Ardices of Corinth was (along with a "Telephanes of Sicyon") according to Pliny the Elder the first artist who practiced the form of "monogram",[1] or drawing in outline with an indication also of the parts within the external outline, but without color, as in the designs of the artists John Flaxman and Moritz Retzsch.
Pliny, after stating that the invention of the earliest form of drawing, namely, the external outline, as marked by the edge of the shadow (umbra hominis lineis circumducta, or pictura linearis), was claimed by the ancient Egyptians, the Corinthians, and the Sicyonians, adds that it was said to have been invented by Philocles, an Egyptian, or by Cleanthes, a Corinthian, and that the next step was made by Ardices and Telephanes, who first added the inner lines of the figure (spargentes lineas intus).
Arachne is the protagonist of a tale in Greek mythology known primarily from the version told by the Roman poet Ovid (43 BCE–17 CE), which is the earliest extant source for the story. In Book Six of his epic poem Metamorphoses, Ovid recounts how the talented mortal Arachne challenged the goddess Athena to a weaving contest. When Athena could find no flaws in the tapestry Arachne had woven for the contest, the goddess became enraged and beat the girl with her shuttle. After Arachne hanged herself out of shame, she was transformed into a spider. The myth both provides an aetiology of spiders' web-spinning abilities and was a cautionary tale about hubris.
Gaius Plinius Secundus, called Pliny the Elder, was a Roman author, naturalist, natural philosopher, and naval and army commander of the early Roman Empire, and a friend of the emperor Vespasian. He wrote the encyclopedic Naturalis Historia, which became an editorial model for encyclopedias. He spent most of his spare time studying, writing, and investigating natural and geographic phenomena in the field.
Encaustic painting, also known as hot wax painting, is a form of painting that involves a heated wax medium to which colored pigments have been added. The molten mix is applied to a surface—usually prepared wood, though canvas and other materials are sometimes used. The simplest encaustic medium could be made by adding pigments to wax, though recipes most commonly consist of beeswax and damar resin, potentially with other ingredients. For pigmentation, dried powdered pigments can be used, though some artists use pigmented wax, inks, oil paints or other forms of pigmentation.
A crayon is a stick of pigmented wax used for writing or drawing. Wax crayons differ from pastels, in which the pigment is mixed with a dry binder such as gum arabic, and from oil pastels, where the binder is a mixture of wax and oil.
The phoenix is an immortal bird that cyclically regenerates or is otherwise born again. While it is part of Greek mythology, it has analogs in many cultures such as Egyptian and Persian. Associated with the sun, a phoenix obtains new life by rising from the ashes of its predecessor. Some legends say it dies in a show of flames and combustion, others that it simply dies and decomposes before being born again. In the Motif-Index of Folk-Literature, a tool used by folklorists, the phoenix is classified as motif B32.
Apelles of Kos was a renowned painter of ancient Greece. Pliny the Elder, to whom much of modern scholars' knowledge of this artist is owed, rated him superior to preceding and subsequent artists. He dated Apelles to the 112th Olympiad, possibly because he had produced a portrait of Alexander the Great.
Black-figure pottery painting, also known as the black-figure style or black-figure ceramic, is one of the styles of painting on antique Greek vases. It was especially common between the 7th and 5th centuries BCE, although there are specimens dating as late as the 2nd century BCE. Stylistically it can be distinguished from the preceding orientalizing period and the subsequent red-figure pottery style.
Kresilas was a Greek sculptor in the Classical period, from Kydonia. He was trained in Argos and then worked in Athens at the time of the Peloponnesian War, as a follower of the idealistic portraiture of Myron. He is best known for his statue Pericles with the Corinthian helmet.
Sosigenes was an Ancient Greek astronomer. According to Pliny the Elder's Natural History 18.210–212, Julius Caesar consulted him while he was designing the Julian calendar.
Parrhasius of Ephesus was one of the greatest painters of Ancient Greece.
Callimachus was an architect and sculptor working in the second half of the 5th century BC in the manner established by Polyclitus. He was credited with work in both Athens and Corinth and was probably from one of the two cities. According to Vitruvius (iv.1), for his great ingenuity and taste the Athenians dubbed Callimachus katatêxitechnos. His reputation in the 2nd century AD was reported in an aside by Pausanias as one "although not of the first rank of artists, was yet of unparalleled cleverness, so that he was the first to drill holes through stones"—that is, in order to enhance surface effects of light and shade in locks of hair, foliage and other details. Thus it is reported that Callimachus was known for his penchant for elaborately detailed sculptures or drapery, though few securely attributed works by him survive.
