Plutarch, was not. He faulted the painter for rendering Alexander's complexion as too swarthy. The closest we have to a surviving work by Apelles was discovered in 1830-34 with the excavation of the House of the Faun in Pompeii (upper image, below). The painting had been described in some detail by Lucian. In any case, Apelles' life's story often sounds more like one from Greek mythology than biography.
Apelles' skill at drawing the human face is related in a story connecting him with Ptolemy I Soter, who became ruler of Egypt after the death of Alexander. As a general under Alexander, he disliked Apelles while they both were a part of Alexander's entourage. Many years later, while travelling by sea, a storm forced Apelles to land in Ptolemy's Egypt. Ptolemy's jester was urged by Apelles' rivals to convey to the artist a fake invitation to dine with Ptolemy. Apelles's unexpected arrival enraged the king. Ptolemy demanded to know who had given Apelles the invitation. Apelles took a piece of charcoal from the fireplace and drew a likeness on the wall, which Ptolemy recognized as his jester from the first few strokes of the sketch. Presumably, the jester had some explaining to do.
In another story told by Pliny, Apelles, while sketching one of Alexander the Great's concubines named Campaspe, the artist fell in love with her. As a mark of appreciation for the great painter's work, Alexander gave her to him. This tale, whether true or not, was the one latched onto by a series of Italian Renaissance artists chief among whom were Botticelli (above) and Tiepolo (top) in paying tribute to the one whom they considered the greatest painter who ever lived. Apelles is said to have been working on a painting of Aphrodite of Kos when he died. The painting was left unfinished in that no one could be found skilled enough to complete it.
Reconstruction of a mosaic of the Battle of Issus found in the House of the Faun at Pompeii said to be based on a painting by Apelles. |
Calumny of Apelles, 1496-97, Sandro Botticelli |
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