Berlin Painter: Volute Krater
500-480BC
Potter: Unknown
Painter: Berlin Painter
65cm tall
Why ‘The Berlin Painter’?
• The painter never inscribed his own name on
his work. An amphora was found in Berlin,
after which this nickname was coined. This
amphora is stylistically very similar to the
volute krater so we can assume it is by the
same painter.
The Shape
• Volute Krater
• Used for mixing wine and water at symposium
• Handles of this krater are different to other
types of kraters. This krater is also very
stylised.
• The volute krater is the perfect shape because
it has a large belly and wide mouth so vessels
can be dipped in to it.
Inscriptions
• The inscriptions on the vase are the names of
the figures
• These inscriptions are part of narrative
technique – naming characters helps the
painter to convey what is happening on the
vase.
The Scene
• The figure on the right is Athena
• She is wearing her snake-covered aegis
• She can also be identified by her helmet and
spear
The Scene: Side A
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Achilles and Hector
Athena
Apollo
A depiction of a battle in the Trojan War
between Greek hero and Trojan prince. The
heroes are urged on by their respective
patrons. Achilles is then killed by Paris, with
the help of Apollo, as revenge for the deaths
of Hector and Troilus.
Narrative Technique
• Raised feet indicate movement – Apollo is
leaving the doomed Hector and waving
farewell. The arrow is perhaps a hint of the
fate that awaits Achilles.
• Swirling drapery shows movement
• Naming characters using inscriptions
Narrative Technique
• Knees are bent as if stumbling backwards
• Blood is spurting from wounds on his chest
and leg
• Depicted totally unprotected with his shield
twisted around him
Narrative Technique
• Raised feet, legs moving forward, ready to
attack
• Interior view of shield highlights Achilles,
compared to Hector appearing deliberately
weak because of the placement of his shield
The Scene: Side B
• Achilles and Memnon (Priam’s brother and King
of Ethiopia)
• Thetis the sea-nymph (mother of Achilles)
• Eos the goddess of the dawn (mother of
Memnon)
• After the death of Achilles’ ‘cousin’ Patroclus,
Achilles closest companion was Nestor’s son
Antilochus. Memnon killed Antilochus so Achilles
sought revenge, as with Hector. The heroes’
mothers rushed to Zeus, who weighed their
destiny and found Memnon’s the heaviest.
Narrative Technique
• Hand gestures – Eos pulls her hair out in
anguish, realising her son may die
• Raised feet – moving towards her son
• Swirling drapery
• Emotional realism
Narrative Technique
• Raised feet – indicating movement and battle
• Memnon holds up his shield to block Achilles’
spear while preparing to strike
• Achilles’ twisting ¾ pose indicates movement
Composition
• 2nd band on the neck
• The Francois Vase fills space, groups figures,
uses overlapping to create depth = Corinthian
minituarist
Composition
• A comlpex mirrored lotus and palmette chain –
contrasts with the earlier black figure examples, and
with those of Euphronios.
• A singular ground line with a tongue pattern
• Figures are set in W shape which mimics the shape of
the vase. This is emphasised by the clashing of spears
on the opposite side.
• The positioning of shields helps give depth and a 3D
effect
• The scene is symmetrical on both sides – the ¾ pose of
Achilles is mirrored
• The illustration comes from the neck of the krater
Composition
• The vessel shows a reversal of the major
artistic trend – no decoration on the body
except for a coating of shiny black glaze, and a
band of stylised rays at the base of the belly.
• Compared to the Kleophrades Painter Hydria
which has a complex scene with many figures
over a large proportion of the vase.
Composition
• Only the neck and handles are decorated,
which is one of the attractions of The Berlin
Painter
• The body is entirely black apart from a small
band of rays at the base above the foot. This
draws attention to the shape of the elegant
volute krater. The sheer mass of the glossy
black body draws attention to the figured
scene.
Composition
• Large areas of black slip without decoration
are typical to The Berlin Painter
• Other vases by The Berlin Painter feature
singular figures spotlight on a plain black
background, without the framing of
supporters of patterns.
The Berlin Painter: Bell Krater
490-480BC
Composition
• Two central figures are engaged in battle with
their supporters framing them
• W shape of figures on both sides, which also
mimics the shape of the volute kraters
• The figures sit on a single ground line
Painting Technique
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Red-figure technique
The figures were painted with a relief line first
The background was then painted with a black slip
Honey-coloured dilute glaze is used for shading
Red slip used for blood
Purple slip?
Dilute slip was also used for detail on the shields, Achilles’
hair, detaling the musculature and painting the major
muscles.
• In black-figure vases women were painted white, while in
red-figure women are painted in the same way as men
Comparison!