229:(Niksothenes made me) and similar variants. The signatures were placed on the vase in glaze (paint) and show a variety of hands and spellings. Added to these vases are vases which can be linked to these vases on the basis of detailed stylistic analysis. Most scholars would accept that it contained about 30 to 40 workers at any one time between 530 and 505. In 1999, V. Tosto proposed that the workshop employed a small handful of assistants and temporary workers around Nikosthenes, who worked as both painter and potter. This view has been rejected by Michael M. Eisman, who not only supports the larger sized workshop but has suggested that Nikosthenes himself came from
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The
Nikosthenic production while large is not particularly distinguished for its quality. While the vases are well potted and the overall quality of the painting is good there only a few outstanding vases that would hold their own with the more distinguished painters working at that time. In addition
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Nikosthenes was the owner of a workshop in Athens in the latter part of the 6th century BC. On the theory that the number of signed works reflects the number of total works, the high number of signatures referring to
Nikosthenes suggests that he had one of the largest if not the largest manufacturing
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is believed to have been invented in
Nikosthenes' workshop, possibly by Nikosthenes himself, around 530 BC. He is considered transitional between black-figure and red-figure pottery.
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There is considerable discussion about the size of the workshop. Identification of the products of the workshop are based primarily on the large number (133) vases signed by
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in the time window 550–510 BC. He signed as the potter on over 120 black-figure vases, but only nine red-figure. Most of his vases were painted by someone else, called
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Tsingarida, Athena (2008), "Color for a Market? Special
Techniques and Distribution Patterns in Late Archaic and Early Classical Greece", in Lapatin, Kenneth (ed.),
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to the painters of the
Nikosthenic amphora and kyathoi a number of well-known painters were part of the workshop at various times including
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considers the painting "slovenly and dissolute;" that is, not of high quality. In addition, he is thought to have worked with the painters
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center in Athens. He is noted for specializing in production of vases for the
Etruscan market. In particular the so-called
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A handbook of Attic red-figured vases signed by or attributed to the various masters of the sixth and fifth centuries B.C
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with no known local examples in Athens. In spite of this the majority of the production of the workshop was devoted to
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workshop which produce very high quality vases in small quantities. One of its primary painters, the
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Michael M. Eisman, "A Further Note on EPOIESEN Signatures" Journal of
Hellenic Studies 94 (1974) 172
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Amazonomachy. Side A from an Attic black-figure
Nikosthenic amphora, ca. 520–510 BC, located in
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Clark, Andrew J; Maya Elston; Mary Louise Hart; J. Paul Getty Museum (2001). "Nikosthenes".
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Michael M. Eisman, "Nikosthenic
Amphorae" The J. Paul Getty Museum Journal 1 (1974) 43-54
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and others manufactured in the
Etruscan style for the Etruscan market, 133 signed.
387:. Cambridge world archaeology. New York: Cambridge University Press. p. 176.
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around 550 BC before starting his own workshop. He signed one vase with Anakles.
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320:. Sather classical lectures, v. 24. Berkeley: University of California Press.
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Michael M. Eisman, "Attic Kyathos Production" Archaeology 28 (1975) 76-82.
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Understanding Greek vases: a guide to terms, styles, and techniques
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The workshop seems to have passed into the hands of his partner,
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Mainly the black-figure style, some later in the red-figure style
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372:. Cambridge : Harvard University Press; p. 224.
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439:The Black-figure Pottery Signed NIKOSTHENESEPOSIEN
455:Attic Black-Figure Kyathos (Ladle) by Nikosthenes
210:were designed on Etruscan shapes and exported to
425:Michael M. Eisman, Attic Kyathos Painters, 1971.
347:"The Transitional Designers of Classical Greece"
305:. Los Angeles: J. Paul Getty Museum. p. 52.
457:Bryn Mawr College Art and Artifact Collections
333:Papers on Special Techniques in Athenian Vases
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405:. Hoboken: John Wiley & Sons. p. 50.
233:, and began working with a small workshop of
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281:heads in the interior for the workshop.
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318:The development of Attic black-figure
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385:The archaeology of ancient Greece
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93:Pottery workshop, vase painting
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401:; Plantzos, Dimitris (2012).
368:Hoppin, Joseph Clark (1919).
819:6th-century BC Greek people
16:6th-century BC Greek potter
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824:Artists of ancient Attica
741:Corpus vasorum antiquorum
492:Pottery of ancient Greece
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403:A Companion to Greek Art
129:Nikosthenes' signature (
383:Whitley, James (2001).
150:was a potter of Greek
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814:Ancient Greek potters
578:Ancient Greece proper
316:Beazley, J D (1986).
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783:Terracotta figurines
227:Nikosthenes epoiesen
206:and the Nikosthenic
190:The pottery workshop
131:Nikosthenes epoiesen
197:Nikosthenic amphora
162:(for Nikosthenes).
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133:) on the neck of a
103:Mainly low-quality
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275:Lysippides Painter
156:red-figure pottery
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565:Frying pans
506:Minyan ware
263:BMN Painter
148:Nikosthenes
82:Nationality
53:Nikosthenes
23:Nikosthenes
808:Categories
793:Vase types
701:Hermogenes
663:Hypereides
653:Euthymides
648:Euphronios
605:Red-figure
437:V. Tosto:
285:References
279:gorgoneion
773:Symposium
763:Name vase
696:Ergoteles
673:Pamphaios
643:Ergotimos
585:Bilingual
539:Mycenaean
271:Andokides
242:Pamphaios
180:Epiktetos
160:Painter N
59:Possibly
678:Sophilos
600:Bucchero
557:Cycladic
265:and the
220:amphorae
116:Movement
109:amphorae
85:Athenian
43:, F 111.
706:Phrynos
630:Potters
235:Anakles
231:Chalkis
216:kylixes
212:Etruria
204:kyathos
168:Anakles
164:Beazley
105:kylixes
61:Chalkis
716:Tleson
711:Sokles
658:Gryton
638:Amasis
516:Minoan
499:Aegean
261:, the
199:, the
152:black-
142:Louvre
75:Athens
41:Louvre
259:Oltos
255:Psiax
208:pyxis
201:Attic
176:Lydos
172:Oltos
37:Paris
768:Slip
757:LIMC
218:and
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68:Died
49:Born
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