Butades of Sicyon, sometimes mistakenly called Dibutades, was the reputed inventor of the art of modelling clay in relief, which an accident first led him to practise, in conjunction with his daughter, at Corinth. The period at which he flourished is unknown, but has been put at about 600 BC.
Corinthian bronze, also named Corinthian brass or aes Corinthiacum, was a highly valuable metal alloy in classical antiquity. It is thought to be an alloy of copper with gold or silver, although it has also been contended that it was simply a very high grade of bronze, or a kind of bronze that was manufactured in Corinth. It is referred to in various ancient texts, but no certain examples of Corinthian bronze exist today. However, it has been increasingly suggested that a number of artefacts previously described as niello in fact use a technique of patinated metal that may be the same as Corinthian bronze and is similar to the Japanese Shakudō.
Hellenistic art is the art of the Hellenistic period generally taken to begin with the death of Alexander the Great in 323 BCE and end with the conquest of the Greek world by the Romans, a process well underway by 146 BCE, when the Greek mainland was taken, and essentially ending in 30 BCE with the conquest of Ptolemaic Egypt following the Battle of Actium. A number of the best-known works of Greek sculpture belong to this period, including Laocoön and His Sons, Venus de Milo, and the Winged Victory of Samothrace. It follows the period of Classical Greek art, while the succeeding Greco-Roman art was very largely a continuation of Hellenistic trends.
Ameinocles was a Corinthian shipbuilder, who visited Samos about 704 BC, and built four ships for the Samians. Pliny the Elder says that Thucydides mentioned Ameinocles as the inventor of the trireme, but this is a mistake, for Thucydides merely states that triremes were first built at Corinth in Greece, without ascribing their invention to Ameinocles. According to Syncellus, however, triremes were first built at Athens by Ameinocles.
Pythagoras of Samos or Pythagoras of Rhegion was an Ancient Greek sculptor from Samos. Pliny the Elder describes two different sculptors who bore a remarkable personal likeness to each other. In the nineteenth century Dictionary of Greek and Roman Biography and Mythology, Philip Smith accepted the opinion of Karl Julius Sillig (1801–1855) that Pliny's date of Olympiad 87 ought to be referred to a Pythagoras of Samos but not a Pythagoras of Rhegium; other writers considered it possible Pythagoras of Samos lived closer to the beginning of the 5th century BC. Modern writers consider it certain these two were the same artist, and that this Pythagoras was one of the Samian exiles who moved to Zankle at the beginning of the 5th century BC and came under the power of the tyrant Anaxilas in Rhegium. While a Samian by birth, he was a pupil of Clearchus of Rhegium.
The Apotheosis of Homer is a grand 1827 painting by Jean-Auguste-Dominique Ingres, now exhibited at the Louvre as INV 5417. The symmetrical composition depicts Homer being crowned by a winged figure personifying Victory or the Universe. Forty-four additional figures pay homage to the poet in a kind of classical confession of faith.
De pictura is a treatise or commentarii written by the Italian humanist and artist Leon Battista Alberti. The first version, composed in Latin in 1435, was not published until 1450. It is one of his three treatises on art; the other two are De statua and De re aedificatoria, that would form the Renaissance concept for the fine arts: painting, sculpture, and architecture.
White Aethiopians is a term found in ancient Greco-Roman literature, which may have referred to various light-complexioned populations inhabiting the Aethiopia region of antiquity. The exonym is used by Pliny the Elder, and is also mentioned by Pomponius Mela, Ptolemy and Orosius. These authorities do not, however, agree on the geographical location of the White Aethiopians.
Ancient Greek art stands out among that of other ancient cultures for its development of naturalistic but idealized depictions of the human body, in which largely nude male figures were generally the focus of innovation. The rate of stylistic development between about 750 and 300 BC was remarkable by ancient standards, and in surviving works is best seen in sculpture. There were important innovations in painting, which have to be essentially reconstructed due to the lack of original survivals of quality, other than the distinct field of painted pottery.
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