Red-figure pottery - Knowledge (XXG)

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which 20,000 were black-figure). In the course of six decades of study, he was able to ascribe 17,000 of them to individual artists. Where their names remained unknown, he developed a system of conventional names. Beazley also united and combined individual painters into groups, workshops, schools and styles. No other archaeologist has ever had as formative an influence on a whole subdiscipline as had Beazley on the study of Greek vase painting. A large proportion of his analysis is still considered valid today. Beazley first published his conclusions on red-figure vase painting in 1925 and 1942. His initial studies only considered material from before the 4th century BC. For a new edition of his work published in 1963, he also incorporated that later period, making use of the work of other scholars, such as

705: 2367: 1840: 1494: 243:. They were also more clearly contrasted against the black backgrounds. It was now possible to depict humans not only in profile, but also in frontal, rear, or three-quarter perspectives. The red-figure technique also permitted the indication of a third dimension on the figures. However, it also had disadvantages. For example, the distinction of sex by using black slip for male skin and white paint for female skin was now impossible. The ongoing trend to depict heroes and deities naked and of youthful age also made it harder to distinguish the sexes through garments or hairstyles. In the initial phases, there were also miscalculations regarding the thickness of human figures. 1223:). The increased demand for exports would have led to new structures of production, encouraging specialisation and division of labor, leading to a sometimes ambiguous distinction between painter and potter. As mentioned above, the painting of vessels was probably mainly the responsibility of younger assistants or apprentices. Some further conclusions regarding the organisational aspects of pottery production can be suggested. It appears that generally, several painters worked for one pottery workshop, as indicated by the fact that frequently, several roughly contemporary pots by the same potter are painted by various painters. For examples, pots made by 830: 2197:, one of the main export markets for Attic vases, developed its own schools and workshops, eventually exporting its own products. The adoption of red-figure painting, imitating Athenian vases, occurred only after 490 BC, half a century after the style had been developed. Because of the technique used, the earliest examples are known as pseudo-red-figure vase paintings. The true red-figure technique was introduced much later, near the end of the 5th century BC. Several painters, workshops and production centres are known for both styles. Their products were not only used locally, but also exported to 220: 171: 652: 256: 1426: 56: 1062: 386: 976:. This style, current between 370 and 330 BCE, combined the preceding Rich and Modest Styles, with a preponderance of the Rich. Crowded compositions with large statuesque figures are typical. The added colors now include blue, green and others. Volume and shading are indicated by the use of diluted runny glossy clay. Occasionally, whole figures are added as appliques, i.e. as thin figural reliefs attached to the body of the vase. The variety of vessel shapes in use was reduced sharply. Common painted shapes include 868: 601: 2503: 1931: 1311: 2266: 1404:), are the most thoroughly researched. In contrastic to their Attic counterparts, they were mostly produced for local markets. Only few pieces have been found outside Southern Italy and Sicily. The first workshops were founded in the mid-5th century BC by Attic potters. Soon, local craftsmen were trained and the thematic and formal dependence on Attic vases overcome. Towards the end of the century, the distinctive "ornate style" and "plain style" developed in 2147: 2018: 1033: 781: 501: 2225:), the whole vessel was covered with black glossy clay and figures were applied afterwards using mineral colours that would oxidise red or white. Thus, in contrast to contemporary Attic vase painting, the red colour was not achieved by leaving areas unpainted but by adding paint to the black prime layer. Like in black-figure vases, internal detail was not painted on, but incised into the figures. Important representatives of this style include the 1350:. Tablewares made of perishable materials, like wood, may have been even more widespread. Nonetheless, multiple finds of red-figure vases, usually not of the highest quality, found in settlements, prove that such vessels were used in daily life. A large proportion of production was taken up by cult and grave vessels. In any case, it can be assumed that the production of high-quality pottery was a profitable business. For example, an expensive 1175: 303: 31: 1739: 1591: 208:

necessary, as the rather liquid glossy clay would otherwise have turned out too dull. After the technique's initial phase of development, both alternatives were used, to differentiate gradations and details more clearly. The space between figures was filled with a glossy grey clay slip. Then, the vases underwent triple-phase firing, during which the glossy clay reached its characteristic black or black-brown color through

