Eumenes I of Pergamon

Definition and stakes

Portrait of Franz von Reber Franz von Reber History of Ancient Art

Pergamon had been restored and enlarged by Eumenes. The wonderful works of that time show architecture to have lost all earnestness and truthfulness through the extravagant demands created by the luxurious courts of the Ptolemies, Seleucidæ, and Attalidæ; their sham theatrical pomp was surpassed only by the Oriental costliness and splendor of the materials. The monuments were expressive of the weakness and superficiality into which the Eastern Hellenic world had fallen, and for which the forms of Greek art were employed only as a transparent varnish.
Source: Gutenberg

Guy Dickins Hellenistic Sculpture

On the other hand, the schools of Pergamon, Alexandria, and Rhodes show no falling off in technical skill as long as they remain independent of Rome. Even their idealism does not wholly decline, for the Gallic victories of Attalos and Eumenes brought about an idealist revival in Pergamene art associated with the decoration of the great altar. Rhodes remained ever wedded to the athletic ideal. Alexandria delighted most in scenes of genre and realistic imitations of nature.
Source: Gutenberg

Portrait of Franz von Reber Franz von Reber History of Ancient Art

Perseus of Macedon. 178 to 168. Fig. 235.—Coins of the Diadochi.
Fig. 236.—The So-called Dying Gladiator. School of Pergamon.
In two places, at the royal court of Pergamon and in the republic of Rhodes, productive art rose again to a certain independence and originality. Pliny himself, in another place, says that “several artists illustrated the battles of Attalos and Eumenes against the Gauls; namely, Isigonos, Phycomachos, Stratonicos, and Antigonos.”
Source: Gutenberg

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