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See also:CHODOWIECKI, See also:DANIEL See also:NICOLAS (1726–1801) , See also:German painter and engraver of See also:Polish descent, was See also:born at See also:Danzig. See also:Left an See also:orphan at an See also:early See also:age, he devoted himself to the practice of See also:miniature See also:painting, the elements of which his See also:father had taught him, as a means of support for himself and his See also:mother. In 1743 he went to See also:Berlin, where for some See also:time he worked as clerk in an See also:uncle's See also:office, practising See also:art, however, in his leisure moments, and gaining a sort of reputation as a painter of miniatures for See also:snuff-boxes. The Berlin See also:Academy, attracted by a small en-graving of his, entrusted to him the See also:illustration of its yearly See also:almanac. After designing and See also:engraving several subjects from the See also:story of the Seven Years' See also:War, Chodowiecki produced the famous " I-Iistory of the See also:Life of Jesus See also:Christ," a set of admirably painted miniatures, which made him at once so popular that he laid aside all occupations See also:save those of painting and engraving. Few books were published in See also:Prussia for some years without See also:plate or See also:vignette by Chodowiecki. It is not surprising, therefore, that the See also:catalogue of his See also:works (Berlin, 1814) should include over 3000 items, of which, however, the picture of " See also:Jean See also:Calas and his See also:Family " is the only one of any reputation. He became director of the Berlin Academy in 1797. The See also:title of the German See also:Hogarth, which he sometimes obtained, was the effect of an admiration rather imaginative than See also:critical, and was disclaimed by Chodowiecki himself. The illustrator of See also:Lavater's Essays on See also:Physiognomy, the painter of the " See also:Hunt the Slipper " in the Berlin museum, had indeed but one point in See also:common with the See also:great Englishman—the practice of representing actual life and See also:manners. In this he showed skilful See also:drawing and grouping, and considerable expressional See also:power, but no tendency whatever The Perseis was at first highly successful and was said to have been read, together with the Homeric poems, at the See also:Panathenaea, but later critics reversed this favourable See also:judgment. See also:Aristotle (Topica, viii. 1) calls See also:Choerilus's comparisons far-fetched and obscure, and the Alexandrians displaced him by See also:Antimachus in the See also:canon of epic poets. The fragments are artificial in See also:tone.
G. See also:Kinkel, Epicorum Graecorum Frag.- i. (1877) ; for another view of his relations with See also:Herodotus see Muder in Klio (19o7), 29-44.
(3) An epic poet of See also:lasus in See also:Caria, who lived in the 4th See also:century B.C. He accompanied See also: See G. Kinkel, Epicorum Graecorum Fragmenta, L (1877); A. F. Nake, De Choerili Samii Aetate Vita et Poesi aliisque Choerilis (1817), where the above poets are carefully distinguished; and the articles in Pauly-Wissowa's Realencyclopadie, iii. 2 (1899). Additional information and CommentsThere are no comments yet for this article.
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