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Peiraikos, or Piraeicus or Peiraeicus (), was an Ancient Greek painter of uncertain date and location. He was the chief representative of what is called rhopography (ῥοπογραφία), or the painting of petty subjects, such as still-life. Harry Thurston Peck, Harpers Dictionary of Classical Antiquities (1898), Piraeĭcus None of his work is known to have survived and he is known only from a brief discussion by the Latin author Pliny the Elder.Hobey-Hamsher Pliny's passage comes in the middle of his discussion of painting in Book XXXV of his Natural History, completed about 78 AD:Pliny the Elder, Natural History, xxxv.112
It is well to add an account of the artists who won fame with the brush in painting smaller pictures. Amongst them was Peiraikos. In mastery of his art but few take rank above him, yet by his choice of a path he has perhaps marred his own success, for he followed a humble line, winning however the highest glory that it had to bring. He painted barbers' shops, cobblers' stalls, asses, eatables and similar subjects, earning for himself the name of rhyparographos painter. In these subjects he could give consummate pleasure, selling them for more than other artists received for their large pictures.
In the terms of later art history, he painted of genre painting. Generally speaking, Pliny seems to derive his information from Varro (116 BC – 27 BC), and Peiraikos may have been contemporary with or somewhat earlier than him,Sellers, E., Introduction to "Pliny" (edition as quoted), p. lxxxiv placing the painter at the end of the Hellenistic period or in the early Graeco-Roman period. From his tone, it seems that "Pliny does not know how to judge Piraeicus".Hénin, 135 - "Pline ne sait comment juger Piraeicus" Early Modern commentators were to take both approving and disapproving attitudes to later artists compared to him, often assuming that Pliny's meaning followed their own.Modern scholars have also interpreted Pliny's cryptic remarks with enthusiasm: his "humble line" has been taken as the inability to draw properly, and "consummate pleasure" ( consummata voluptas) seen as a verbal play on the pleasure of eating, [3] Peiraikos' subjects may well have been given a comic treatment,Kettering, 701 but this is not clear. Some equivalent subjects survive in Roman art, especially in shops and shopfronts in Pompeii, small sections of floor , and in the reliefs of men at work on the Tomb of Eurysaces the Baker in Rome (c. 50–20 BC), but it is interesting to know that such subjects were popular with collectors at the top end of the Roman art market.Plommer, 99, gives a quick survey of the Hellenistic and Roman still-life tradition.
Propertius makes a reference to a painter of "small art" in his Elegies,Elegies III.ix.12 but the surviving text is corrupt, and it is generally thought to intend a reference to the 5th century BC Athenian painter Parrhasios,Hobey-Hamsher whose trompe-l'œil painted curtain fooled Xeuxis, an anecdote reported in another passage of Pliny.
Pieter van Laer (1599 – c. 1642) was a Dutch Golden Age painter of genre scenes, active for over a decade in Rome, where his nickname was Il Bamboccio. Artists working in his style, who often painted just such scenes of everyday life as Pliny lists, became known as the Bamboccianti, painters in Bamboccio's manner. Peiraikos is often mentioned in the controversies over the Bamboccianti, for example by Salvator Rosa in his Satires, and later by the Dutch biographer of artists, Samuel Dirksz van Hoogstraten in his Inleyding tot de Hooge Schoole der Schilderkonst ( Introduction to the Academy of Painting), Rotterdam 1678.Levine, 571 note 14 As genre painting became an important element of Dutch Golden Age painting, Peiraikos was used to provide classical precedent for such work, in the relatively few discussions of the appropriateness of such art by Karel van Mander in his Schilder-boeck (1604) and Arnold Houbraken in his The Great Theatre of Dutch Painters (1718–1719).Kettering, 701 and 712, note 40 Having originally been often rather cheap, by the late 17th century the best Dutch genre scenes became sought after by collectors across Europe at very high prices, a development following Pliny's account of Peiraikos that was bemoaned by Lessing in his Laocoon (1763), mentioning Dutch painting specifically.Hénin, 135, n. 79
In Spain, where bodegones or genre tavern scenes had become popular, Peiraikos was referred to by Francisco Pacheco and later Antonio Palomino in the same way,Kettering, 701 and 712, note 40 with Palomino comparing Velasquez to him.Quoted and discussed in Saporta, 114–119 A reference by the Jesuit writer Baltasar Gracián, comparing Peiraikos to an unnamed contemporary painter also seems to refer to Velasquez.Saporta, 118, citing Svetlana Alpers In Italy he is mentioned in passing by Cardinal Gabriele Paleotti, whose De sacris et profanis imaginibus (1582, "Discourse on Sacred and Profane Images") was one of the treatises setting out the Counter-Reformation church's views on the proper role and content of art.Book 1, p. 73 in the 2012 English translation from Getty, google books Giovanni Battista Agucchi, the secretary of Cardinal Odoardo Farnese and a mover and shaker in the Roman art scene, called Jacopo Bassano the modern Peiraikos, contrasting the pair to Caravaggio and Demetrios of Alopeka, who sculpted "warts and all" portraits of important figures.Sohm, 458 In France, André Félibien was an influential codifier of the theory of the hierarchy of genres in art, and cited Pliny on Peiraikos, assuming the disapproval of his predecessor.Hénin, 136 and note 80
A passage in the diary of Paul Klee meditates on Peiraikos as an "artist-martyr".Saporta, 119, with quotation
In literature, Rabelais in Gargantua and Pantagruel (Prologue, Book V, c. 1564) compares himself to Peiraikos as a specialist in low subjects: Saporta, 118-119; and "... and yet for Aesop a Place was found, and the Office of Mythologist; in like manner, inasmuch as I do not aspire to a higher Degree, I pray that they may not disdain to receive me in the Office of small Riparographer and Follower of Piraeicus" (or "Puny Riparographer, or Riffraff-scribler of the Sect of Pyrricus" as his translator Peter Motteux put it in 1694).Quoted, OED, "Rhyparographer"
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