Works Inspired or Influenced By The Apollo Belvedere
- Dürer, Albrecht, Adam and Eve (1504 engraving)
- Copies of the Apollo Belvedere appear as cultural props in Joshua Reynolds's Commodore Augustus Keppel (1752-3, oil on canvas) and Jane Fleming, later Countess of Harrington (1778–79, oil on canvas).
- Canova, Antonio, Perseus (1801, Vatican Museums, 180x, Metropolitan Museum of Art)
- In Childe Harold's Pilgrimage (1812–18), Byron describes how the statue requites humanity's debt to Prometheus: "And if it be Prometheus stole from Heaven / The fire which we endure, it was repaid / By him to whom the energy was given / Which this poetic marble hath array'd / With an eternal glory--which, if made / By human hands, is not of human thought; / And Time himself hath hallowed it, nor laid / One ringlet in the dust--nor hath it caught / A tinge of years, but breathes the flame with which 'twas wrought." (IV, CLXIII, 161-163; 1459–67).
- Crawford, Thomas, Orpheus and Cerberus (1838–43; Boston Athenaeum, later Museum of Fine Arts, Boston)
- Apollo tended by the Nymphs of Thetis
- Minute Man by Daniel Chester French, 1874 at the Old North Bridge in Concord, Massachusetts
- In Robert Musil's novel The Man Without Qualities, the character Ulrich comments "Who still needed the Apollo Belvedere when he had the new forms of a turbodynamo or the rhythmic movements of a steam engine's pistons before his eyes!"
- In her poem "In the Days of Prismatic Color," Marianne Moore writes that "Truth is no Apollo/ Belvedere, no formal thing."
- Arthur Schopenhauer in the 3rd book of The World as Will and Representation refers to the head of Apollo Belvedere, admiring it for the way it exhibits the human superiority: The head of the god of the Muses, with eyes far afield, stands so freely on the shoulders that it seems to be wholly delivered from the body, and no longer subjects to its cares.
- Lady Gaga's iconic "hair bow" derives from the depiction of Apollo in Apollo Belvedere
- Aphorism 161 of Friedrich Nietzsche's The Dawn of Day:
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