National Gallery, Edinburgh; Ulysses and the Sirens (1837), Manchester Gallery; Origin of Marriage, Bevy of Fair Women (1828), Stafford House, London; Venus and Cupid, Henry Bicknell, Cavendish House, Clapham Common; Rape of Proserpine (1839), Venus Anadyomene, Three Graces, J. Gillott Collection; Judgment of Paris; Venus and her Satellites (1835); Wise and Foolish Virgins; Hylas and Nymphs; Prodigal Son; Prodigal's Return; Destruction of Temple of Vice; Adam and Eve; Pandora; Parting of Hero and Leander; Death of do.; Diana and Endymion; Amoret freed by Britomart; Zephyr and Aurora; Robinson Crusoe returning Thanks for Deliverance; Joan of Arc (3 pictures, 1847).—Gilchrist, Life (London, 1855); Redgrave; Art Jour. (1849), 13; (1858), 233; Sandby, ii. 49; Ch. Blanc, École anglaise; Portfolio (1875), 88, 107, 142, 149, 172, 180; Gaz. des B. Arts (1862), xiii. 208.
ETZDORF. See Ezdorf.
EUCHEIR, of Athens, mythic painter,
spoken of as the discoverer of painting in
Greece, and as related to Dædalus.—Pliny,
vii. 57 [205].
EUDORUS, scene-painter and statuary,
place and date unknown.—Pliny, xxxv. 40
[141].
EUMARUS, monochrome painter, of Athens,
latter part of 6th century B.C. Said to
have been the first to distinguish men from
women in his pictures by colour, by which
is meant, probably, that he painted the flesh
of the former of a reddish brown and that
of the latter white. Also said to have first
marked the differences in age between the
persons whom he painted. Painting in
Greece, up to his time on a level with that
in Assyria and Egypt, took with him the
first steps in the path of progress.—Pliny,
xxxv. 34 [55].
EUMELUS, painter, of Caria, probably
about A.D. 190. His picture of Helen was
in the Roman Forum.—Philost. Vita Sophist.,
ii. 5.
EUPHRANOR, one of the greatest of
Greek artists, of Corinth, Theban-Attic
school, pupil of Aristides of Thebes or of
his son and pupil Ariston, about 370-336
B.C. Master of all arts—painter, sculptor,
chaser of metals, and writer on symmetry
and colour (Pliny, xxxiv. 19; Quin., xii. 10,
6). He united the traditions of his Theban
master with those of the Sicyonic school,
and painted many famous works, both at
Corinth and at Athens. Upon one wall in
the Stoa Basilæus at Athens he painted
Theseus with personifications of Democracy
and the Demos, and upon the opposite one
the twelve great gods. There also he represented
a fight between the Athenian and
Bœotian cavalry at the battle of Mantinæa,
with portraits of Epaminondas and of Gryllus,
son of Xenophon (Paus. i. 3. 2, 3).
With reference to the first-named picture
Euphranor remarked that the Theseus of
Parrhasius had been fed on roses, but his
own on beef (Pliny, xxxv. 40). Some famous
pictures of his at Ephesus are also
mentioned: Ulysses in his feigned Madness,
yoking together an Ox and a Horse; and a
Warrior sheathing his Sword.
EUPOMPUS, a noted Greek painter, of
Sicyon, founder of the Sicyonic school, contemporary
and rival of Parrhasius and Timanthes,
about 400 B.C. (Pliny, xxv. 36 [61,
64, 75]). Before his time only two schools
of painting were recognized in Greece, the
Ionic (Asiatic) and the Attic (Hellenic).
We know the subject of but one of his
works, a winner in the Olympic games carrying
a palm of victory in his hand. This
picture was so marked in its individuality
that the painter was conceded to have founded
a third school, the Sicyonic, at the head of
which stands his scholar Pamphilus, the master
of Apelles.
EURIPIDES, painter and poet (485-406
B.C.). The great tragic poet was a painter
in his youth, and several of his works were
preserved in Megara.—Suidas, v. and Vita
Eurip. in Vitæ scriptores Græci minores (ed.
Westerm. 134, 15).
EUROPA, RAPE OF, Claude Lorrain,
Buckingham Palace; canvas, H. 4 ft. × 4 ft.
