Cup Tondo, Woman Bathing, From Chiusi. 490-480 BC. Attic RF. Funerary/Utilitarian. Onesimos

• Stop Meander, preliminary sketch line around body

• basin with metal handles, bathing?

• short cut hair suggests she is a youth, or maybe a slave

Symposiast and Hetaira, Onesimos, Kylix, from Vulci. 480 BC

• depiction of age - the man is older with receding hairline and diminishing muscles

• young girl is taking off her belt. Her garment is shown as very light and fine

• struggle with breasts

Theseus Visiting the Bottom of the Sea and In the palace of Poseidon, 500-490, Cup Tondo.

• Amphitrite crowns Theseus,

• Athena watches, wearing symbols: the gorgon’s head on chest and holding a owl n her right hand

• dophins and a man with fish tail on the bottom suggest the figures are in water

• the slightly tilted nose is a symbol of Onesimos

Ajax and Kassandra, Night of Fall of Troy, Onesimos, 480 BC, Cup Tondo

• compare and contrast with the Kleophrades’ Kassandra

• the tondo shows Neopotolemos beating King Priam with his dead grandson

• depiction of the King’s old age with baldness and large beard

• Getty started acquiring fragments of the cup in the 1980s, but it was still not complete when published in 1991. The investigation finally resulted in the conviction of Italian dealer Giacomo Medici for illegally exporting stolen antiquities.

Satyr and Nymph. Kylix. 500-490. Onesimos

• wineskin shows they are drinking without cups - uncivilized behavior

• nymph shown sleeping with closed eyes and arm raised over head

Phoenix and briseis, 490 BC, Brygos Painter

Symposium with Heiteria. 490-480 BC. Brygos Painter, Cup Tondo.

• familiar items of symposium: aoloi, walking stick, large drinking cups,

• the female figure is very childlike. Beazley:”One of the first, one of the only, real children in vase painting.”

Reveler and Companion, 490 BC, Brygos Painter.

• abduction gesture of the man grasping the girl’s wrist

• large garments and ribbons - fancy dress

Maenad, Brygos Painter, white ground, 490-480 BC

• animal skin and the snake on her head

• sophisticated use of dilute glaze on garments and hair

Eos and Memnon, Douris, Cup tondo. 485 BC

• mother and son at the battlefield, Trojan war theme. “Pieta of Memnon”

• a debt to Euphronios - sligtly opened eyes and eyelashes

Revelling Satyrs, Psykter, Douris. 490 BC

Pentheus Wripped Apart by Maenads. Douris. 490 BC

• the sotry of Bacchae

• a warning to the followers of Dionysus

Boys at School, Douris. 500-490 BC. Kylix

• “academic” style

• shows music education in class and a scene of teaching letters and lyre playing

Thetis Raped by Peleus. Douris. Tondo. 490 BC From Vulci

the treatment of hair and drapery, focus on details, shows the tradition of the Pioneers

Makron, 480 BC. Man pouring Libation. Interior of a cup. found in Vulci

• interesting space - sanctuary or bedroom or symposium?

• strokes of blood on the sofa may suggest the sacrifice of animals

Maenad and Satyr. Kylix. Makron. 490-480 BC

• Makron’s love for woman’s fancy dress and animal skins

• individual strands of hair with added dilute glaze to show blondness

• extremely transparent dress rendered with dilute glaze

• the explicit showing of private parts indicates sexuality as the central theme

Symposiast, Makron, 490-80, kylix.

Abduction of Helen. Skyphos. Makron. 490-480 BC

• Side A: Atheneas, Paris, Eros, Helen and Aphrodite

• B: Helen’s reunion with Menelaus at Tory: he attacks, she flees

• the start of Trojan War

Achilles and Hektor. Makron. 490-480 BC.

• Makron does not paint much myth, here is a rare example

• achilles lying on a kline with the body of Hektor below

• combining myth subject with symposium decorations

Pistoxenos Painter. 460 BC. Apollo . Cup Tondo. Attic White-Ground Kylix.

• Apollo wearing a wreath, seating on a lion-pawed diphros

• holds a kithara and pouring libation

• a black bird facing him.

