GREEK VASES, 800-300 BC,
PART: II (c. 530-300 BC)
GENERAL BIBLIOGRAPHY:
Berard, C., et.al.,
A City of Images (1989). – iconography and iconology, typical of the French
school approach
Boardman, J.,
The History of Greek Vases. Potters, Painters and Pictures (London 2001) –
thematic approach
Boardman, J.,
Athenian Red Figure Vases: The Archaic Period (1985) – brief text, very
useful images
Boardman, J.,
Athenian Red-Figure Vases: The Classical Period (1989) - same
Carpenter, T.H.,
Art and Myth in Ancient Greece (1991). Good introduction to Greek myths
with many images
Cook, R.M.,
Greek Painted Pottery (ed. 3) (1997).
Denoyelle, M. & M.
Lozzo,
La céramique grecque d'Italie méridionale et de Sicile: productions
coloniales et apparentées du VIIIe au IIIe siècle av. J.-C. Manuels d'Art et
d'Archéologie antiques (Paris: Picard, 2009) – the most up-to-date
introduction to western Greek pottery styles
Lissarrague, F.
Greek Vases: The Athenians and Their Images (New York 2001) – emphasis
on iconography, typical of the French School/approach
Oakley, J.H.,
‘Greek Vase Painting. State of the Discipline’ American Journal of
Archaeology 113 (2009) 599-627. Article reviewing advances in the study
of vase painting with much recent bibliography, available in JSTOR
Richter, G.M.A.,
Attic Red-Figure Vases: A Survey (1958). – out-of-date but still useful
Robertson, M.,
The Art of Vase-painting in Classical Athens (1992). – detailed discussion of
vase-painters and their style
Simon, E.,
Griechische Vasen (1981) –good quality illustrations.
Sparkes, B.A.,
Greek Pottery, An Introduction (1991). – excellent introduction to the topic
Sparkes, B.A.,
The Red and the Black. Studies in Greek Pottery (1996).
Trendall, A.D.,
Red-figure Vases of South Italy and Sicily (1989). – on south Italian wares
Woodford, S.,
Images of Myths in Classical Antiquity (Cambridge UP 2002).
SHAPES & NAMES
Richter, G.M.A. and
Milne, M.J.,
Shapes and Names of Athenian Vases (1935). – still the most useful book
on the subject
Kanowski, M.G.,
Containers of Classical Greece (St. Lucia, 1984)
Sparkes, B.A. and
Talcott, L.,
Black and Plain Pottery of the 6th, 5th and 4th centuries BC., The Athenian
Agora XII (1970). Shapes of everyday pottery- mostly black-glaze from the
Athenian Agora
Tsingarida, A. (ed.),
Shapes and Uses of Greek Vases (7th-4th centuries B.C.). . Proceedings of the
Symposium held at the Université de Bruxelles, 27-29 April 2006. Études
d'Archéologie 3. (Brussels 2009) – collection of articles on specific shapes &
their use
TECHNIQUES:
Cohen, B.,
Jones, R.E.,
Koch-Brinkmann, U.,
Lapatin, K. (ed.),
The Colors of Clay: Special Techniques in Athenian Vases (Malibu
2006) - exhibition catalogue of recent exhibition at the Getty with
great pictures and good introductory texts
Greek and Cypriot Pottery, a Review of Scientific Studies (1986)
Polychrome Bilder auf weissgrundigen Lekythen: Zeugen der
klassischen griechischen Malerei. (Munich 1999): for images of
colour on w-g lekythoi
Papers on Special Techniques in Athenian Vases (Malibu 2008) –
various articles on special techniques
Noble, J.V.,
The Techniques of Attic Painted Pottery (1966) – the classic, well
illustrated guide
Schreiber, T.,
Athenian Vase Construction (1999) – complements Noble
CONNOISSEURSHIP:
Beazley, J.D.,
‘Citharoedus’, Journal of Hellenic Studies 42 (1922) 70-98
Beazley, J.D.,
The Kleophrades Painter (1933 and 1974).
Kurtz, D.C.K,
‘Beazley and the connoisseurship of Greek Vases’ Greek Vases in
the J. Paul Getty Museum 2 (1983) 237-250. on Beazley method
Oakley, J.H.,
Whitley, J.
‘Why Study a Greek Vase-Painter?—A Response to Whitley’s
‘Beazley as Theorist.’ Antiquity 72 (1998) 209–213
‘Adopting an Approach’, in Rasmussen, T and Spivey, N (eds.),
Looking at Greek Vases (Cambridge, 1991) 1-12
Approaches to the study of Attic vases: Beazley and Pottier
(Oxford, 2001)
‘Beazley as Theorist’, Antiquity 71 (1997) 40–47.
CATALOGUES:
Corpus Vasorum Antiquorum (www.cvaonline.org)
Robertson, C.M.,
Rouet, P.,
CHRONOLOGY:
Cook, R.M.
‘The Francis-Vickers Chronology’, JHS 109 (1989) 164-170
Francis, E.D., and M.
Vickers.
‘The Agora Revisited: Athenian Chronology c. 500–450 B.C.’, BSA
83 (1988) 143–67
Shear, T.L., Jr.
‘The Persian Destruction of Athens: Evidence from Agora
Deposits’, Hesperia 62 (1993) 383–482
TRADE & DISTRIBUTION:
Osborne, R.
‘Pots, Trade and the Archaic Greek Economy’ Antiquity 70 (1986)
31-44
Osborne, R.
‘Why Did Athenian Pots Appeal to the Etruscans?’ WorldArch 33
(2001) 277–95
Reusser, C.,
Vasen für Etrurien: Verbreitung und Funktionen attischer Keramik
im Etrurien des 6. und 5. Jahrhunderts v. Chr. (Zurich 2002) – the
best account & interpretation of Attic pottery in Etruria
Rouillard, P., and A.
Le vase grec et ses destins (Munich 2003) – collection of articles
focusing on vases in context
Villanueva Puig, M.-C.,
F.. Lissarrague, P.
Rouillard, and A.
Rouveret (eds),
Céramique et peinture grecques: Modes d’emploi. Actes du
colloque international, École du Louvre, 26–27–28 avril 1995.
(Paris 1999)
Paléothodoros, D.
“Commercial Networks in the Mediterranean and the Diffusion of
Early Attic Red-Figure Pottery (525–490 BCE).” Mediterranean
Historical Review 22(2) (2007) 165–82
COLLECTIONS OF ARTICLES:
Brijder, H.A.G. (ed),
Ancient Greek and Related Pottery (Amsterdam 1984).
Christiansen, J. and
Melander, T. (edd),
Ancient Greek and Related Pottery (Copenhagen 1988).
Giudice, F., and R.
Panvini, eds. 2003-7.
Il greco, il barbaro e la ceramica attica: Immaginario del diverso,
processi di scambio e autorappresentazione degli indigeni (Rome:
L’Erma di Bretschneider) – articles in Italian but also other
languages on various aspects of production and iconography
Marconi, C. (ed.),
Greek Vases: Images, Contexts and Controversies (Leiden 2004)
Moon, W.G. (ed),
Ancient Greek Art and Iconography (1983)
Neils, J. (ed),
Goddess and Polis (1992). On Panathenaia and Panathenaic
amphorae
Oakley, J.H., W.D.E.
Coulson, and O. Palagia
(eds),
Athenian Potters and Painters: The Conference Proceedings
(Oxford 1997)
Oakley, J.H., and O.
Palagia (eds),
Athenian Potters and Painters. Vol. 2. (Oxford 2009).
Rasmussen, T. and
Spivey, N. (eds),
Looking at Greek Vases (1991).
Schmaltz, B., and M.
Söldner (eds),
Griechische Keramik im kulturellen Kontext: Akten des
Internationalen Vasen- Symposions in Kiel vom 24. bis 28.9.2001
veranstaltet durch das Archäologische Institut der ChristianAlbrechts-Universität zu Kiel. Münster: 2003
EARLY RED FIGURE:
Williams, D.,
‘Vase-Painting in fifth-century Athens, I. The invention of the redfigure technique and the race between vase painting and free
painting’ in T. Rasmussen and N. Spivey, Looking at Greek Vases
(Cambridge 1991) 103-118. (for the Pioneers)
Rotroff, S.
“Early Red-Figure in Context.” In Athenian Potters and Painters.
Vol. 2, edited by J.H. Oakley and O. Palagia, (Oxford 2009) 250-60.
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 1: Setting the picture: Techniques, Methods & Approaches, Dating
Methods and Approaches:
i. Technique: making, decorating, firing in the kiln
ii. Shapes and uses: (recently conference by Tsingarida)
III. Decoration: Style -- J.D. Beazley (1885-1970) & Connoisseurship: attribution to vase-painters
iv. Francis and Vickers: pottery as imitation of metal vessels; proposed review of chronology.
iii. Iconology & Iconography – City of Images & the Paris-Lausanne School: use of anthropology
and structural linguistics to interpret images. Imagery as a system of communication that reveal
Athenian values
v. Provenance: study of trade/distribution patterns (Reusser; Marconi)
vi. Scientific Analysis
vii. Reception
‘SIGNATURES’:
a) Egrapsen: wrote or drew (painter)
b) epoiesen: made (potter or workshop owner)
DATING: Absolute and Relative chronology
Absolute:
A. Scientific methods
B. Archaeological-Historical: (relation to other better dated cultures/Egypt; information about
colonies’ foundations;
Some Externally Dated monuments
1.
Before 525
SIPHNIAN TREASURY, DELPHI Marble
caryatids, friezes, pediment
Herodotus 3.57-58 (date); Pausanias
10.11.2 (identification of building)
2.
Before 480
PERSIAN SACK, ACROPOLIS
Votive marbles (esp. korai) and other material
Herodotus, 8.53 (480 BC) and 9.3 (479
BC)
3.