1358:. There can be little doubt that the export of such pottery made an important contribution to the affluence of Athens. It is hardly surprising that many workshops appear to have aimed their production at export markets, for example by producing vessel shapes that were more popular in the target region than in Athens. The 4th century BCE demise of Attic vase painting tellingly coincides with the very period when the 3710: 3644: 3630: 3586: 3575: 3564: 3553: 3542: 3527: 1530:. The larger surface area was used to depict up to 20 figures, often in several registers on the body of the vase. Additional colours, especially shades of red, yellow-gold and white are used copiously. Since the 2nd half of the 4th century, the necks and sides of the vases are decorated with rich vegetal or ornamental decorations. At the same time, perspective views, especially of buildings such as "Palace of 2408:) of his description of the world to ancient vases (Della composizione del mondo, libro VIII, capitolo IV). He considered especially the clay vessels as perfect in terms of shape, colour, and artistic style. Nevertheless, initially the attention focused on vases in general, and perhaps especially on stone vases. The first collections of ancient vases, including some painted vessels, developed during the 864:. Characteristic features include transparent garments and multiple folds of cloth. There is also an increase in the depiction of jewelry and other objects. The use of additional colors, mostly white and gold, depicting accessories in a low relief, is very striking. Over time, there is a marked "softening": The male body, heretofore defined by the depiction of muscles, gradually lost that key feature. 636:. The folds of garments were depicted less linearly, appearing more plastic. The manner of presenting scenes also changed substantially. Firstly, the paintings ceased to focus on the moment of a particular event, but rather, with dramatic tension, showed the situation immediately before the action, implying and contextualising the event proper. Also, some of the other new achievements of 1126:), their use increased to an apex around the Pioneering Phase. A changing, apparently increasingly negative, attitude to artisans led to a reduction of signatures, starting during the Classical period at the latest. Overall, signatures are quite rare. The fact that they are mostly found on especially good pieces indicates that they expressed the pride of potter and/or painter. 2692:, in DNP 15/3 (Zeitrechnung: I. Klassische Archäologie, Sp. 1164) refers to 65.000 vases having been examined by Beazley. From that number, about 20.000 must be subtracted, since they were black-figure (Boardman: Schwarzfigurige Vasen aus Athen, S. 7). 21.000 red-figure vases are known from Southern Italy. Additionally, there are some examples from other parts of Greece 1719:, one of the first in this group. His typical characteristic is the use of additional white paint to depict the faces of women. This group favoured domestic scenes, women and warriors. Multiple figures are rare, usually there is only one figure each on the front and back of the vase, sometimes only the head. Garments are usually drawn casually. 204:. Occasionally, the painter decided to somewhat change the figurative scene. In such cases the grooves from the original sketch sometimes remain visible. Important contours were often drawn with a thicker slip, leading to a slightly protruding outline (relief line); less important lines and internal details were drawn with diluted glossy clay. 1572:. Additionally, such vases frequently depict scenes from myths that are only rarely illustrated on vases. Some specimens represent the single source for the iconography of a particular myth. Another subject that is unknown from Attic vase painting are the theatre scenes. Especially farce scenes, e.g. from the so-called 377:. Although they display major advances against the black-figure style, the figures still appear somewhat stilted and seldom overlap. Compositions and techniques of the older style remained in use. Thus incised lines are quite common, as is the additional application of red paint ("added red") to cover large areas. 2300:

True red figure vase painting, i.e. vases where the red areas have been left unpainted, was introduced to Etruria near the end of the 5th century BC. The first workshops developed in Vulci and Falerii and produced also for the surrounding areas. It is likely that Attic masters were behind these early