The Pistoxenos Painter. 470-460 BC. Attic white ground. Aphrodite. Kylix tondo

• Aphrodite rides on the back of a goose, holding a plant in her hand and wears a head scarf

Hera. Sarbouroff Painter. Tondo. 470 BC. from Vulci

Villa Giulia Painter. Classical white ground. 470 BC

• a priestess in ritual

The Sotades Painter. 460-450. White Ground cup. Found in Athens

• story of Glaukos and Polyeidos, an old creten myth

• Polyeidos was shut in the tomb with Glauko’s body, and revived it with a leaf

• technique of compression - depicting several stages of the event in a single scene

Sotades Astragalos, 460 BC

• Sotades specialized in the production of vases that are moulded into shapes

Pyxis (box). Penthesilea Painter. 465-460 BC Attic white ground.

• Zeus is holding a banquet celebrating the marriage of the sea nymph Thetis to Peleus

• an uninvited goddess crashed the celebration and threw a golden apple of discord out of anger

• Three goddesses asked Paris to judge who is the fairest

Lekythos, Painter of Bosanquet, 470-460 BC.

• In the middle of the fifth cen., white ground was commonly used for lekythoi.

• time and space have no reality in the white-ground lekythoi, all is confused in an other-worldly unity

• in front of the funerary stele, the tall base of which consists of six steps, stands a young spearman wearing a chlamys. Lekythoi and Garlands, brought by family members as gifts, are placed on the steps. The mound itself is visible behind the stele. The young man is actually dead.

• Reverse: a woman bringing gifts up to the tomb

Lekythos, Achilles Painter. 440-430 BC

• A seated woman’s profile, depicted with economy of line with beauty and confidence

Achilles Painter. 440 BC

• Two youths flank a funerary monument embellished

• no suggestion as to whether the figures are dead or alive

• the youth on the right identified as deceased by the little sout above his head

Phiale Painter. Funerary. Hermes and a women. 450 BC.

• Hermes sits on the rocky shores of the river, wearing a travelling hat and cloak and bare footed.

• A woman wears a heavy mantle is adjusting a crown on her head, standing on the shore already enveloped by the rocks. She is possibly going to be sacrificed to the god of river

• Phiale Painter took the Achilles Painter’s tradition into the second half of the 5th cen.

Hypnos and Thanatos carrying the Body of Sarpedon. Attic white ground. Lekythos. 449 BC. Thanatos Painter

• can identify the two gods because of their wings

• three-quarter face of Sarpedon

Native Schools of Anatolian Wall Painting, Fresco. Turkey. 480 BC. Archaic

• frieze painted in Graeco-Persian style

• shows the deceased , bearded and reclining on his couch, attended by his wife and servants.

• drawing is expert and of greek inspiration

• balancing a phiale on his left hand, anticipating the beverage

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Tomb of Hunting and Fishing, Funerary. 6 cen BC. Archaic, Tarquinia, Etruria

• sparrows - reference to the Thera painting

• an outdoor scene. Joyful fishing scene

Tomb of the Diver, Funerary, 470 BC. Classical, in Greek city of Poseidonia

• Plaster applied to limestone slabs, after which a stylus used to incise the design. Then a thin red line was added to render the image. Black outline used substantially for both silhouetting and anatomical detail

• images of divers are almost completely unkown in Greek Art. Diver scene has been interpreted in many ways - death and diving were connected, it is suggested that the dive is meant to depict the moment of death

Tomb of the Diver: Symposium Scene. 470 BC. Classical, in Greek city of Poseidonia. Funerary. Wall Painting

Necropolis of Monterozzi near Tarquinia, Italy, Funerary. Archaic, 540-520 BC.

Hermes and Baby Dionysus. Phiale Painter. White ground Calyx crater. Classical 440-420 BC.

• Baby Dionysus taking cared of by satyrs and manead

• landscape of rocks

• slight recession into space

• Influence by wall painting

Name Vase of Niobid Painter. Calyx Crater. Red figure with variable ground lines and Landscape elements. 460 BC. Early Classical

• trying to show the of depth space by varying the ground line. The woman is shown close to the viewers than Artemis and Apollo

• Landscape features hills, painted in white, and trees in red-figure. Partially hidden figures and three-quartered and frontal faces, painted not long after the wall painter Polygnotos.