Before 478
THEMISTOCLEAN WALL, ATHENS
Funerary stelai and relief bases re-used as
building material
Thucydides 1.90-93
4.
477/6
TYRANNICIDES, ATHENIAN AGORA Public
bronze monument to Harmodios and
Aristogeiton, known in Roman scale versions
in marble
Marmor Parium: FGH IIB 239 A54
(precise date); Pausanias 1.8.5
(location)
5.
478 or 474
CHARIOTEER, DELPHI Fragmentary bronze
chariot group, victory dedication of Polyzalos
of Gela
Inscription: Fouilles de Delphes IV.5.267
6.
470-457
TEMPLE OF ZEUS, OLYMPIA
Marble metopes, frieze and pediment groups
Pausanias 5.10.2-10; Meiggs-Lewis 36
7.
447-432
PARTHENON, ACROPOLIS Marble metopes,
frieze, and pediment groups
IG I.13 436-51; Meiggs-Lewis 59
(inscribed accounts)
12
438/7
ATHENA PARTHENOS STATUE
Known in reduced Roman versions, shield in
scale versions
Philochoros, FGH 328 F121 (dedication
date); Meiggs-Lewis 54 (accounts).
13
425
PURIFICATION OF DELOS
The grave assemblages of Delos buried in
large pits on the island of Rheneia
Thuc. iii.104; Diod. Xii 59.6-7
14
424
Grave of the Fallen at Delion, at Thespies
15
394/3
DEXILEOS’ GRAVESTONE – Epigram
IG II-III 6127
RED FIGURE
A. Definition
Red figure technique: inversion of Black-figure. Figures are left in the colour of the clay and the
background is blacked in. Details are put with a brush (or other instrument allowing for a fluid line)
instead of graver.
Steps:
i.
Preliminary sketch (as slight indentations along the lines of the figures, or diverging from
them), and
ii.
outline of all the figures with a band of black: the ‘eight-of-an-inch-strip’: allows the
painter to see the background.
iii. Three stage firing process:
a) Initial oxidizing stage, rich in air, allowed minerals in both the clay pots and the slip on
their surfaces to form compounds yielding a reddish-orange colorations (iron hematite)
b) Second, reducing phase: depleted of air – oxygen – introduction of organic material: the
red orange compounds converted to black (rich in iron magnetite). In this phase: the blackcoloured gloss from the slip had sintered and become impermeable, losing its ability to be
altered.
c) Third, oxidizing stage: reintroduction of air/oxygen rich environment – still porous
surfaces reabsorb oxygen and revert to red orange. The pots returned to red but the gloss,
now in almost glassy state, remained black.
B. Causes & ‘Inventors’:
a) internal necessity of art/craft – easier to convey narrative, emotion when drawing with a brush
than graver.
b) Vickers: imitation of metal vessels: silver with gold figures
c) Imitation of colour schemes of reliefs: light coloured images in dark background
d) Part of the experimentation in the Kerameikos:
Six’s technique – Nikosthenes, Psiax, Sappho & Diosphos Painters
Coral Red – Exekias (540s), Kachrylion & Euphronios, Oltos,
White-ground – Nikosthenes’ workshop? Psiax.
SOME NAMES:
Andokides Painter: c. 530-515 BC –First to use red-figure regularly; collaborates with potter Andokides.
Many bilingual amphorae of type A bilingual amphorae of Type A (the black-figure side probably drawn by
another painter: ascribed by Beazley to Lysippides Painter).
Psiax: experimentation with techniques, mostly works in black-figure; some of the earliest red-figure
Worked with potters Menon, Hilinos, Andokides and Nikosthenes.
Nikosthenes: pottery for Etruria; special shapes; numerous techniques
Epiktetos and Oltos: bilingual eye cups
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 2: Vase painting in late 6th century Athens: The Pioneers, c. 520-500/490 BC
Some suggested reading:
Boardman, J.,
The History of Greek Vases. Potters, Painters and Pictures
(London 2001)
Boardman, J.,
Athenian Red Figure Vases: The Archaic Period (1985)
Euphronios und seine Zeit: Kolloquium in Berlin 19./10.
April 1991 anlässlich der Ausstellung Euphronios, der Maler.
Staatliche Museen zu Berlin (Berlin 1992)
Euphronios, der Maler: eine Ausstellung in der
Sonderausstellungshalle der Staatlichen Museen Preußischer
Kulturbesitz Berlin-Dahlem, 20. März–26. Mai 1991 (Fabbri,
Milan 1991) – exhibition catalogue – useful for images
Himmelmann, N.,
‘Narrative and Figure in Archaic Art’ in W. Childs (ed.),
Reading Greek Art: Essays by N. Himmelmann (Princeton
1998) 67-102: on synthetic narrative – very useful
Lynch, K.,
The Symposium in Context: pottery from a late archaic house
near the Agora (Athens 2011) – investigation on sympotic
ware found in a late archaic house in Athens; very careful
discussion of pottery in context
Murray, O. (ed),
Sympotica: A symposium on the symposion (Oxford 1990) –
useful on all aspects of the symposion
Neer, R.,
Style and Politics in Athenian Vase-Painting: The Craft of
Democracy, 530-460 BC (Cambridge 2002).
Robertson, M.,
The Art of Vase-painting in Classical Athens (Cambridge
1992).
Schefold, K.,
Gods and Heroes in Late Archaic Art (Cambridge 1992)
Williams, D.,
‘Vase-Painting in fifth-century Athens, I. The invention of the
red-figure technique and the race between vase painting and
free painting’ in T. Rasmussen and N. Spivey (eds.), Looking
at Greek Vases (Cambridge 1991) 103-118.
Williams, D.,
‘The Drawing of the human figure on early red-figure vases’
in D. Buitron-Oliver (ed.), New Perspectives in Early Greek
Art (Washington 1991) 285-302.
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 2: Vase painting in late 6th century Athens: The Pioneers, c. 520-500 BC
1. THE PIONEERS:
Euphronios
1. Calyx crater in Paris (Louvre G103): Herakles and Antaios
2. Calyx crater, formerly in New York: A: Sleep and Death carry the body of Sarpedon, B: Youths
arming
3. Calyx crater in Munich (Antikensammlungen 8935): Symposium
4. Calyx crater in Berlin (Altes Museum): Athletes training
5. Calyx crater signed by Euphronios (New York, Shelby White Leon Levy collection): Herakles
and Kyknos
6. Signed psykter (St Petersburg, Hermitage 644): hetairai at the symposium
Phintias
1. Neck hydria in Munich (Antikensammlungen 2421): Shoulder: Hetairai playing kottabos (one
toasts Euthymides). Body: Music lesson (youth with lyre named Euthymides)
2. Psykter from Orvieto (Boston, MFA 01.819): Athletes wrestling, trainers, acontists
3. Amphora Type A from Vulci in Paris (Louvre G 42): A: Abduction of Leto by the giant Tityos; B:
Athletes training
4. Hydria signed by Phintias as painter, from Vulci (London BM E159): Shoulder: men reclining at
symposion. Body: Men at the fountain
5. Phintias, Neck hydria in Munich: Shoulder: Satyrs; Body: komos
Euthymides
1. Amphora Type A from Vulci, (Munich J378): A: Hector arming between Priam and Hecuba; b)
Komasts
2. Amphora Type A from Vulci signed by Euthymides as painter (Munich, J374) : Youth
(Thorykeion) arming between two archers
3. Amphora Type A (Munich J410) A: Theseus abducting Helen; B: Man & two women fleeing
(Korone, Antiopeia)
Smikros
1. Stamnos in Brussels (A717): Symposium
2. Neck amphora in Berlin (signs as painter): satyrs
CUP PAINTERS:
Onesimos:
1. RF cup from Cerveteri in Paris (Louvre G104). Interior: Theseus and Amphitrite; Exterior:
deeds of Theseus (Euphronios as potter; attributed to Onesimos)
2. Cup showing The Sack of Troy in the interior: (formerly in Los Angeles, Malibu). Inscription:
Euphronios epoiesen, drawing attributed to Onesimos
Peithinos:
Cup in B Berlin: Interior: Peleus abducting Thetis; Exterior: Men and women in embrace
2. TECHNIQUE: full potential of R-F – use of relief line, dilute wash/line
3. STYLE:
•
interest in anatomy, depicting human form in challenging poses
• Monumental compositions
4. SHAPES:
 large pots: amphorae Type A, Calyx craters, psykters (wine coolers), pelikai
5. INSCRIPTIONS:
• Pioneers sign their vases as painters and most as potters too
• they acknowledge each other in their works, putting each other’s names on their vases
• Kalos names – Leagros
SUBJECTS:
Myth: Trojan circle, Herakles, Dionysus, Theseus
‘High Life’: the world of the palaestra and the world of the symposium
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 3: Late Archaic: c. 500-470 BC
READING:
Beazley, J.D.,
The Berlin Painter (1932 and 1974).
Beazley, J.D.,
The Kleophrades Painter (1933 and 1974).
Boardman, J.,
Athenian Red Figure Vases: The Archaic Period (1985) –
brief text, very useful images
Buitron-Oliver, D.,