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became popular at this time. Although there is no indication that the painters understood themselves as a group in the way that modern scholarship does, there were some connections and mutual influences, perhaps in an atmosphere of friendly competition and encouragement. Thus a vase by Euthymides is

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In black-figure vase painting, the pre-drawn outlines were a part of the figure. In red-figure vases, the outline would, after firing, form part of the black background. This led to vases with very thin figures early on. A further problem was that the black background did not permit the depiction of

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The new technique had the primary advantage of permitting a far better execution of internal detail. In black-figure vase painting such details had to be scratched into the painted surfaces, which was always less accurate than the direct application of detail with a brush. Red-figure depictions were

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Attic red-figure vases were exported throughout Greece and beyond. For a long time, they dominated the market for fine ceramics. Few centers of pottery production could compete with Athens in terms of innovation, quality and production capacity. Of the red-figure vases produced in Athens alone, more

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The principal exceptions being David Gill and Michael Vickers who repudiate the significance of vase painting as an art form and reject the analogy of Renaissance artists' studios and the ancient Greek pottery workshop, a view criticized by R.M. Cook. Additionally James Whitley and Herbert Hoffmann

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had developed for the study of paintings. He assumed that each painter produced individual works that can always be unmistakably ascribed. To do so, particular details, such as faces, fingers, arms, legs, knees, garment folds and so on, were compared. Beazley examined 65,000 vases and fragments (of

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Detail in other colors, Including white or red, were applied at this point. The relief line was probably drawn with a bristle brush or a hair, dipped in thick paint. (The suggestion that a hollow needle could account for such features seems somewhat unlikely.) The application of relief outlines was

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During the 2nd half of the 4th century BC, mythological themes disappeared from the repertoire of Etruscan painters. They were replaced by female heads and scenes of up to two figures. Instead of figural depictions, ornaments and floral motifs covered the vessel bodies. Large figural compositions,

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and grave scenes, dionysiac scenes and symposia. Depictions of bejewelled female heads are also common. The CA painter was polychrome but tended to use much white for architecture and female figures. His successors were not fully able to maintain his quality, leading to a rapid demise, terminating

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Elaborately painted vases were good, but not the best, table wares available to a Greek. Metal vessels, especially from precious metals, were held in higher regard. Nonetheless, painted vases were not cheap products; the larger specimens, especially, were expensive. Around 500 BCE, a large painted

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Apulian vase painting had a formative influence on the traditions of the other South Italian production centres. It is assumed that individual Apulian artists settled in other Italian cities and contributed their skills there. Apart from red-figure, Apulia also produced black-varnished vases with

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are common; on the other hand, inscriptions often label the depicted figures. That not every vase painter could write is shown by some examples of meaningless rows of random letters. The vases indicate a steady improvement of literacy from the 6th century BCE onwards. Whether potters, and perhaps

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One of the key features of this most successful Attic vase painting style is the mastery of perspective foreshortening, allowing a much more naturalistic depiction of figures and actions. Another characteristic is the drastic reduction of figures per vessel, of anatomic details, and of ornamental

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In Etruria, the pseudo-red-figure style was not just a phenomenon of the earliest phases, as it had been in Attica. Especially during the 4th century, some workshops specialised in this technique, although true red-figure painting was widespread among Etruscan workshops at the same time. Notable

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in the 7th century BCE and quickly became the dominant style of pottery decoration throughout the Greek world and beyond. Although Corinth dominated the overall market, regional markets and centers of production did develop. Initially, Athens copied the Corinthian style, but it gradually came to

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During the Late Classical period, in the final quarter of the 5th century BCE, two opposed trends were created. On the one hand, a style of vase painting strongly influenced by the "Rich Style" of sculpture developed, on the other, some workshops continued the developments of the High Classical

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were only produced exceptionally. The originally large-scale production at Falerii lost its dominant role to the production centre at Caere, which had probably been founded by Falerian painters and cannot be said to represent a distinct tradition. The standard repertoire of the Caere workshops

