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APELLES IN VENICE: BELLINI, PINO, TITIAN, AND ESENGREN

APELLES IN VENICE: BELLINI, PINO, TITIAN, AND ESENGREN APELLES IN VEMCE: BELLIM? PINO? TITIAN? AND ESENGREN RENAISSANCE PAINTERS WERE OFTEN COMPARED to the ancient Greek artist, Apelles. For example, in his Lives of the Artists (Florence, 1568) Vasari reports epitaphs that link Masaccio, Fra Angelico, and Mantegna to their illustrious predecessor. l At other times, writers wrote poems in which they conveyed the notion that contemporary artists were equal to or better than Apelles. Giovanni Battista Strozzi, for instance, praises Leonardo da Vinci in lines that play upon the artist's name-Leonardo "vince F idia e vince A pelle" (Vasari 1: 640)-and Pietro Aretino compared Titian to Apelles in poems on the artist's portraits of Francesco Maria della Rovere (1: 77) and Diego Urtaldo di Mendozza (1: 155-56). In a letter of 1548 to the artist, Aretino even addresses Titian as "Vecellio Apelle" (2: 212-13) and goes further in a poem on Giovanni Britto's woodcut after a self-portrait by Titian when he says that Titian's portraits surpass those of Apelles (2: 341). Aretino also compared perhaps Titian's most important patron to Alexander the Great, when he wrote in 1548 that the painter "is no less dear to Charles V than Apelles was to Alexander" (2: 221). The http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Explorations in Renaissance Culture Brill

APELLES IN VENICE: BELLINI, PINO, TITIAN, AND ESENGREN

Explorations in Renaissance Culture , Volume 26 (2): 161 – Dec 2, 2000

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Publisher
Brill
Copyright
© Copyright 2000 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0098-2474
eISSN
2352-6963
DOI
10.1163/23526963-90000219
Publisher site
See Article on Publisher Site

Abstract

APELLES IN VEMCE: BELLIM? PINO? TITIAN? AND ESENGREN RENAISSANCE PAINTERS WERE OFTEN COMPARED to the ancient Greek artist, Apelles. For example, in his Lives of the Artists (Florence, 1568) Vasari reports epitaphs that link Masaccio, Fra Angelico, and Mantegna to their illustrious predecessor. l At other times, writers wrote poems in which they conveyed the notion that contemporary artists were equal to or better than Apelles. Giovanni Battista Strozzi, for instance, praises Leonardo da Vinci in lines that play upon the artist's name-Leonardo "vince F idia e vince A pelle" (Vasari 1: 640)-and Pietro Aretino compared Titian to Apelles in poems on the artist's portraits of Francesco Maria della Rovere (1: 77) and Diego Urtaldo di Mendozza (1: 155-56). In a letter of 1548 to the artist, Aretino even addresses Titian as "Vecellio Apelle" (2: 212-13) and goes further in a poem on Giovanni Britto's woodcut after a self-portrait by Titian when he says that Titian's portraits surpass those of Apelles (2: 341). Aretino also compared perhaps Titian's most important patron to Alexander the Great, when he wrote in 1548 that the painter "is no less dear to Charles V than Apelles was to Alexander" (2: 221). The

Journal

Explorations in Renaissance CultureBrill

Published: Dec 2, 2000

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