Douris: A Master-painter of Athenian Red-figure Vases
(Mainz 1995)
Cambitoglou, A.,
The Brygos Painter (1968).
Cohen, B.,
The Colors of Clay: Special Techniques in Athenian Vases
(Malibu 2006) -for w-g, relief vases and rhyta
Kunisch, N.,
Makron. Kerameus 10. (Mainz 1997)
Kurtz, D.C.K,
The Berlin Painter (1989).
Mertens, J.,
Attic White Ground-its development on shapes other than
lekythoi (1977).
Murray, O. (ed),
Sympotica: A symposium on the symposion (Oxford 1990) –
useful on all aspects of the symposion
Neer, R.,
Style and Politics in Athenian Vase-Painting: The Craft of
Democracy, 530-460 BC (Cambridge 2002).
Robertson, M.,
The Art of Vase-painting in Classical Athens (Cambridge
1992).
Schefold, K.,
Gods and Heroes in Late Archaic Art (Cambridge 1992)
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
LATE ARCHAIC:
Lecture 3: Late Archaic: c. 500-480/470 BC
General features:
Simplification of technique, except for use of white ground
Growing realisation of how objects in the round can be rendered in linear style
Less attention to minor anatomical details; more interest in pose and composition
Dress: stack of folds with neat zig-zag hems; less angular patterns than in earlier period
Foreshortening of objects and occasionally heads
Subsidiary decoration: nearly all red figure. Maeander bands as borders become frequent.
Shapes: as before; new in popularity: small Nolan amphora; pelikai.
New range of figure scenes
1. KLEOPHRADES PAINTER: (c. 505-475 BC)
 Name from potter Kleophrades (son of Amasis) who signs two cups in Paris, 50 cm wide
(‘parade cups’).
 Technique: Both R-F and BL-FG (Panathenaic amphorae; loutrophoroi)
 Style: Early on: close to Euthymides (shapes, composition, drawing); Typical for: statuesque
figures – interest in full compositions, action scenes. Details: incised hair contours; eyes open
in front, often with pupil painted brown; S-curve for nostrils; often outlined lips
 Shapes: Amphorae Type A (early), craters, amphorae; pelikai, stamnoi, kalpides-hydriae
 Themes: Early: Dionysiac and komos themes; later: genre and athletic. Myths: interest in
Theseus, Herakles; especially Trojan Circle (Iliad).
Some vases:
1. Vivenzio hydria-kalpis (Naples, Archaeological Museum): Sack of Troy
2. Pointed amphora from Vulci in Munich. H: 56 cm. Neck: athletes. Body: Dionysiac scene
3. Calyx crater from Vulci (Paris, Louvre): Return of Hephaistos
4. Stamnos from Vulci in London (BM E441). A: Theseus and Prokroustes. B: Theseus and
Minotaur
5. Amphora of the Panathenaic shape in Boston (MFA): A: youth with wreath. B) youth with
stick, hare and fillets
6. Neck amphora from Vulci in London (BM E270): A: Draped man singing. Inscriptions: HODE
POT EN TYRINTHI; KALOS EI. B: Youth playing pipes; music contest?
2. BERLIN PAINTER: 500-460s
 More than 300 vases attributed to him.
 Shapes: Amphorae (belly: type A & C; neck-amphorae and later: Nolan amphorae and of
Panathenaic shape); volute and bell craters; stamnoi; pelikai; hydriae; lekythoi; oinochoai
 Characteristic maeander border: paired units interrupted by boxed X’s or chequer.
 Style: emphasis on accuracy of drawing and perfection of lines; Lighter figure- carefully
drawn, subtle use of relief line; interest in combining two figures in one contour. Details: dot
rosette nipples; triangles in linear patterns on chests; blond boys; feel in ¾ views from front
and back; dot on circle earrings for women; Dress: from archaic stacked folds to all over
verticals
 Favourite figure scheme: single figures on either side of the vase (even when action
continues); reduction of subsidiary ornament
 Themes: less adventurous than Kleophrades P: genre scenes; Olympians; Nikai; animal
studies
Some vases:
1. Name vase: amphora in Berlin (Antikensammlung): A: Hermes, Satyr and fawn; B: Satyr with
kantharos and lyre
2. Bell crater in Paris (Louvre): Ganymede
3. Belly Amphora, Type C in New York, MMA. A: Kitharode; B: Trainer
4. Volute crater from Cerveteri in London, BM. A: Achilles and Hektor between Athena and
Apollo. B: Achilles and Memnon between Thetis and Eos
5. Volute crater in Karlsruhe: A. Demeter and Triptolemos
6. Stamnos from Vulci in Paris, Louvre: A: infant Herakles and snakes
7. Hydria- kalpis in Oxford Ashmolean Museum: Europa on the bull
8. Neck amphora in Oxford, Ashmolean: A: Sacrifice; B: athletes?
9. Oinochoe in London (BM ): Nike with incense burner and phiale by altar
MYSON:
1. Calyx crater in London BM: A. Struggle for the Delphic tripod. B: Rescue of Aithra
2. Belly amphora in Paris, Louvre: Kroisos on the pyre
3. LATE ARCHAIC CUP PAINTERS:
 More than 50% of the production of red-figure in early 5th c is on cups
 Shapes: Type B and C [eye cups go out of fashion]
 New borders inside the cups: Maeander bands
 Use of white ground, mainly in the interior of the cups, with drawing in the outline technique.
 Themes: Dionysiac, Symposia, genre, erotica, Myth (Theseus, Trojan Circle)
BRYGOS PAINTER: 480s-470s
 Named after potter Brygos who signs about 11 cups. Over 200 vases attributed to Brygos P.
 Shapes: kylikes type B & C; also: skyphoi, head kantharoi, rhyta; lekythoi.
 RF & white-ground.
 Expressive figures . Symposia and athlete scenes with portrayal of everyday gestures.
 Heads: flat tops, high brows, narrow eyes, long nose line; often hairy chests for men; shading
in shields and objects.
 Original myth scenes: Ajax and Tekmessa; Ransom of Hector; Quarrel over armour of
Achilles.
Some Vases:
1. Skyphos in Vienna (Kunsthistorisches Museum): Ransom of Hector
2. R-F cup in the Louvre: Exterior: Sack of Troy. Tondo: Briseis & Phoinix
3. Cup (Type B) in Malibu. ‘Tondo: Tekmessa and Ajax. Exterior B: vote for the weapons of
Achilles; A: Fight over the armour of Achilles
4. W-G Oinochoe in London, BM: Woman spinning
5. Kylix in Munich. Exterior: Dionysos and his Circle. Interior (w-g): Maenad dancing
6. Kylix in Würzburg. Exterior: komos. Tondo: youth vomiting
7. Cup in London (BM E68): Symposium
DOURIS: c. 500-460
 Some 300 vases survive; 39 signed by him as painter; one as potter. Collaborates with potter
Python.
 Kalos names: Chairestratos; Hippodamas
 Shapes: kylikes; an aryballos; lekythoi; psykter; rhyta
 R-F and W-G
 Slim, round-headed figures; transparent drapery; thick black hemlines; interest in back view
of symposiasts;
 Scenes: drinking parties; youths & athletes; warriors; school; studies of women. Myth: some
original scenes (dragon regurgitating Jason)
Some Vases:
1. Kylix in London (BM E49). Exterior: symposium. Tondo: komast
2. Cup in Florence: Exterior : symposion. Tondo : Single symposiast
3. W-G lekythos with outline drawing, Los Angeles, Malibu. Two youths are arming in the
presence of a boy & woman
4. Signed psykter from Caere in London BM: Satyrs
5. Cup in Berlin (Antikensammlungen): school scene
6. Cup from Vulci in London (BM): Tondo: woman in interior space (couch, kalathos (wool
basket) mirror). Exterior: A: men and women interacting. B: Youths and women (hetairai?)
7. Signed cup in Boston (MFA): Eros & youth
8. Kylix (Type C) in Paris (Louvre), signed by Douris as Painter & Kalliades as potter. Tondo: Eos
and Memnon. Exterior: A: Duel of Paris and Menelaos; B: Hektor vs Ajax
9. Cup from Vulci, London (BM): Deeds of Theseus, c. 480 BC
MAKRON: 480s-470s.
 More than 350 vases attributed survive. Works with potter Hieron.
 Skyphoi
 Heavy figures; low brow; detailed decoration; careful rendering of female dress;
 Mostly myth (Trojan circle); genre scenes; Dionysiac; symposium.
1. Skyphos signed by Makron (painter) and Hieron (potter), from “Brygos Tomb” today in
London (BM). A) Triptolemos; B) Gathering of gods
2. Skyphos from tomb at Suessula (signed by Makron and Hieron) in Boston (MFA). A) Paris
leading away Helen from Sparta. B) Menelaos and Helen at Troy
3. RF cup in Berlin, Makron (painter) and Hieron (potter): Exterior: Cult of Dionysos. Tondo:
Dionysos and Satyr
4. RF Cup in Boston, MFA. Tondo: man walking. Exterior: Satyrs and female figure (maenad)
5. Cup in Boston (MFA). Tondo: Man & woman at symposium. Exterior: Men & women
conversing (hetairai?)
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 4: Early Classical – High Classical: c. 480/470 BC-430/420 BC
General reading:
Boardman, J.,
