Panainos

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Panainos ( ancient Greek Πάναινος , Latin Panaenus ) was an ancient Greek painter who lived around the middle of the 5th century BC. And came from the - also family - circle of the sculptor Phidias .

Life

According to Strabo , Panainos was a cousin of Phidias and worked with him on the statue of Zeus in Olympia , one of the Seven Wonders of the World . Pliny and Pausanias call him a brother of Phidias. It is possible that there are two different people with the same name from the family of Phidias. Pliny names the 83rd Olympiad as the Akme of Panainus , ie the years 448–445 BC. Since the period of the verifiable work of the painter named Panainus was about 465 BC. BC to 430 BC BC, that is to say, lasted over 30 years, it is assumed that the early works are to be connected with the brother of Phidias, the later with his cousin.

Works

In Athens

One of Panainos' works is the painting of the Battle of Marathon in the Stoa Poikile on the Agora of Athens , which was probably created in collaboration with Mikon . But Aelian's painting is assigned only to Polygnot and Mikon without Panainos' participation . The design of the Stoa Poikile, the colorful hall, probably took place in the time of the kimon and before its banishment in 462/461 BC. Instead of. Because in the battle picture in particular the achievement of Miltiades , Kimon's father, was emphasized.

Nothing further is known about the person and life of Panainos himself, his works are lost, and reflections of his painting in the art of later times cannot be grasped.

In Delphi

In the first artistic competition of the painters at the Pythian Games in Delphi, he was defeated by the otherwise unknown Timagoras from Chalkis , about which he wrote a poem. The given theme of the competition is unknown. The Pythian painter's agony was founded around the middle of the 5th century BC. Introduced according to Pliny at the time of the Acme des Panainos.

In Olympia

Significant and beyond the role of an assistant was apparently his participation in the statue of Olympian Zeus . Strabo calls him in this context "Synergolabos" ( συνεργόλαβος ), which indicates a position at eye level with Phidias. Because, as a synergistic subscription, he was co-contractor for the advertised statue of Zeus. He was responsible for the color design of the statue, especially the robe. Above all, he painted the throne barriers that surrounded Zeus on all sides and kept the visitors at a distance from the portrait.

The front barrier was monochrome in a strong blue, while the other three barriers were each painted with three image fields: Heracles as he is about to take the burden off the shoulders of Atlas ; Theseus and Peirithoos , probably in the underworld, personifications of the Hellas and the Salamis with ship's beaks in their hands as allusions to the sea victories of the Greeks against the Persians ; the lion-conquering Heracles; the desecration of Kassandra by the Locrian aias ; Hippodameia and Sterope , daughter and wife of Oinomaos ; Prometheus and Heracles bound ; Achilles supporting the dying Amazon Penthesilea ; Finally, and taking up the story of the first picture again: two Hesperides with two apples in order to be able to steal their apples, Heracles lifted the burden from Atlas, father of the Hesperides, so that he could pick the apples.

Each side of the throne showed the sequence “Heracles myth” - “dramatic love story” - “mythical female figures”. For Theseus and Peirithoos were also stuck in the underworld, Hades , because they wanted to kidnap Persephone . Numerous other and admirable paintings by Panainus, the content of which is unknown, were kept in the sanctuary of Olympia.

In Elis

Either around this time or immediately afterwards, he painted the inside of the shield that the sculptor Kolotes had created for his gold-ivory statue of Athena in Elis . For the temple that received this statue, he also seems to have taken over the painting. At least Pliny passed down his method of priming the paintings in the temple, which Panainos made from milk and saffron and which still showed the smell and taste of saffron in Pliny 's time when the primer was rubbed off with a damp thumb.

Remarks

  1. ↑ a b c Strabon 8, 354.
  2. ↑ Pliny, Naturalis historia 35, 54 and 57; 36, 177.
  3. ^ Pausanias 5:11 , 6.
  4. ^ A b Pliny, Naturalis historia 35, 54.
  5. ↑ Pliny, Naturalis historia 35, 57; Pausanias 5, 11, 6; Harpocration sv Μήκων ; only Arrian , Anabasis 7, 13, 10 names only Mikon as an artist.
  6. ↑ Aelian, de natura animalium 7, 38.
  7. ↑ Pliny, Naturalis historia 35, 57; Aeschines , Against Ctesiphon (3) 186; Lukian , Iuppiter tragoedus 32; Cornelius Nepos , Miltiades 6, 3.
  8. ↑ Pliny, Naturalis historia 35, 58.
  9. ↑ For the Zeus statue see Beate Bergbach-Bitter: Greek cult images. Archaeological evidence and literary tradition. Würzburg, Dissertation 2008, pp. 11–179 ( digital publication, PDF, 1.85 MB ).
  10. ^ Pausanias 5:11 , 4.
  11. ↑ Pausanias 5:11 , 5-6.
  12. ↑ Pliny, Naturalis historia 36, 177.

literature

  • Johannes Overbeck : The ancient written sources on the history of the fine arts among the Greeks. Leipzig 1868, pp. 209-211, No. 1094-1108 ( archive.org ).
  • Paolo Moreno : Panainos . In: Enciclopedia dell'Arte Antica, Classica e Orientale . Volume 5. Istituto della Enciclopedia Italiana, Rome 1961.
  • Brian E. McConnell: The Paintings of Panainos at Olympia: What Did Pausanias See? In: Harvard Studies in Classical Philology. Volume 88, 1984, pp. 159-164.
  • Wilhelm Völcker-Jansen: Classical Paradeigmata. The paintings of Panainus on the throne of Zeus at Olympia. In: Boreas. Münster contributions to archeology. Volume 10, 1987, pp. 11-31.
personal data
SURNAME Panainos
BRIEF DESCRIPTION Ancient Greek painter
DATE OF BIRTH around 500-490 BC Chr.
DATE OF DEATH 5th century BC Chr.