• Side A: Athena and Herakles. Side B: Apollo and Artemis

• The Niobid Painter was influenced by Polygnotos of Thasos, and may also have used artistic elements he saw in frescoes painted by Micon of Athens

Artemis and Apollo. Niobid Painter. 460 BC. Calyx Krater

• influenced by Classical wall painting

Theseus leading Helen. Stamnos, Vase Painter Polygnotos. 430-420 BC, Classical RF

• Theseus leading Helen to a chariot arranged by Peirithoos. Phoibe (helen’s sister) watches on. Names inscribed

• man and woman - resemble the hunter and hunted - the status of man in Ancient Greek

• the painter takes his name from Polygnotos the Wall Painter

Achilles Kills Memnon. Polygnotos. 450 BC. Classical. Stamnos. Classical RF

• Eos standing behind Memnon, was is dying under the spears of Achilles

• Polygnotos is considered one of the most important vase painters of the RF style of High-Classical Period. He received training in the workshop of the Niobid Painter and specialized in monumental vases, as in the manner of Polygnotos of Thasos. He was the leading vase painter of the Polygnotos Group

Name Vase of Painter of Woolly Satyrs. Classical RF. 450 BC. Volute-Krater

• under influence of wall painter Polygnotos and Mikon

• shows amazon women soldier as in painted Stoa at Athens by Mikon

• ground lines

• on neck: Centauromachy

• on shoulder: Actaeon’s death in the middle; Artemis drives a chariot in the left. The scene is probably based on Aeschylus’ play.

Alexander defeating Persian King Darius III. Mosaic, Domestic. Hose of the Fawn. Pompeii. Before 79 AD, possibly around 100 BC, based on painting from 310 BC by Apelles of Kos or Philoxenos of Eretria. Battle of Issus.

• painterlyness - light and shade on Alexander’s face

• Apelles of Kos was rated by Pliny the Elder as contributed a number of innovations to the art of painting. He also wrote treatises on the principles of painting. His art was unrivalled for graceful charm.

• The persian king on a chariot, dressed in oriental costume

• development on the skills of depicting recession into space

• reflection of images from the shield

Rhyton in shape of head of Black Man. Darius Painter. Apulia South Italy. 350 BC. Late Classical

The Darius Vase. Apulian Volute Krater. 340-320 Bc. Late Classical into Hellenistic. South Italian. Found near Canosa. Funerary

• representative of the “Ornate style” in south Italian RF vase painting

• very packed - the opposite of the Berlin Painter aesthetics

• King Darius sitting on the throne in the middle

Medusa Killing one of her Children. Neck Amphora. Ixion Painter. 330 BC. Late Classical. South Italian, Campania

• stage set - columns suggest space

• highly theatrical gestures

Choephoroi Painter. Orestes, Electra and Hermes at the Tomb of Agamemnon. Lucanian Red figure. Pelike. 380-370 BC Late Classical. South Italian

• the scene of brothers and sisters meeting at the tomb

• from play by Aeschylus

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Painted Frieze over door of Tomb 2, Vergina, Macedonia, Lion Hunt. 275 BC. Hellenistic

• three horsemen and seven men on foot pursue a lioin, dear and boar

• the bearded man is identified as Philip II, another man maybe Alexander

Dionysos and Maenads, Kleophrades Painter, 505-495 BC. Amphora.

• “thiasos” - a parade of drunken, dancing, singing with Dionysus, maenads and satyrs

• Kleophrades Painter is keen of Greek profile - Dionysus’ nose

• A maenad singing. Dilute line rendering the undergarment

• reserve line along Dionysus’ hair

• added red - krater and feline skin scarf

Herakles and Apollo. Kleophrades Painter. 490-480 BC.

• Herakles with lion skin and club, holding the tripod

• Apollo on the other side with bow and arrow

• avoid showing the moment of struggling, but the point just after it.

• dotted hair of Herakles. relief line

Panathenaic Amphora. Pankration. 500 BC. Kleophrades.

 Volute Krater. Kleophrades, 490 BC

• double friezes - warriors and centaurs below. Preparation for battle on top

Fall of Troy. Hydria. Kleophrades Painter. 480 BC

• 514 BC - recitation of Homeric poems at the beginning of Panathenic Games

• the Trojan War became a popular theme, also a metaphor of the Persians' invading of Athens

• Ajax trying to rape Kaassandra by Athena's statue with an Archaic smile - suggesting that it is a statue from the past

• Neoptolemos kills Priam on Altar, his dead grandson on his lap

• episodic narrative

• added red for blood

Cup Tondo. Symposiast Playing Kottobos, Klophrades Painter. 500 BC

Citharode. Belly Amphora. 490 BC. Berlin Painter

Berlin Painter. Name Vase. 490 BC. Amphora

• rings of ivy leaffs on the neck - refering to Dionysus

• One side: satyr and a lyre, holding a kanthoros

• Other side: A satyr with lyre, Hermes right behind him, holding a Kadokyus, a Kanthoros and a jug

• the genesis of heads - facing opposite directions

• very creatvie layering of two flat figures

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Ganymede. Bell Krater. 490 BC. Berlin Painter.