The History of Greek Vases. Potters, Painters and Pictures (London 2001) –
thematic approach
Boardman, J.,
Athenian Red-Figure Vases: The Classical Period (1989)
Carpenter, T.H.,
Art and Myth in Ancient Greece (1991). Good introduction to Greek myths
with many images
Lissarrague, F.
Greek Vases: The Athenians and Their Images (New York 2001)
Robertson, M.,
The Art of Vase-painting in Classical Athens (1992).
Simon, E.,
Griechische Vasen (1981) –good quality illustrations.
FURTHER READING:
Burn, L.,
‘Honey pots. Three White-Group cups by the Sotades Painter’,
Antike Kunst 28 (1985) 93-105
Bothmer, D. von
Amazons in Greek Art (Oxford 1957)
Bundrick, S.D.,
“The Fabric of the City: Imaging Textile Production in Classical
Athens.” Hesperia 77 (2008) 283–334
Castriota, D.,
Myth, Ethos and Actuality: Official Art in Fifth Century BC Athens
(Madison 1992) ch. 2 (Kimonian Athens)
Cohen, B.,
The Colors of Clay: Special Techniques in Athenian Vases (Malibu
2006) - for Sotades and white ground
Felten, K.F.,
Thanatos-und Kleophonmaler: Weissgrundige und rotfigurige
Vasenmalerei der Parthenonzeit (Munich 1971): for images of
vases of the Kleophon and Thanatos Painters.
Kavvadias, G.,
Ho Zografos tou Sabouroff (Athens 2000): for images of vases by
the Sabouroff Painter
Koch-Brinkmann, U.,
Polychrome Bilder auf weissgrundigen Lekythen: Zeugen der
klassischen griechischen Malerei. (Munich 1999): for images of
colour on w-g lekythoi
Kurtz, D.C.K,
Athenian White Lekythoi: Patterns and Painters (1975).
Kousser, R.,
‘The World of Aphrodite in the Late Fifth Century B.C.’ in C.
Marconi (ed.), Greek Vases: Images, Contexts and Controversies.
Columbia Studies in the Classical Tradition, 25 (Leiden 2004) 97112.
Kreilinger, U.
“To Be or Not To Be a Hetaira: Female Nudity in Classical Athens.”
In Images and Gender: Contributions to the Hermeneutics of
Reading Ancient Art, edited by S. Schroer, Orbis Biblicus et
Orientalis 220. (Fribourg and Göttingen: 2006) 229–37.
Lezzi-Hafner, A.
Der Eretria-Maler. (Mainz 1988) – for images of vases by the
Eretria Painter
Mannack, T.
The Late Mannerists in Athenian Vase-Painting (Oxford 2001)
Matheson, S.B.,
Polygnotos and Vase Painting in Classical Athens (University of
Wisconsin Press 1995) – On Polygnotos and vase painting in the
time of the Parthenon.
Mertens, J.,
Attic White Ground-its development on shapes other than lekythoi
(1977).
Neer, R.,
Style and Politics in Athenian Vase-Painting: The Craft of
Democracy, 530-460 BC (Cambridge 2002).
Oakley, J.H.,
The Phiale Painter (Mainz 1990)
Oakley, J.H.,
The Achilles Painter (Mainz 1997).
Oakley, J.H.,
Picturing Death in Classical Athens (Cambridge 2005) – on the
iconography of white ground lekythoi
Shapiro, H.A.,
“Theseus in Kimonian Athens: The Iconography of Empire”,
Mediterranean Historical Review 7 (1992) 29-49 – on Theseus
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 3: Early Classical – High Classical: c. 480/470 BC-430/420 BC
EARLY CLASSICAL (c. 480-450 BC):
Major painting: Polygnotos from Thasos, Mikon from Athens.
Mood: dignified, austere - similar to sculpture (for example: T. of Zeus at Olympia)
Dress: looser, more realistic folds; when stack of folds, not zigzag but grouped in parallel lines.
Peplos more popular than chiton
Anatomy: careful observation of pattern, more impressionistically; eye profile rendered properly with
pupil to the front and longer upper lid.
Attempt at foreshortening and ¾ views are common
Niobid Painter: fine figures; dress and anatomy pattern; monumentality. Epic scenes: Amazons, giants or
centaurs; and pursuits, warrior departures.
 Name vase, calyx crater in Paris (Louvre): influence of wall-painting. (ground lines in white;
modest floral embellishment)
 Some large-figure friezes on single ground line, often encircling the vase: Achilles leaving for
Skyros
 Likes large vases; volute, calyx and bell craters, and some medium-sized such as: pelikai, neckamphorae, hydriai.
 Splits craters in two 2 narrower friezes: calyx crater in London BM: Birth of Pandora, Satyr dances
and Dionysiac themes
Painter of Woolly Satyrs: composition with fluctuating ground lines; cut-off figures and Amazonomachies
with daring postures. Variable ground lines, and texture of figures
 Volute crater in New York (MMA): Centauromachy and Amazonomachy
P. of Bologna 279:
Volute crater from Spina (Ferrara): Above: Herakles and Bousiris; Below: Seven against Thebes
Volute Crater in Basel: Symposion; Amazonomachy
Pan Painter: conservative, probably trained in the workshop of the Berlin Painter. Mannierist:
 Name vase: bell crater in Boston, MFA: Pan chasing a youth; Artemis and Aktaion
 R-F Lekythos, Boston MFA: youth as huntsman
 Column crater, Naples (Archaeological Museum): Sacrifice scene
 Hydria-kalpis, London, BM: Perseus and Medusa
Villa Giulia Painter: Few craters; mostly pelikai, stamnoi, hydriai. Quiet compositions, harmonious.
The reverses: less interesting but more revealing for style of vase painter. Occasionally white-ground.
 Stamnos in Boston: Worship of Dionysos
 White Ground Cup: Libation scene
 Bell crater in London, from Nola: Hermes and infant Dionysos
Sabouroff Painter: cup painter: youths and figures. Mostly lekythoi in white ground
 WG Cup from Vulci in Munich: Hera
Pistoxenos Painter: delicacy and quality. Mostly cups, often in white ground with outline drawing.
Original story telling.
 WG cup from Athens, Acropolis: Death of Orpheus
 WG cup from Locri, Taranto: Maenad and Satyr
 WG cup from Kameiros, in London BM: Aphrodite on the goose
Penthesilea Painter: name vase: influence from Painting (composition fits better on a rectangle; opaque
washes of colour). Often careless style, quite miniature in small vessels.
 Name vase: cup from Vulci in Munich: Achilles and Penthesilea
 RF cup from Spina in Ferrara: Theseus’ deeds (c. 460-50 BC); Dioskouri
 W-G pyxis in New York (MMA): Judgement of Paris
Hermonax: ‘National myth’
 Stamnos in Munich: Birth of Erichthonios
 Pelike in Villa Giulia: Boreas and Orytheia; Erechtheus and Orytheia
Sotades Painter: novelty figure vases with red figure decoration; animal heads; whole figures. fluted
phialai.
Cups with merry-thought handles decorated by Sotades Painter, in white ground with outline drawing
from the so-called Sotades tomb in Athens, bear interesting scenes related. All in London, BM.
CLASSICAL: c. 450-420s BC: ‘Parthenon period’
Idealised style; echoes of the Parthenon-style of rendering dress and anatomy. Effective rendering of
different poses and anatomy; still preference for ¾ faces.
Favourite shapes: bell craters, amphorae, stamnoi
Wide-spread use of white ground for lekythoi.
Iconography: similar to previous generation.
Quiet, dignified mood.
Increase in scenes of Centauromachies and Amazonomachies that often hint at an influence by
the Parthenon.
Newly popular themes: Warrior taking leave; sacrifices and scenes from religious life in Athens
Towards the end of the period: introduction of Personifications and Erotes and added white.
New interest in the Life of women and their role in cult.
Achilles Painter: 460s-430
Trained in Berlin Painter’s workshop (favours Nolan Amphorae with 1-2 figure compositions).
Studies of gods, Nikai, pursuits, warrior taking leave. Quiet style, sombre mood; idealised features.
 Name vase: Amphora from Vulci in the Vatican: Achilles
 Stamnos in London, BM: Warrior taking leave
 WG lekythos from Eretria, Athens, NM: warrior taking leave
 Nolan amphora in London, BM: horseman & woman
Phiale Painter: Similar to Achilles Painter; more narrative. Calyx craters in white ground
 WG calyx crater from Acragas: Perseus and Andromeda
 WG calyx crater from Vulci in the Vatican: Infant Dionysus taken to Sileus by Hermes
Polygnotos and his group:
Large craters, especially bell craters. Amazonomachy scenes. ¾ view poses, occasionally large friezes with
variable ground lines.
 Stamnos in Oxford: Dioskouri
 Stamnos in London, BM: Cult scene
 Stamnos with Centauromachy
 Neck amphora in London, BM: Amazonomachy
Kleophon Painter: large shapes. Formal compositions; quiet scenes
 Volute crater from Spina in Ferrara: Sacrifice procession to Apollo; Return of Hephaistos
 Stamnos from Vulci in Munich: Warrior taking leave