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area. But Athens and its industries never fully recovered from the defeat. Some potters and painters had already relocated to Italy during the war, seeking better economic conditions. A key indicator for the export-oriented nature of Attic vase production is the nearly total absence of theatre

200:, the normal unfired clay was an orange color at this stage. The outlines of the intended figures were drawn either with a blunt scraper, leaving a slight groove, or with charcoal, which would disappear entirely during firing. Then the contours were redrawn with a brush, using a glossy clay 1258:, this view is not consistent with that held in antiquity. Vase painters, like potters, were considered craftsmen, their produce considered trade goods. The craftsmen must have had a reasonably high level of education, as a variety of inscriptions occur. On the one hand, the aforementioned 2245:. The Sokra Group, somewhat older, preferred bowls with interior decoration of Greek mythical themes, but also some Etruscan motifs. The phantom Group mainly painted cloaked figures combined with vegetal or palmette ornamentation. The workshops of both groups are suspected to have been in 2233:. In spite of their evident good knowledge of Greek myth and iconography, there is no evidence to indicate that these painters had immigrated from Attica. An exception to this may be the Praxia Painter, as Greek inscription on four of his vases may indicate that he originated from Greece. 1346:, equivalent to the daily wage of a stonemason. It has been suggested that the painted vases represent an attempt to imitate metal vessels. It is normally assumed that the lower social classes tended to use simple undecorated coarse wares, massive quantities of which are found in 689:. This is especially visible in the depiction of garments; the material now falls more naturally, and more folds are depicted, leading to an increased "depth" of the depiction. The overall compositions were simplified even more. Artists placed special emphasis on 2598:'s work has a similar significance to that of Beazley for Attica. Most post-Beazley scholars can be said to follow Beazley's tradition and use his methodology. The study of Greek vases is ongoing, not least because of the constant addition of new material from 1657:

are rare. The repertoire of motifs is limited. Subjects include youths, women, thiasos scenes, birds and animals, and often native warriors. The backs often show cloaked youths. Mythological scenes and depictions related to burial rites play a subsidiary role.

437:. This group, recognised and defined by twentieth-century scholarship, experimented with the different possibilities offered by the new style. Thus figures appeared in new perspectives, such as frontal or rear views, and there were experiments with perspective 1814:

showed scenes from the tragedy in question on several of his vases. The influence of Apulian vase painting becomes tangible roughly at the same time. Especially polychromy and vegetal decor became standard. Important representatives of this style include the

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500 to 470 BCE) brought the style to a new flourish. During this time, black-figure vases failed to reach the same quality and were pushed out of the market eventually. Some of the most famous Attic vase painters belong to this generation. They include the

2005:, who probably immigrated from Apulia. Around 330 BC, a second workshop developed, originally following the work of the first. The quality of its painting and variety of its motifs deteriorated quickly. At the same time, an influence by the Campanian 2724:

have criticised Beazley's approach as being unduly "positivist" in that it concentrates exclusively on aspects of connoisseurship at the cost of ignoring the larger social and cultural context that might have influenced the practice of vase painting.

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within a few decades. Its modern name is based on the figural depictions in red color on a black background, in contrast to the preceding black-figure style with black figures on a red background. The most important areas of production, apart from

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The paintings depicted mythological scenes less frequently than before. Images of the private and domestic world became more and more important. Scenes from the life of women are especially frequent. Mythological scenes are dominated by images of

1927:-like patterns on garments and curly hair hanging over the back of figures. Figures that bend forwards, resting on plants or rocks, are equally common. Special colours are used often, especially white, gold, black, purple and shades of red. 247:

space in any depth, so that spatial perspective was almost never attempted. Nonetheless, the advantages outnumbered the disadvantages. The depiction of muscles and other anatomical details clearly illustrates the development of the style.

