Apelles Art Gallery

                                        Apelles is the intermediary that focuses on
                                        bringing art to the viewer


What is Apelles


Apelles is dynamic and in development. Apelles will make art more accessible. Not the high threshold and distance but just bringing the art to the people. It wants to mediate between the artist and the viewer. This is not just a physical platform to provide visual arts displayed by people but also to take note of the background and essence of the work on a free and accessible way.

The art represented by Apelles will excite, amaze and inspire. The name stands for uniqueness, perfection and sublimity. Only art that affects and is in discussion matters. Apelles has an idealistic goal that means that the connection she makes is with no profit to promote art and culture and serving the public good.

The Contemplator

Apelles supports the viewer for this incentive. By organizing shift exhibitions the people can take cognizance of the work. The exhibitions are mainly held in public spaces, which also the passer-by will come into contact with art.

The exhibition spaces are located in different geographic locations where it lends to. For the exhibitions lies the main points in the locations in Bergen (NH), Het Gooi and Oegstgeest.

From the website, the work of individual artists can be followed. The site also offers the possibility without any obligation to look for work.

View art

At satellite locations in the country the option to actually see the work of art will be tendered by appointment. Visual art is not easily to sell through the site allone, you must really seen, felt and experienced it in order to finally be overcome by the work. Exhibitions also provide an additional platform to view pieces of art works.

Apelles & the art

Apelles appreciates what is human from the bottom of your heart. The issues at stake are the socio-psychological, the universal, the timeless .... What matters is the content and aesthetic enjoyment.

Art fascinates and needs to be and stay questioning, enter the discussion with you. Apelles supports the viewer for this incentive.

The Artist

With the dynamic gallery the artist receives the possibility to bring attention to his/her work under the new groups of contemplators, both in a different geographical area and the digital media by internet. Apelles will actively engage to bring in the work of member artists among the people attention. This will be made possible at lower commission than the regular galleries because of its dynamic structure.

Apelles therefore focuses on:

  • organizing exhibitions
  • publishing publications
  • exchange and brings together artists and critics
  • giving presentations
  • conduct of debate
  • mediate by the dynamic gallery
  • mediation for assignment
  • implementing agencies for artists and viewers
  • and all other means to realise her ambition

Apelles will support the contemplator by aligning the supply of good work. The credo of Apelles is:

                                        Apelles brings art in line with character

Those interested will be kept informed of developments by the website, publications, newsletters, lectures and discussion.



Who was Apelles

Fresco from Pompei, Casa di Venus, which one believes
to recognize the "Aphrodite Anadyomene" from Apelles

Apelles from Colophon

From Wikipedia, the free encyclopedia

Greece: Àpnllñç - Colophon or Kos?, ca. 375-370 v.Chr. – Kos end 4e eeuw v.Chr.
was considered the greatest painter of antiquity. He was court painter to Alexander the Great.

Sources about Apelles

The main source for our knowledge about Apelles is the section dedicated to him in the Naturalis Historia of Plinius the Elder (XXXV, 79-100). This is a monograph at itself in Plinius work. Apelles rated, according to Plinius, superior to preceding and subsequent artists. Plinius describes and lists a large number of works by Apelles and tells some anecdotes. Many other authors provide the necessary information about Apelles, his works, probably only panels, we can form such an idea with some detailed descriptions (called ekphraseis) in the work of Lucianus and Philostratus of Lemnos.

The technique of Apelles

Apelles used four colors: white, yellow, red and black and only later came more pigments available. He is especially known for the veracity of his paintings. When he for example shows his is painting of a horse to real horses, they began to neigh. The treatises which Apelles must have written about the art are not saved.

Apelles' skill will be described in the following anecdote from Plinius about his rivalry with fellow artist Protogenes. Apelles travelled to Protogenes' home in Rhodes to make the acquaintance of this painter he had heard so much about. Arriving at Protogenes' studio, he encountered an old woman who told him that Protogenes was out and asked for his name so she could report who had enquired after him. Observing in the studio a panel Protogenes had prepared for a painting, Apelles walked over to the easel, and taking up a brush told the servant to tell Protogenes 'this came from me', and drew in colour an extremely fine line across the panel. When Protogenes returned, and the old woman explained what had taken place, he examined the line and pronounced that only Apelles could have done so perfect of work; Protogenes then dipped a brush into another colour and drew a still finer line above the first one, and asked his servant to show this to the visitor should he return. When Apelles returned, and was shown Protogenes' response, ashamed that he might be bettered, he drew in a third colour an even finer line between the first two, leaving no room for another display of craftsmanship. On seeing this, Protogenes admitted defeat, and went out to seek Apelles and meet him face-to-face.

Famous paintings

Most famous is perhaps the 'Aphrodite Anadyomene' ('Emerging Aphrodite'), a painting of the goddess, shortly after her birth from the foam of the sea. According to one story was the famous hetaere Phryne model for Aphrodite. According to another story was Campaspe (also named Pancaspe or Pancaste), the prettiest mistress of Alexander the Great, model. Apelles gets in love while painting her, after which Alexander gave him the woman in marriage as a sign of his appreciation. The work was in the Asklepiostempel at Kos and was brought to Rome by Emperor Augustus. Alexander did not wish to be portrayed by anyone else and Apelles painted him a number of occasions, a.o. in a portrait with the lightning, apparently so as Zeus. Well known is the allegorical painting "The Slander" (or its Latin title: "Calumnia"), extensively described by Lucianus.


Apelles in later time

Sandro Botticelli, 'The Defamation of Apelles', c. 1494, Florence, Uffizi. This allegorical scene is a reconstruction of a painting by Apelles. Defamation is depicted as a woman who drags a young man by his hair to a man with Midasoren who sits on a chair. Most other allegorical characters that the defamatory allegations must support are present, but also the (naked) Truth comes at some distance.

As the famous painter of antiquity, the name 'Apelles' artists later used to praise as a ''Second Apelles.

Some painters actually followed Apelles by copy his work following the more detailed description. Known example is foe example 'The Birth of Venus' by Botticelli, which is a reconstruction of the 'Venus Anadyomene', which was described by Philostratus. But mainly the described painting by Lucianus 'The Slander' was often painted a.o. by Botticelli, Dürer, Pieter Bruegel the Elder and Rubens.

Apelles who was painting Campaspe under the watchful eye of Alexander, has often been the subject of paintings, such as 'Apelles painting Campaspe' (c. 1630) by William van Haecht, now in possession of the Mauritshuis in The Hague.

Famous statements

- Apelles great zeal witness the statement: Nulla dies sine linea, translated: no day without a line.

- According to an anecdote in Plinius Apelles hiding behind his paintings because he wanst toe hear judgement of the spectators. A shoemaker would also have noticed that a painted one shoes-lace-hole to less. After Apelles has corrected it, the shoemaker had find something els fault with the legs. Then Apelles would have spoken to him: Ne sutor supra crepidam iudicaret, in the words of Plinius. In slightly modified form this was the proverb: Sutor, ne ultra crepidam!, translated: Shoemaker stick to your last.