Bell crater in Copenhagen: Chorus at a Maypole (Athenian festival)
Peleus Painter:
 Calyx crater from Spina, Ferrara: Wedding of Peleus and Thetis
 Neck amphora from Vulci, London, BM: Muses
Eretria Painter & Washing Painter interest in women; beginning of ‘Rich style’; Personifications
 Epinetron in Athens, NM from Eretria: Abduction of Thetis by Peleus; Preparation for Wedding;
Alkestis, Harmonia
 Squat lekythos in New York: Prothesis of Patroklos & armour of Achilles; Amazonomachy
 Pyxis in the BM: women’s quarters
Codrus Painter:
Cup in London, BM: Deeds of Theseus
Dinos Painter: new interest in multi-level compositions, love of Dionysiac and narrative groups. Few
central figures. The style begins to show floridity of last quarter of 5th century. Use of added white
 Stamnos in Naples from Nocera: Worship of Dionysos
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 5: White-ground Lekythoi and Late Classical Attic Red-figure
Late 5th-4th century:
Boardman, J.,
The History of Greek Vases. Potters, Painters and Pictures (London 2001) –
Boardman, J.,
Athenian Red-Figure Vases: The Classical Period (1989), ch. 5ff.
Burn, L.,
The Meidias Painter (1988)
Carpenter, T.H.,
Art and Myth in Ancient Greece (1991).
Lissarrague, F.
Greek Vases: The Athenians and Their Images (New York 2001)
Robertson, M.,
The Art of Vase-painting in Classical Athens (1992).
Simon, E.,
Griechische Vasen (1981) –good quality illustrations.
Taplin, O. (ed.),
The Pronomos Vase and its Context (Oxford 2010)
White Ground and funerary iconography/vases:
Beazley, J.D.,
Attic White Lekythoi (1946) [very short and useful introduction on
lekythoi]
Boardman, J
The History of Greek Vases Potters, Painters and Pictures
(London 2001) 226-234: on lekythoi and funerary iconography
Cohen, B.,
The Colors of Clay: Special Techniques in Athenian Vases (Malibu
2006) - for Sotades and white ground
Felten, K.F.,
Thanatos-und Kleophonmaler: Weissgrundige und rotfigurige
Vasenmalerei der Parthenonzeit (Munich 1971): for images of
vases of the Kleophon and Thanatos Painters.
Kavvadias, G.,
Ho Zografos tou Sabouroff (Athens 2000): for images of vases by
the Sabouroff Painter
Koch-Brinkmann, U.,
Polychrome Bilder auf weissgrundigen Lekythen: Zeugen der
klassischen griechischen Malerei. (Munich 1999): for images of
colour on w-g lekythoi
Kousser, R.,
‘The World of Aphrodite in the Late Fifth Century B.C.’ in C.
Marconi (ed.), Greek Vases: Images, Contexts and Controversies.
Columbia Studies in the Classical Tradition, 25 (Leiden 2004) 97112.
Kurtz, D.C.K,
Athenian White Lekythoi: Patterns and Painters (1975).
Kurtz, D.C.K,
‘Vases for the Dead, an Attic Selection: 750-400 BC’ in H. A.G.
Brijder (ed), Ancient Greek and Related Pottery (Amsterdam1984)
314-328 – iconography of funerary vases from Geometric period
onwards
Mertens, J.,
Attic White Ground-its development on shapes other than lekythoi
(1977).
Mösch-Klingele, R.,
Die loutrophóros im Hochzeits- und Begräbnisritual des 5.
Jahrhunderts v. Chr. in Athen (Bern 2006) – doctoral dissertation
on the usage of loutrophoroi – for images
Oakley, J.H.,
The Achilles Painter (Mainz 1997).
Oakley, J.H.,
Picturing Death in Classical Athens (Cambridge 2005) – on
iconography of lekythoi
Sabetai, V.,
‘Marker vase or Burnt Offering?: The Clay Loutrophoros in
Context’, in Shapes and Uses of Greek Vases (2009) 291-306
Shapiro, A.,
‘The Iconography of Mourning in Athenian Art’ American Journal
of Archaeology 95 (1991) 629-256
Sourvinou-Inwood, Ch.,
‘Reading’ Greek Death To the End of the Classical Period
(Oxford 1995): excellent discussion of the terminology and
mentality of grave monuments
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 5: White-ground Lekythoi and Late Classical Attic Red-figure
White-ground lekythoi
Bl-fig: c. 510 onwards
Outline technique: c. 470-400 BC
Contexts:
Athens, Eupheros Tomb & Kerameikos
Vergina/Aigai: ‘Queens Cluster’
Themes:
Mythological
Domestic: mistress and maid, farewell scenes; women with children
Funerary themes:
Prothesis (laying out of the dead)
Visit to the tomb; lamentation
Charon (& Hermes) leading the deceased
Sleep and Death carrying the deceased
People by the tomb monument
Conflation of scenes: Charon & visit to the tomb; battle by the tombside; hunt by the
tomb
Vase Painters:
Achilles P.; Sabouroff P.; Inscription P.; Bosanquet P., Thanatos P., Quadrate P., Women Painter;
Reed P. and Group R; Group of Huge Lekythoi
Late Classical, c. 420-370s : Rich, ornate style
Characteristics: added gold, colour; softness of rendering; luxurious surroundings (artefacts; clothing;
jewellery).
Smaller shapes: pelikai, pyxides, hydriae-kalpides. Also volute and bell craters
Up and down compositions with multi figure scenes on finer vases; figures in registers; more flowing
figures
Less emphatic drawing; sketched anatomy instead of sharply defined; short lines; emphasis on
corporeality; foreshortening; clinging, transparent dress.
Added colour; gilt relief detail;
Increase in image of Erotes.
Vase Painters:
Meidias P.: careful drawing; Rich style.
Hydria, London BM: Rape of Leukippides; below: Herakles and Eusperides
Hydria in Florence: Aphrodite with Adonis
Squat lekythos in the Manner of Meidias P., London (BM):
Aristophanes: scenes of battle; more monumental than Meidias
Cup in Tarquinia: Gigantomachy (interior); Exterior: Artemis, Zeus and Athena attack giants
Aison:
Cup in Madrid: Theseus Cycle
Squat Lekythos in Naples: Amazonomachy (references to Parthenos shield)
Nikias P.:
Bell crater: End of torch race
Oinochoe: Herakles and centaur chariot; comic scene
Calyx crater in Virginia: Birth of Erichthonios
Suessula P.,
Neck amphora in the Louvre: Gigantomachy (dense composition; up and down)
Pronomos P.,
Name vase: Volute crater in Naples from Ruvo: theatrical scene; Dionysos and Ariadne
Pelike found in Tanagra, now in Athens, NM: Gigantomachy (up and down composition)
Calyx crater near the Pronomos P. from Ruvo, in Ruvo: Gigantomachy
Talos Painter:
Name vase: Volute crater from Ruvo, in Ruvo. Death of Talos; Argonauts: variable ground line; effects of
painting
LATER 4th CENTURY:
Deterioration in drawing; mostly Erotes; Amazonomachies; griffins and Arymaspoi; small vases; fish
plates; Added use of colour and relief. Export in the northern Aegean and Black Sea and Iberian Peninsula
Kerch style: more careful.
Xenophantos Painter:
Squat lekythos in the Hermitage: Persians; a hunt. Relief decoration
Marsyas Painter:
Pelike in London, BM: Peleus and Thetis
Lebes Gamikos in the Hermitage: Wedding preparations
Calyx Crater in the Ashmolean from Al Mina: Apollo and Marsyas
Eleusinian Painter:
Pelikai with religious themes.
Apollonia Group:
Hydria in London from Cyrenaica: Adonis festival
Squat lekythos from Apollonia in Thrace, in Berlin: Adonis festival
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 6: LOOKING AT IMAGES: WOMEN ON ATHENIAN VASES
Reading List:
Beazley, J.D.,
Attic White Lekythoi (1946) [very useful introduction on lekythoi and their
iconography]
Berard, C. et al.,
A City of Images: Iconography and Society in Ancient Greece (Princeton
1989)
Blundell, S
Women in Ancient Greece (Harvard, 1995)
Boardman, J.,
The History of Greek Vases. Potters, Painters and Pictures (London 2001)
209 chs. 5-7
Boardman, J.,
Athenian Red Figure Vases: The Archaic Period (1985) – brief text, very
useful images
Boardman, J.,
Athenian Red-Figure Vases: The Classical Period (1989) - same
Bundrick, S.D..
‘The Fabric of the City: Imaging Textile Production in Classical Athens’
Hesperia 77 (2008) 283–334
Davidson, J.,
Courtesans and Fishcakes: The Consuming Passions of Classical Athens
(London 1998) ch. 3: women and boys; ch. 4: hetairai
Ferrari, G
Figures of Speech: Men and Maidens in Ancient Greece (Chicago: 2002).
Kousser, R.,
‘The World of Aphrodite in the Late Fifth Century B.C.’ in C. Marconi (ed.),
Greek Vases: Images, Contexts and Controversies. Columbia Studies in the
Classical Tradition 25 (Leiden 2004) 97-112.
Kreilinger, U.
‘To Be or Not To Be a Hetaira: Female Nudity in Classical Athens’, In S.
Schroer (ed.), Images and Gender: Contributions to the Hermeneutics of
Reading Ancient Art, Orbis Biblicus et Orientalis 220. (Fribourg and
Göttingen 2006) 229–37.
Kurtz, D.C.K,
‘Vases for the Dead, an Attic Selection: 750-400 BC’, in H. A.G. Brijder (ed.),
Ancient Greek and Related Pottery (Amsterdam1984) 314-328 –
iconography of funerary vases from Geometric period onwards
Lewis, S.,
The Athenian Woman: An Iconographic Handbook (London 2002) – most
recent discussion of women on athenian vases
Lissarrague, F.
Greek Vases: The Athenians and Their Images (New York 2001)
Oakley, J.H. and R.H.
Sinos,
The Wedding in Ancient Athens (Wisconsin 1993).
Oakley, J.H.,
Picturing Death in Classical Athens (Cambridge 2005) – on iconography of
lekythoi
Nielsen, I.,
‘The Sanctuary of Artemis Brauronia. Can architecture and iconography
help to locate the settings of the rituals’ in T. Fischer-Hansen and B.
Poulsen (eds), From Artemis to Diana. The Goddess of Man and Beast. Acta
Hyperoborea 12 (Copenhagen 2009) 83-116: on the krateriskoi from the
sanctuary of Artemis in Brauron and their iconography
Reeder, E.,
Pandora, Women in Classical Greece (1995): many different articles on the
lives of women with many good illustrations
Sabetai, V.,
‘Marker vase or Burnt Offering?: The Clay Loutrophoros in Context’, in A.
Tsingarida (ed.), Shapes and Uses of Greek Vases (Brussels 2009) 291-306
Sabetai, V.,
‘Aspects of nuptial and genre iconography in Fifth Century Athens: Issues
of Interpretation and Iconography’, in J. H. Oakley, W. D. E. Coulson, O.
Palagia (eds.), Athenian Potters and Painters (Oxford 1997) 319-335.
Sabetai, V.,
‘Women and the Cycle of Life’, in N. Kaltsas and A. Shapiro (eds),
Worshiping Women: Ritual and Reality in Classical Athens, New York:
Alexander Onassis Public Benefit Foundation (USA) (2008) 286-297.
Sabetai, V.,
‘The Poetics of Maidenhood: Visual Constructs of Womanhood in VasePainting’ in S. Schmidt, J. H. Oakley (eds.), Hermeneutik der Bilder. Beiträge
zur Ikonographie und Interpretation griechischer Vasenmalerei, CVA
Deutschland Beiheft 4 (Munich 2009) 103-114
Shapiro, A.,
‘The Iconography of Mourning in Athenian Art’ American Journal of
Archaeology 95 (1991) 629-256
Stewart, A.F.,
Art, Desire and the Body in Ancient Greece (Cambridge 1997) ch. 8.1: on
erotica – sex scenes.
Sutton, Jr., R.F.
‘Family Portraits: Recognizing the "Oikos" on Attic Red-Figure Pottery’,
Hesperia Supplements, Vol. 33, ΧΑΡΙΣ: Essays in Honor of Sara A.
Immerwahr (2004), 327-350
Williams, D.,
‘Women on Athenian Vases: Problems of Interpretation’, in A. Cameron
and A. Kuhrt (eds.), Images of Women in Antiquity (Detroit: Wayne State
University Press 1983) 93-106
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 7: SOUTH ITALIAN RED FIGURE: An Introduction
Reading:
Boardman, J.,
The History of Greek Vases. Potters, Painters and Pictures
(London 2001) 109-122
Carter, J.C. et.al.,
The Chora of Metaponto : The Necropoleis (University of Texas
Press, Austin, 1998) – the publication of the cemeteries with
pottery in context.
‘Prolegomenon to the Study of Apulian Red-Figure Pottery’,
American Journal of Archaeology 113 (2009) 27-38 (JSTOR)
Carpenter, T.H.,
D’Andria, F.,
‘Scavi nella zona del Kerameikos’, in Metaponto I, Notizie degli
Scavi di Antichità, Suppl. XXIX, 1975 (Rome 1980) 355-452
Denoyelle, M., & M
Lozzo,
La céramique grecque d'Italie méridionale et de Sicile: productions
coloniales et apparentées du VIIIe au IIIe siècle av. J.-C. Manuels
d'Art et d'Archéologie antiques (Paris: Picard, 2009): the most upto-date discussion. Although in French it has many photographs
and maps. Useful for all.
Denoyelle, M.,
‘L'approche stylistique, bilan et perspectives’, in M. Denoyelle, E.
Lippolis, M.Mazzei, C. Pouzadoux (eds), La céramique apulienne
Bilan et perspectives, Actes de la table ronde organisée par l'Ecole
française de Rome en collaboration avec la Soprintendenza per i
Beni archeologici della Puglia et le Centre Jean Bérard de Naples,
30 novembre-2 décembre 2000, Collection du Centre Jean Bérard,
21 (Naples 2005), 103-112.
‘La céramique proto-apulienne de Tarente : problèmes et
perspectives d’une recontextualisation’, in M. Denoyelle, E.
Lippolis, M.Mazzei, C. Pouzadoux (eds), La céramique apulienne
Bilan et perspectives, Actes de la table ronde organisée par l'Ecole
française de Rome en collaboration avec la Soprintendenza per i
Beni archeologici della Puglia et le Centre Jean Bérard de Naples,
30 novembre-2 décembre 2000, Collection du Centre Jean Bérard,
21 (Naples 2005), p. 125-142 – on pottery workshops in Taras
‘Representation and Reception: Athenian Pottery and Its Italian
Context’, in J.B. Wilkens and E. Herring (eds.), Inhabiting Symbols:
Symbol and Image in the Ancient Mediterranean, (London 2003)
175–92
I Greci in Occidente. Arte e artigianato in Magna Grecia, catalogo
della mostra, Taranto 1996 (Naples 1996) – exhibition catalogue
Fontannaz, D.,
Lewis, S.
Lippolis, E. (ed.),
Mayo, M.E.,
The Art of South Italy: Vases from Magna Graecia (1982).
Montanaro, A.,
Ruvo di Puglia e il suo territorio: Le necropoli. I corredi funerari tra
la documentazione del XIX secolo e gli scavi moderni (Rome 2007):
for a presentation of S. Italian vases in context.
Trendall, A.D.,
The Red-figured Vases of Lucania, Campania and Sicily, (Oxford
1967) –connoisseurship
Trendall, A.D.,
Red-figure Vases of South Italy and Sicily (1989)
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 7: SOUTH ITALIAN RED FIGURE: An Introduction
Major Centres: Metapontion; Lucania; Apulia (Tarentum, Ruvo); Paestum; Campania; Sicily
I. EARLY ‘LUCANIAN’ – Metapontine, c. 440/430 – 380/370 BC
Discoveries in the ‘Potters’ quarter at Metapontion demonstrated that the city was a major centre for
early Red figure production in Italy. The Pisticci P., Amykos P., Cyclops P., Dolon P. and Kreousa P., were
active in the workshops discovered in the city.
As M. Denoyelle has shown, “The Amykos Painter’s workshop in Metaponto with its productivity, its
technical quality, its adaptability, its large diffusion and the number of painters that have been trained
there, may well have been one of the main points from where red-figure spread”.
c. 380/370 – Abandonment of Metapontion workshops; artisans move closer to clients in the Lucanian
hinterland, inhabited by Italic peoples
Characteristics: Atticizing style; often Polykleitan postures for athletes; ¾ views
Shapes: bell craters, medium-sized shapes (pelikai, amphorai, oinochoai), and some local ones:
nestorides.
Themes: genre: athletes, pursuits; warriors. Satyrs and Dionysiac themes; pursuit scenes. Often simple
take on popular Attic scenes.
Deities: generic, except for Eros and Dionysos and his thiasos.
Some original myths, perhaps indicating influence of drama and epic in large vessels. Some themes seem
related to Euripides (Cyclops, Suicide of Kanake, Andromeda) and later Aeschylus’ Oresteia. Warriors in
local dress/armour appear in nestorides.
Painters:
Pisticci P.: among earliest vase painters in Italy. Imitates Attic vase painters of 460-430 BC: pursuit scenes;
satyrs; genre (warrior and woman; athletes, etc); Reverse: mantled youths. Favourite shapes: bell craters;
pelikai; oinochoai; hydriai; jugs. Very atticizing.
 Bell crater in the BM: Eos Pursuing Kephalos
 Bell crater in New York: satyrs by herm; youths
Painter of Cyclops: c. 430-415? BC ; mostly bell craters. Polycleitan postures (contraposto) for his
youths/men.