2626: 216:. Since this final oxidizing phase was fired using lower temperatures, the glazed parts of the vase did not re-oxidize from black to red: their finer surface was melted (sintered) in the reducing phase, and now protected from oxygen. 1620:

also produced red-figure vases in the 5th and 4th centuries BC. The light brown clay of Campania was covered with a slip that developed a pink or red tint after firing. The Campanian painters preferred smaller vessel types, but also

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had vase collections. Vases found in Italy were relatively affordable, so that even private individuals could assemble important collections. Vases were a popular souvenir for young Northwestern Europeans to bring home from the

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The last Athenian vases with figural depictions were created around 320 BCE at the latest. The style continued somewhat longer, but with non-figural decorations. The last recognised examples are by painters known as the

1271:, a definite upper-class activity, reflect the painters' personal experience, their aspirations to attend such events, or simply the demands of the market? A large proportion of the painted vases produced, such as 1473:

and smaller vessels, and that a single "plain" vessel rarely depicted more than four figures. The main subjects were mythological scenes, female heads, warriors in scenes of combat of farewell, and dionysiac

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In contrast to black-figure vase painting, red-figure vase painting developed few regional traditions, workshops or "schools" outside Attica and Southern Italy. The few exceptions include some workshops in

1730:. The CA painter is considered as the outstanding artist of his group, or even of Campanian vase painting as a whole. From 330 onwards, a strong Apulian influence is visible. The most common motifs are 1395:

At least from a modern point of view, the Southern Italian red-figure vase paintings represent the only region of production that reaches Attic standards of artistic quality. After the Attic vases, the

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rival and overcome the dominance of Corinth. Attic artists developed the style to an unprecedented quality, reaching the apex of their creative possibilities in the second third of the 6th century BCE.

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than 40,000 specimens and fragments survive today. From the second-most important production center, Southern Italy, more than 20,000 vases and fragments are preserved. Starting with the studies by

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imagery. The reverse often showed youths wearing cloaks. The key feature of these simply decorated wares is the general absence of additional colours. Important plain style representatives are the

2081:. In the second quarter of the 4th century, Sicilian vase painters emigrated to Campania and Paestum, where they introduced red-figure vase painting. Only Syracusae retained a limited production. 1411:

By now, 21,000 South Italian vases and fragments are known. Of those, 11,000 are ascribed to Apulian workshops, 4,000 to Campanian, 2,000 to Paestan, 1,500 to Lucanian and 1,000 to Sicilian ones.

1151:. The careers of some vase painters are quite well known. Apart from painters with relatively short periods of activity (one or two decades), some can be traced for much longer. Examples include 1115:(epoíesen, has made) has survived on more than twice as many, namely about 100, pots (both numbers refer to the totality of Attic figural vase painting). Although signatures had been known since 2358:. The switch to the production of black glaze vases near the end of the 4th century, probably as a reaction to changing tastes of the time, spelt the end of Etruscan red-figure vase painting. 2479:. Around this time, the widespread view that all painted vases were Etruscan works became untenable. Nonetheless, the artistic fashion of that time to imitate ancient vases came to be called 2001:. Paestan painting rarely depicts domestic scenes, but favours animals. Asteas and Python had a major influence on the vase painting of Paestum. This is clearly visible in the work of the 648:

can be detected. Since Greek wall painting is almost entirely lost today, its reflection on vases constitutes one of the few, albeit modest, sources of information on that genre of art.

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and jugs were decorated mostly with mythological scenes. In the course of the 4th century, the Falerian production began to eclipse that of Vulci. New centres of production developed in

1103:. According to modern research, the workshops were owned by the potters. The names of about 40 Attic vase painters are known, from vase inscriptions, usually accompanied by the words 1374:. The main reason, however, should be seen in the increasingly unsuccessful progress of the Peloponnesian War, culminating in the devastating defeat of Athens in 404 BCE. After this, 3338: 136:, the study of this style of art has made enormous progress. Some vases can be ascribed to individual artists or schools. The images provide evidence for the exploration of Greek 4162: 1211:

This division of labor appears to have developed along with the introduction of red-figure painting, since many potter-painters are known from the black-figure period (including

