Makron Skyphos
OUTLINE OF PRESENTATION
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Attribution details
The Shape
The Scene, Side A
Composition of Side A
Painting Technique
The Scene, Side B
Composition of Side B
Narrative technique
The Style
Attribution details:
Name: Skyphos
When made: 490- 480 BC
Size: 21.5cm
Potter: Hieron
Painter: Makron
How do we know:
We know Hieron and Makron have both
signed their names at the
handles on the Skyphos vase.
HIERON EPOIESEN
"Hieron made (it)”
MAKRON EGRAPHSEN
"Makron drew (it)"
Shape:
1.The vase shape is a
Skyphos.
2. Use: For drinking wine.
3.The Skyphos vase is
perfect for it’s shape the
shape consists of a huge
deep drinking cup for
wine at symposiums’.
- Because of the huge
space of the frieze it gave
Makron the opportunity to
draw detailed figures and
decoration.
The Scene, Side A
The Scene, Side A
Left to Right:
Aneaus, Paris, Eros, Helen, Aphrodite,
Peitho (persuasion) and Helen’s son,
The Scene, Side A
• The myth being shown is
the seduction of Helen.
• Paris is leading Helen
away from Sparta and the
Palace of Menelaos.
• Aeneaus accompanies
Paris, Aphrodite, and
Eros drag Helen away.
Peitho (persuasion)
follows behind them.
• The boy underneath the
handle is thought to be
Helen’s son.
What emphasises the seductive nature
• Paris leads Helen by the arm. Rather
than by abducting her, and not evoking any
scared, frightened emotions, she is seduced
by Paris which is quite the opposite
response.
• Also Aphrodite and Eros (Aphrodite's’ son) are both
associated with lust and love.
Composition of Side A
The reason as to why the figure of the boy
• helps to continue the story around the
frieze.
The thing that contemplates him
• King Priam. Although sitting down he too,
is the same height as the boy, underneath
the same handle as well.
Composition, Side A
The central figures
Helen, Paris and
Aphrodite
What unites the two figures
• Paris’ touch on Helen's hand
• the spear that links both, which goes across, in the
front of Paris’ body down towards Helens’ legs,
• Eros, and how he is flying above their heads,
linking the two.
Composition, Side A
Simple ways Makron has
managed to show depth
• most of the frieze is
compacted by layers and
masses of billowing drapery,
which portrays
• Overlapping of drapery.
Secondly
• is the position of Aeneas
shield
• Paris’ spear and how both
armory overlap each other.
This indicates that the
painter wants to show the
depth in the scene.
Composition, Side A
• Extra points about the composition of Side A in the
scene is the painting or story continuing. The little boy
underneath the handle portrays that the story continues
on the other side of the vase. Another is the size of Eros.
It is the way he is positioned and his size that gives a
three dimensional effect as well as the painter wanting to
show the distance between characters’.
• Another is Paris’ legs. You see how they are stretched
apart, this shows that he and Aeneaus are both rushing
to abduct Helen and get her out of Menelaos’ palace.
Another is muscles are drawn very detailed showing
strained and
Painting Technique
• A red figure painting technique was used.
• The person carrying the shield is Aeneaus,
Paris’ soldier companion.
• The lion has been colored in diluted glaze.
• The sandals have been colored in diluted glaze.
Which is showing technical details.
Painting Technique
• The painting technique shown between these 2
figures is how the drapery forms in thin, precise
lines. This is called incised detail, where in the
drapery it creates an 3 dimensional effect. Such
as, if the drapery looks either light or heavy
material.
• Another painting technique is the zig zags in the
drapery. Because of this it creates a feeling of
depth and airy.
The Scene, Side B
• The person seated in the chair is King Priam.
• So the myth is about how Paris dies, and it is the
end of the Trojan war. Menelaus reclaims Helen.
In the frieze the scene depicts of Helen trying to
escape from Menelaus as he knows she has
been unfaithful. But something stops Menelaus
from killing her, Menelaus has seen the beauty
of Helen and straight away drops his sword and
forgives her.
The Scene, Side B
• This scene relates to Side A because obviously
it is a continuation of the myth. In Side A it was
the beginning of the Trojan War and Helen’s
unfaithfulness. As the Trojan War ends this is
portrayed in Side B, as the scene is about
Menelaus almost killing her for being unfaithful,
however forgives her instead. In Side B
Aphrodite and Peitho, Helen’s maidservants
accompany her as she is returned to Menelaus.
Composition of Side B
• The Central focus is Menelaus and Helen.
• What makes them the central focus is their pose.
Both figures are the only ones out of all
characters who have a lot of movement going
on. Such as their legs are bent, arms stretched.
Helen’s frontal pose shows the incised detail of
the drapery, and she is the only one who is in a
frontal pose. Another is Menelaus shield that has
a bull on it. The only animal that is there which
makes it the central focus.
Composition, Side B
• One point is of King Priam. His throne or
chair really stands out, as it shows a lot of
detail.
• Second point is that all character’s are the
same height, including the King Priam and
he boy and are all on the same ground
line.
• Third is that there are no spaces. The
painter is not comfortable to leave any
gaps.
The style
The Meidias Painter vase
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Date: 410 BC
Type: Hydria, Red figure
Potter: Meidias
Painter: “Meidias Painter”
Height: 52.2 cm
The Meidias Painter vase
The style
• Elegant poses and elegant drapery. The
figures are delicate and movement
convincing.
• Graces are delicate and graceful.
• Fine and elegant, bodies underneath.
• Drapery follows form, clinging to the body.
• Multiple lines around the body, fluttering
away suggesting movement.