Calyx crater in London, BM, c. 420 BC: Odysseus and his companions in Cyclops’ cave; with satyrs.
Inspired by satyr play?
Amykos Painter: c. 430-410. Among the most productive (c. 250 vases attributed to him). Wide diffusion
in Calabria, Sicily; Daunia; Campania, Etruria.
Style: Rounded faces; supple bodies; ¾ views; foreshortening; elaborate language in myths. Likes athletes
(again adapts Polycleitan poses, with exaggerated contrapposto); pursuit and departure scenes.
Shapes: craters; medium size vases: hydriai, amphorai, choes, skyphoi; nestorides.
Themes: silens; genre scenes: athletes with draped women (women can hold strigils), youths, warriors
 Name vase: Hydria in Paris, Cabinet des Medailles: satyrs and Maenads; Argonauts and Amykos
captive on a rock.

Hydria from Canosa in Bari: Suicide of Kanake (Euripides’ Aiolos)

Calyx crater in New York, MMA: Fight scene (local armour); mantled youths
Palermo Painter: c. 410-400. Rare themes; inscribed pillars; Some were found in the cemeteries of Taras.

Skyphos in New York, MMA: Marsyas and gods; Athena
Karneia volute crater, from Bari in Taranto, Archaeological Museum: Two hands identified: side A: a
Metapontine, close to Amykos P; side B by a painter closer to Tarentine workshops: A) Dionysos on a rock
and his thiasos; B) in two registers: Perseus takes the head of Medusa, in front of Satyrs preparing to
dance in honour of Apollo Karneios, by youths who wear a hat in form of kalathos. Festival of Apollo
Karneios celebrated in Taras, Thurii, Herakleia.
Workshop of Dolon Painter and Kreousa: identified in Metapontion installations (from c. 400 onwards):
Dolon Painter: influenced by Amykos P in style and posture of figures; animated Dionysiac myth. Original
treatment of myth, from Epic poetry, tragic and comic theatre; funerary sculpture. . Shapes: pelikai,
nestorides, skyphoi; calyx craters.