• Sexual Implication - Rooster - homoerotic love gift

• Hoop  - means youth; someone able to play

• Ganymede is the cup pourer of Zeus

• on the other side: Zeus.... walking firmly forward holding Scepter

Achilles and Penthesileia. Hydria. Berlin Painter. 490 BC

• elegant body figures of Penthesilea, with her exotic hat and elegant bow

• two wounds on Penthesilea shown by added red

Herakles struggle with Snakes. 480-470 BC. Berlin painter

Dionysus, Pompe and Eros. Pompe Painter. Oinochoe. 370-360 BC. Late Classical. Red Figure

• Pompe, the personification of procession

• winged Eros adjusts his sandal, ready to leave

• The gilt openwork basket on the ground is the type used in religious processions to carry sacrificial implements to the place of sacrifice. This procession must be part of an Athenian festival in honor of Dionysos, probably the Anthesteria, which culminated in the sacred marriage of the god to the wife of the archon basileus, a high official representing the ancient Athenian kings.

Procession. Kleophon Painter. 450-420 BC.

• Kanephoros ( an honorific office given to unmarried young women in ancient Greece, which involved the privilege of leading the procession to sacrifice at festivals; the highest honour was to lead the pompe) leads procession in the Pythaist festival, festival of apollo

• girl with Kanoun (an instrument)  on head

Girl Kanephoros aided by older woman. Pan Painter. Early Classical. 480-450 BC

Pan Painter, New Castle on Tyne. 480-450 BC. Early Classical - mannerist painter

Girl Kanephoros Processes with two other Girls in Ritual. Triptolemos Painter. Berlin. Jug. 490-470 BC. Early Classical

• Triptolemos Painter, 490-470 BC. He started working in the workshop of Euphronios, where he was taught by Douris. Later, he also worked for Brygos

Woman at Prayer, Altar, Pipe Case. Lekythos. Carsruhe Painter. 475-450 BC. Attic Red Figure, Classical

• the image of women as pious devotees within the sanctury relates to the virtuous women at home working

Woman Pouring Libation at Altar. 475-450 BC. Clasical. Painter of London E 100. Attic Red Figured Cup

• Her placement within the cup tondo is frequently seen for images of women at altars

• can be both identified as a priestess performing a public ritual, or an individual at privatel prayer

Man Pouring Libation at Altar, Triptolemos Painter. 480 BC. Tondo, Cup, CLassical

Woman at Flaming Altar. Tondo. Makron. 490-480 BC. Late Archaic. RF

• pours libation from jug, holding kanoun (urn for incense)

• Incense burner is behind her

Name Vase, Painter of Berlin 1686. 550 BC. Black Figure. Belly Amphora

• Priestess overseeing sacrifice with braches as Athena watches. Three man approaching with bull

Black Figure Amphora. Munich. The Affector. 540 BC

• The Affector - 550-530 BC Name derived from his artifical affected style of figural painting

• 135 vases ascribed to him

• Was interested in the decorative effect of his images, stylised figures in long cloaks or with affected gestures

• May have been pupil of Amasis Painter. Images seem to reflect a surreal world.

Priestess with Keys. The Sydney Painter. Skyphos. South Italian, Lucanian. 360-340 BC. Late Classical

• status of Priestess shown by keys

Men and Animals at Altar. BFA. 440 BC

• sacrifice - sheep, double aoloi (to cover the sound of screaming), a basin of water to wash hands, boukrania (a skull), the altar, men dressed up for the ritual (dropped the tunic from the upper body and wrapped it around the waist), a cut of meat or liver on the altar

• very pathenonic figures

Priest Extracting Entrails. Euaion Painter. 470 BC. Attic RF. Archaic

• in the Myth, Zeus chose the pack of bones and entrails and left good meat for human. Thus at rituals entrails are extracted for dedication

Sacrifice Scene, Ionian Hydria, 540 BC.

• stages of sacrifice

• harvest festival suggested by heavy grapes

Tuna Sacrifice, 520 BC

• the man on the left praying (left hand up)

Grilling Entrails. Kraipale Painter. 430 BC

Youth Pouring Libation. 500-480 BC

Women’s Ritual Choral Dancing at Flaming Altar. Painter of London D 12. 460 BC. Classical. White Ground. Libation Bowl

• young girls looking for guidance from more experienced priestesses

• wool basket and ribbons - marks of the ritual and of women

• dancing - education and the continuation of legacy - rituals