Page:Cyclopedia of painters and paintings - Volume I.djvu/100

 alongside, his rowers tossing their oars in salutation as the Queen approaches. She is reclining on an ivory throne under an awning of cloth of gold wreathed with roses; on her left crouches a negress—a sistrum player, on her right a white flute player; on a lower stage three priests of Isis burn incense. Antony rises from his seat with an expression of mingled surprise and anger as Cleopatra affects not to see him. Grosvenor Gallery, 1883.—Portfolio (1883), 42; Athenæum, Jan. 13, 1883, 60.

ANTROPOFF, ALEXEI PETROVICH, born in 1716, died in 1795. Russian history and portrait painter. Decorated a church in Kiev in 1752, painted the ceilings in the Palace Golowin, Moscow, in 1756. As a portrait painter imitated Rotari, and was popular in St. Petersburg. He founded there the first school for the painting of altar pictures, and was among the painters sent to Moscow to represent the festivities at the coronation of Catherine II., whose portrait he painted. Also painted portraits of Peter III. (1761) and of Peter the Great (1769). Among his religious pictures are The Trinity (1784), and Paul and Mary Magdalen (1788).—Meyer, Künst. Lex., ii. 161; Brunn, ii. 286.

ANTUM, AART VAN, flourished about 1604-8. Dutch school; marine painter in the manner of Hendrik Vroom. Works: Naval Battle (1604), Berlin Museum; Marine (1608), National Gallery, Amsterdam; do., Madrid Museum.—Meyer, Königl. Mus., 15.

APATURIUS, from Alabanda, Caria, fourth century Scene painter, said to have shown great skill in decorating the small theatre at Tralles.—Vitruv., vii. 5, 4.

APELLES, most famous of Greek painters, pupil of Ephorus, of Pamphilus, and of Melanthius; born probably in Colophon, Ionia, though Pliny and Ovid call him of Cos, and Strabo and Lucian of Ephesus; flourished 352-308 The best part of his life was spent at the court of Philip and Alexander the Great, of both of whom he painted many portraits. Alexander forbade any one else to paint his likeness. Apelles probably accompanied Alexander into Asia, for he painted at Ephesus several pictures of him, one of which, for the rebuilt Temple of Diana, represented him with thunderbolts in his outstretched hand. This, which Plutarch says was the best portrait of the king, gave rise to the remark that Philip's Alexander was invincible and Apelles's inimitable (Alex. 4; Fort. Alex. 2). In another picture Alexander was represented in a triumphal chariot followed by a chained figure of War; and in a third, walking with Castor and Pollux and the Goddess of Victory. Pliny says (xxxv. 36) the last two pictures were placed by the Emperor Augustus in the Forum, and that Claudius had the head of Augustus substituted in each for that of Alexander. Apelles painted portraits also of Clitus, Antigonus, Neoptolemus, and other followers of Alexander, and a nude picture of Campaspe or Pancaste, Alexander's favourite concubine. Pliny says that the artist fell in love with her and that the king gave her to him; also that she was his model in his painting of Venus Anadyomene; but Athenæus (xiii.) avers that the courtesan Phryne, whom the artist had seen at Eleusis going naked into the sea at the Festival of Poseidon, served him in this capacity. This, the masterpiece of Apelles, represented the goddess rising from the sea. In it the painter reached the acme of that grace and sensuous charm for which his art was especially distinguished. The picture was painted for the temple of Æsculapius at Cos. Augustus paid 100 talents for it and took it to Rome, where he dedicated it in the Temple of Julius Cæsar, who claimed descent from the goddess. There it decayed in time, as no one dared to repair it, though Dorotheus made a copy of it. Pliny says that Apelles was painting another Venus for the people of Cos, at the time of his death, which would have excelled the first. Among his other works were a King Archelaus on horseback, a Diana and her Nymphs sacrificing, an Ancæus, and a Hercules. After the death of