Calyx crater from Pisticci, in London, BM: Capture of Dolon by Ulysses and Diomedes. Iliad bk. 10.
Style: fluid design; relaxed poses; expressive faces. .
II. EARLY APULIAN: BEGINNING OF RF IN TARAS, c. 440-370 BC
Context of production: Puglia; and some sites immediately outside Taras (Gravina). In the necropoleis of
Taras: two zones of workshop installations; not as concentrated as at Metapontion; more dispersed.
Strong Athenian influence. In the waste pits of the workshops: pottery fragments of Christie Painter and
of Peleus Painter, of years 450-440: used by the potters to study and imitate the technique and style of
Athenian imports.
The early pottery: joint presence with Metapontine in indigenous contexts (Rutigliano); therefore both
are roughly contemporary. Vases are strongly atticizing (calyx craters, amphorae); influence of
Polygnotos. See emphasis on writing names, carefully, on the vases. The letters: on Dorian dialect.
Two trends (Trendall):
a) Ornate style: influenced by the work of major vase painters of the end the of 5th century (Cadmus
Painter, Pronomos P., Talos P.), mostly volute craters in large size; complex scenes with many persons,
vegetal ornamentation; ¾ view faces; rendering of volume and colour.
Appears with Sisyphos P. and culminates with Dareios P. Complex mythological scenes, and naiskosthemed iconography. Mostly in indigenous necropoleis: Ceglie, Ruvo, Rutigliano.
Sisyphos P. (c. 430-400): limpidity of style; solemnity of atmosphere (recalls Codrus Painter). Bell craters;
volute craters. The style recalls architectural sculpture of late 5th c, Parthenon (models of Pheidias)
Gravina P: Beginning of ‘Ornate’ Style; Tomb in Gravina-Botromagno found in 1974: Attic vases (Eretria P,
Achilles P.) together with three vases by Gravina P.. The iconography of the group was rich, related to
funerary and mythological imagery (Rape of Leukippids, Sthenebeia) stresses the theme of female
passage.

Volute crater, Gravina: Amorous couple.

Stamnos, Boston, MFA: Abandonment of Ariadne on Naxos; B: Bellerophon, Pegasos, Proitos,
Sthenonoboea
P. of the Birth of Dionysos:

Volute crater in Taranto, Archaeological Museum: Birth of Dionysos among deities: elaboration of
formulas, beginning of Ornate style. Imitates Cadmus P. (see Ruvo)

Fragmentary calyx crater: Amsterdam, Allard Pierson Museum: gathering of gods; Temple with
cult statue of Apollo: perspective, realistic rendering of volume; added colours
Group of Black Furies: Volute crater from Ruvo in Naples: Orestes and the Furies; Dionysos, Eros and
Papposilenos
a) Plain Style: c. 390-370 BC; Not so influenced by Attic vase painters; indigenous clientele. Shapes: bell
craters, column craters, medium size vases (hydriai, pelikai). Themes: Dionysiac, indigenous warriors,
funerary themes on stelai; phlyakes vases. Many in Tarentine necropoleis
Tarporley Painter: 1st half of 5th c; isocephalic compositions of 2-3 persons. Dionysiac themes (banquets,
cortege, thiasos); theatrical (phlyakes, actors in costume) and mystery (youths with thyrsoi). Ritual aspect
perhaps linked to eschatological beliefs.

