Name: Kleophrades Painter
Made: 500-490 BC
Size: 56cm
Potter: Kleophrades
Painter: Kleophrades painter
The real name of the Kleophrades Painter is
unknown, and he is identified only by the stylistic
traits of his work. His name comes from a signature
of the potter Kleophrades on a cup now in Paris.
Vase shape: Pointed Amphora
Used for: storing wine, oil and grains.
Difference to other amphorae: different to belly
amphora in shape mainly at the foot where the
pointed amphora is narrow. Painted amphora
were used for ceremonial purposes.
Shape and use:
Round body, a offset neck with a heavy mouth,
handles cylindrical in section and a small knob
instead of a stand. It was probably placed on a
stand.
Identity: Dionysus
Who is he? God of wine, theatre, ecstasy
Symbols: Grapes, Leopard Skin
And a Kantharos (cup used for drinking)
Similarity: Ecstatic mood conveyed through lively
feet and raised arms.
Difference: Dionysus’s clothing portrayed in Lydos
is heavy and foldless in comparison to the many
lines here.
1) Satyr
2) Mischievous, comical figures
ii) Bearded, hairy and animalistic
3) Maenads
4) Female followers of Dionysus. They carry a
Thyrsus/sos which is a staff of giant fennel or
tipped with a pine cone.
• 5) The main frieze depicts an Dionysian revel. Excited satyr is playing a
double-flute.
• Maenads in orgasmic ecstasy.
• Satyrs trying to hump maenads.
• Maenads using their thyrsoi to calm satyrs down.
• Dionysus carries an empty cup and waves a vine branch. Drunk and merry
mood.
6) The neck of the amphora.
7) 3 Athletes depicted with discus and spear
8) Youth after competing shown through the aryballos
which contains oil for anointing their bodies after sport.
Opposite side shows participating athletes – frontal pose with javelin
Possibly given as a prize.
1)
Red figure.
2 i) Outlines the figure with a raised line to create a precise border for the
shape of the Satyr to be defined
ii) Black slip painted on background
ii) Deer skin on satyr painted with dilute honey glaze.
Colour on the Kantharos being carried by Dionysus creates a metal effect.
iv) Grape Vines crown painted purple
3) A dilute slip has been used to give the appearance of lighter hair on the
maenad. Black relief line employed to frame the figure as seen around the
face of the maenad.
1)
2)
3)
4)
5)
The belly of the vase.
The Neck.
A pattern called Tongues.
Meanders pattern.
Stylised rays.
5) The main frieze follows an alternating pattern
of female and males figures.
Overlapping is used where a thyrsus is in front of
a grape vine.
Spaciousness of composition- There’s plenty of
room.
7) The neck is sharply set off from the body
which tapers to a very small foot thus it would
have been difficult to paint the section of the
main frieze below the neck due to the curve
approaching from the belly.
1) Open at the inner corners, pupils well
forward with a profile gaze.
2) Continues to incise hair- marks the hair with
a series of lines
3 i)Athletes convey realistic poses with a range
of body views and foreshortening- evidence of
Kleophrades anatomical skill.
ii)Bodies of Dionysus, Maenads and Satyrs are in
proportion
7) Drapery -Folds, billowing, overlapping,
revealing body.
Fine, precise detail depicted
Has used the drapery to display the movement
of the character in the folds.
1) Post orgasmic glow
2) Ecstatic , happy.
A)Beside each maenad was a inscription of the word ‘kale’ meaning beautifuladds to mood of the vase.
B)Ithyphallic
C)Maenad in throes of orgasm- mouth open in a scream, foot raised.
D & E) Aroused satyr trying to get in the maenads pants
shown through the placement of his hands and his body position and
lacking sexual restraint.
F & G) Grapes-wine-drunk. Kantharos is used for drinking
Wine and it is currently empty implying Dionysus has been
drinking.
Mood is mainly of revelry, ecstasy and drinking reinforced by the joyous maenads
dancing and sexual advances from the satyrs and also the symbolism of the
grapes.