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Zeuxis

 

(flourished late 5th century – early 4th century BC, Heraclea, Magna Graecia) Greek painter. Though none of his work survives, his style and subject matter were recorded by ancient writers. He advanced the trend toward illusionism through the use of shadow to produce a rudimentary form of chiaroscuro. Apparently he was a panel painter rather than a wall painter. He preferred small compositions, often a single figure; his subjects were gods and heroes and such genre figures as an old woman, an athlete, and a still life.

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( fl late 5th century BC-early 4th). Greek painter. Zeuxis of Heracleia achieved wealth and fame as a painter in Athens around the time of the Peloponnesian Wars (431-404 BC). Pliny (Natural History XXXV.xxxvi.61) stated that Zeuxis began working in the fourth year of the 95th Olympiad (397 BC) and that writers who dated him to the 89th Olympiad (c. 424 BC) were mistaken. According to Pliny, Zeuxis was the pupil of either Demophilos of Himera or Neseus of Thasos. Both were active around 424 BC, perhaps explaining the confusion of other authors concerning Zeuxis' own date.

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Zeuxis, of Heraclea in Magna Graecia, one of the most famous painters of ancient Greece, working in the late fifth century BC. One of his most celebrated paintings was a picture of Helen (of Troy) for the temple of Hera at Croton. He is said to have assembled the five most beautiful maidens of the city and combined the best features of each into one figure of ideal beauty. For another famous anecdote about him see PARRHASIUS.

 
Zeuxis (zūk'sĭs), fl. 5th cent. B.C., Greek painter. According to tradition he settled in Ephesus, was an intimate (possibly a pupil) of Apollodorus, and aided in developing a technique for painting light and shadow. Although none of his paintings survives, they are known through ancient writings. Pliny speaks of his competing with Parrhasius for realistic illusion.
Dictionary: Zeux·is   (zūk'sĭs) pronunciation
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, Fifth century B.C.

Greek artist who was among the first Athenians to use shading, thereby achieving a degree of realism hitherto unknown in Greek painting.


 
 
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