Bell crater, New York, MMA: Dionysos with a mask in hand, & youthful Pan in front of an altar.
Eumenides Group: Paris, Louvre: Orestes’ purification by Apollo in the presence of sleeping Furies,
III. MATURE APULIAN RED FIGURE 370-300 BC: ORNATE STYLE
Expansion of exports towards Daunia; and even further away.
Technique: much added colour: white, yellow, red, gilding. Elaborate large vessels with relief appliques
(esp. on volute craters). Large vessels often with open bottoms
Shapes: craters (esp. volutes, often of very large size, with open bases); loutrophoroi; amphorai; pelikai;
fish plates; nestorides
Style: Complex compositions with figures in various registers; statuesque figures; interest in depiction of
architecture (perspective rendering of naiskoi). On the necks of vessels filled with floral motifs (elaborate
scrolls, volutes, palmettes) and female heads.
Major painters: Ilioupersis P., Darius Painter; Underworld P, Baltimore P.: Able to render human and
animal action; delineation of mood, emotion. Rendering of composition often recalls advances of major
painting. Ample use of inscriptions
Themes: genre; Dionysiac; female heads in profile; Rare myths often betraying influence of drama, esp. by
Euripides; Costume and comedy of interest, esp. in Phlyax vases.
Naiskos scenes: figures organised in registers around a naiskos painted white, inside which is a figure
(male or female). Question on the status of the deceased (heroized?) and the type of funerary
monument meant to evoke (compare to Tarentine reliefs and funerary monument but these vases are
found in non-Greek contexts). Although the motif can be associated with loutrophoroi and hydriai, it does
not appear in other types of craters.
Workshop of Ilioupersis P: Sobriety of representation of human form (in tradition of Plain style)
combined with ornate style: volute craters with relief figures or faces on the handles; on the neck: griffins
or lions; rarely female heads in ¾ view among acanthus leaves.
 Volute crater in London, BM F283: neck: animals. A: Naiskos scene; B: gathering around a stele.
Lykourgos P., 360-340 BC: emphatic style; see many faces in ¾ views, gestures of persons. Very rich
iconographic repertoire; some references to theatre and epic; Also naiskos scenes; in some pelikai:
recognition of a couple on a couch. Diffusion in Ruvo.
 Calyx crater, London BM F271: Madness of Lykourgos
 Volute crater in Karlsruhe: The Underworld
Varrese P., 350-330 BC: column and volute craters; bell craters; colours: orange & purple
 Pseudo-panathenaic amphora from the hypogaeum Varrese in Canosa, Taranto Archaeological
Museum: Niobe after the death of her children
 Pseudo-panathenaic amphora from Ruvo, in London BM: Meeting of Pelops and Oinomaos at the
altar of Zeus; B: female figure and youth; lower row: offerings at a tomb
P. of Louvre MNB 1148: Loutrophoros at the Getty: Niobe; the Tantalides: delicate handles; elaboration of
shape. Niobe between two loutrophoroi in naiskos; lower part of chiton white; Around naiskos: Pelops
and Hippodameia.
Darius P. 340-320 BC: Myths: funerary iconography (naiskos scenes, representation of the Underworld);
myths that play with destiny (Hippolytos, Phrixos), heroic destiy: Achilles; punishment of crimes: Niobe,
Myrtilos, Aktaion, Ixion, liberation from death: Alcestis, Andromeda. Tomb at Canosa with many of his
vases.
 Name vase from Canosa, Naples: volute crater Naples: Persian king in court in Persepolis; upper
register: Greek gods, Victory, Deceit
 Volute crater from Canosa, Naples: funeral of Patroklos
 Loutrophoros from Canosa, Naples: with Andromeda
Underworld Painter, 330-310 BC: Some rare themes: Melanippe story; Dioskouroi against Apharides. Very
elaborate scenes, extreme detail; underworld scene. Monumental vases of various shapes, many found in
Canosa
Volute crater from Canosa in Munich: the Underworld
Volute crater from Canosa in Munich: Medea’s revenge on Kreousa and Jason
Baltimore Painter: 330-310 BC. Last quarter of 4th c. Problem of localization of workshops: in
Peucetia/Canosa? Monumental vases in the tradition of Underworld P.; large typology of shapes;
Iconography: Naiskos scenes; Pelops and Hippodameia; Bellerophon; Andromeda; Amazonomachies.
Niobe; Rape of Persephone
 Volute crater in London, BM: The Hamilton vase
IV. CAMPANIA & PAESTUM
Problem of localization of production: diffusion at certain sites of vases that are ‘precursors’ of Siceliot
production. Many found at Lipari.
PAESTUM
Asteas: about half the production found in necropolis of Andriuolo and Arcioni. Many vases at Lipari.
Calyx craters; medium size amphorae; Mannierism; love of colour. Dionysos; Phlyax vases. Decorative
style; use of colour; perspective;
 Calyx crater in Madrid: Madness of Herakles
 Calyx crater in Berlin, Antikensammlung: Phlyax scene
 Calyx crater, formerly Getty: Europa on the bull
Python: c. 370-350 BC. Signs vases; bell craters; finds from Andriuolo in Paestum (birth of Helen from
Nemesis egg);
 Bell crater, London BM: Alkmene on the pyre
 Neck amphora from Andriuolo necropolis, Paestum: Birth of Helen
 Bell crater, London BM: Orestes and the Furies
CAMPANIA
Heterogeneous production; influence of Italic culture; Cumae workshops: 350-330 BC: neck amphorae;
bell craters; Bail amphora (Situla amphora). Local flavor (costumes; scenes).
Ixion P., 360-340: likes colour; models work along Kerch style. Likes faces in ¾ view or frontal; postures
demonstrating pathos; colour
 Neck amphora, in Berlin: Ixion and Furies
 Neck amphora in Paris, Louvre: Medea murders her children – inspired by Euripides?
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 8: Myth and Theatre on Greek vases
Reading:
Bieber, M.,
History of the Greek Theater (1961).
Boardman, J.,
The History of Greek Vases. Potters, Painters and Pictures
(London 2001)
Carpenter, T.H.,
Art and Myth in Ancient Greece (1991).
Csapo, E. and Slater,
W.J. ,
The Context of Ancient Drama (Michigan 1994), 53-88 – one of the
most balanced discussions of the subject
Csapo, E.,
Actors and Icons of the Ancient Theater (Chichester/Malden, MA
2010) – chs 1-2 (on chorus and actors in Attic and South Italian
pots)
Denoyelle, M., & M
Lozzo,
La céramique grecque d'Italie méridionale et de Sicile: productions
coloniales et apparentées du VIIIe au IIIe siècle av. J.-C. Manuels
d'Art et d'Archéologie antiques (Paris: 2009)
Giuliani, L.
'Rhesus between dream and death: On the relation of image to
literature in Apulian vase-painting', BICS 41 (1996), 71-86
Giuliani, L.
'Sleeping Furies: Allegory, Narration and the Impact of Texts in
Apulian Vase-Painting', Scripta Israelica 20 (2001), 17-38
Green, J.R.
'On seeing and depicting the theatre in classical Athens', Greek,
Roman, and Byzantine Studies 32 (1991), 15-50, on Athenian vase
painting
Hart, J.L. (ed.),
The Art of the Ancient Greek Theater (Malibu, Los Angeles 2010) –
various articles by specialists on theatre and its representation to
accompany an exhibition.
Lippolis, E. (ed.),
I Greci in Occidente. Arte e artigianato in Magna Grecia, catalogo
della mostra, Taranto 1996 (Napoli,1996) – exhibition catalogue
Mayo, M.E.,
The Art of South Italy: Vases from Magna Graecia (1982).
Shapiro, H. A.,
Myth into Art. Poet and Painter in Classical Greece (London 1994)
chapter 4.
Taplin, O.
Comic Angels and other Approaches to Greek Drama through Vase
Paintings (Oxford 1993), on South Italian vase painting
Taplin. O.,
Pots and Plays: Interactions Between Tragedy and Greek VasePainting of the Fourth Century B.C. (Los Angeles 2007)
Trendall, A. D.,
‘Farce and Tragedy in South Italian Vase-Painting’ in T. Rasmussen
and N. Spivey (eds.), Looking at Greek Vases (Cambridge 1991) 151182.
Trendall, A.D. and
Webster, T.B.L.,
Illustrations of Greek Drama (1971). Tends to see theatrical
inspiration for most mythological scenes. Very well illustrated
Trendall, A.D.,
Red-figure Vases of South Italy and Sicily (1989)
GREEK VASES, 800-300 BC, PART: II (c. 530-300 BC).
Lecture 8: Myth and Theatre on Greek vases
ATTIC VASE PAINTING:
Komos vases – Dionysiac: c. 560-480 BC: choruses of men costumed as animals, or costumed men riding
animas, often with piper.
Dolphin dancers
Tragic chorus:
Attic RF column crater in Mannierist Style, c. 490 BC: Basel: three ranks and 2 files of men dancing in
formation in front of an altar (note: diadems; dance; OS from their mouths)
Attic RF crater fragment from Olbia, c. 430-420, Kiev: piper, boy assistant and two masked choreuts.
Comic chorus:
Attic RF calyx crater, formerly Malibu, c. 425 BC: two dancers dressed as fighting cocks and piper
Attic RF pelike, c. 425 BC, Atlanta, Emory Museum: Dancers dressed as fighting cocks.
Choregic art:
The Pronomos crater: from Ruvo, in Naples, c. 400 BC: A: Cast of satyr play celebrating victory. B:
Dionysos and his thiasos.
Comedy & actors:
RF chous of the P. of the Perseus dance, formerly Vlastos Collection: Athens, NM: c. 420: stage & actor
dressed as Perseus; audience below
RF chous by the Nikias P., in Paris, Louvre, c. 410 BC: Victory and Herakles in a chariot led by centaurs &
actor
Fragmentary polychrome oinochoe, Athens, Agora excavations, c. 410: two padded actors labeled –
onysos and –Phor-
SOUTH ITALIAN:

Hydria attributed to the Amykos Painter, from Canosa in Bari: Suicide of Kanake (Euripides’ Aiolos)
Dolon Painter: influenced by Amykos P in style and posture of figures; animated Dionysiac myth. Original
treatment of myth, from Epic poetry, tragic and comic theatre; funerary sculpture. Shapes: pelikai,
nestorides, skyphoi; calyx craters.

Calyx crater from Pisticci, in London, BM: Capture of Dolon by Ulysses and Diomedes. Iliad bk. 10.
Style: fluid design; relaxed poses; expressive faces.

Stamnos, Boston, MFA, Sisyphos P.: Abandonment of Ariadne on Naxos; B: Bellerophon, Pegasos,
Proitos, Sthenonoboea
Group of Black Furies: Volute crater from Ruvo in Naples, c. 380: Orestes and the Furies; Dionysos, Eros
and Papposilenos

Bell crater by the Tarporley P., New York, MMA: Dionysos with a mask in hand, & youthful Pan in
front of an altar.
Eumenides Group, c. 380 BC: Paris, Louvre: Orestes’ purification by Apollo in the presence of sleeping
Furies,

Calyx crater by the Lykourgos P., London BM F271: Madness of Lykourgos
P. of Louvre MNB 1148: Loutrophoros at the Getty: Niobe; the Tantalides
Darius P. 340-320 BC: Name vase from Canosa, Naples: volute crater Naples: Persian king in court in
Persepolis; upper register: Greek gods, Victory, Deceit
 Volute crater from Canosa, Naples: funeral of Patroklos
 Loutrophoros from Canosa, Naples: with Andromeda
Underworld Painter, 330-310 BC: Melanippe story;
Volute crater from Canosa in Munich: Medea’s revenge on Kreousa and Jason
Baltimore Painter: 330-310 BC.
Pelops and Hippodameia; Bellerophon; Andromeda; Amazonomachies. Niobe; Rape of Persephone
 Volute crater in London, BM: The Hamilton vase
Asteas:
 Calyx crater in Madrid: Madness of Herakles
 Calyx crater in Berlin, Antikensammlung: Phlyax scene
 Calyx crater, formerly Getty: Europa on the bull
Python: c. 370-350 BC. Bell crater, London BM: Alcmene on the pyre
 Neck amphora from Andriuolo necropolis, Paestum: Birth of Helen
 Bell crater, London BM: Orestes and the Furies
Ixion P., 360-340: likes colour; models work along Kerch style. Likes faces in ¾ view or frontal; postures
demonstrating pathos; colour
 Neck amphora, in Berlin: Ixion and Furies
 Neck amphora in Paris, Louvre: Medea murders her children – inspired by Euripides?