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Since the 1760s, archaeological research also began to focus on vase paintings. The vases were appreciated as source material for all aspects of ancient life, especially for

1387:, would have found such depiction incomprehensible or uninteresting. In Southern Italian vase painting, which was mostly not aimed at export, such scenes are quite common. 917:, implied new needs and wishes on part of the customers. These theories are contradicted by the fact that some artists maintained the earlier style. Some, e.g. the 835: 704: 1877:

vase painting style developed as the last of the South Italian styles. It was founded by Sicilian immigrants around 360 BC. the first workshop was controlled by

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The production of mainstream red-figure pottery ceased around 360 BCE. The Rich and Simple styles both existed until that time. Late representatives include the

913:, but also the loss of Athens' dominant role in the Mediterranean pottery trade (itself partially a result of the war). The increasing role of new markets, e.g. 4677: 4252: 2629:

in the German Knowledge (XXG) for a useful set of tables classifying vase shapes and variations, with distinguishing shape outlines and typical examples, also

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controlled the western trade, albeit without having the economic strength to fully exploit it. The Attic potters had to find new markets; they did so in the

2077:. In terms of style, themes, ornamentation and vase shapes, the workshops were strongly influenced by the Attic tradition, especially by the Late Classical 5636: 2257:. The Phantom Group produced until the early 3rd century BC. Like elsewhere, the changing tastes of the customers eventually led to the end of this style. 2396:

About 65,000 red-figure vases and vase fragments are known to have survived. The study of ancient pottery and of Greek vase painting began already in the

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period, with an increased emphasis on the depiction of emotion, and a range of erotic scenes. The most important representative of the Rich Style is the

2108:. The most typical feature of Sicilian vase painting is the use of additional colours, especially white. In the early phase, large vessels like chalice 1839: 1167:. The fact that several painters later became potters, and the relatively frequent cases where it is unclear whether some potters were also painters or 2701:

Hamilton's first collection of "Etruscan" vases was lost at sea but memorialized in engravings; he formed a second collection that is conserved in the

1704:), decorative borders of garments, and the frequent use of additional white, red and yellow. The Laghetto and Caivano Painters appear to have moved to 1493: 1147:. This may represent attempts to profit from the name of that great painter. The same may be the case where painters bear otherwise famous names, like 1091:

was the potters' quarter of Athens. It contained a variety of small workshops, and probably a few larger ones. In 1852 CE, during building activity in

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Before the immigration of Sicilian potters in the second quarter of the 4th century BC, when several workshops were established in Campania, only the

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refers to the temptation of buying ancient vases. Those who could not afford originals had the option of acquiring copies or prints. There were even

3142:. Exhibition catalogue Staatliche Museen zu Berlin, Hauptstadt der DDR – Altes Museum vom 04. Oktober bis 30. Dezember 1988. Berlin 1988, p. 249-263 3129:. Exhibition catalogue Staatliche Museen zu Berlin, Hauptstadt der DDR – Altes Museum vom 04. Oktober bis 30. Dezember 1988. Berlin 1988, p. 245-249 2552:). Their aesthetic influence extends into the present. For example, the well-known curved shape of the Coca-Cola bottle is inspired by Greek vases. 2321:

of Chiusi, producing mainly drinking vessels with interior depictions of dionysiac scenes, became important. During the second half of the century,

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becomes notable, garments falling in a linear fashion and contourless female figures followed. Around 300 BC, Paestan vase painting came to a halt.

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Joseph Veach Noble: The Techniques of Painted Attic Pottery. New York 1965. The Process was first rediscovered and published by Theodor Schumann:

1831:. After him, a short rapid demise is followed by the cessation of Lucanian vase painting at the start of the last quarter of the 4th century BC. 1823:. Towards the mid-4th century BC, a massive drop in quality and thematic variety becomes notable. The last notable Lucanian vase painter was the 560:. The improvement of quality went along with a doubling of output during this period. Athens became the dominant producer of fine pottery in the 341:

In the 5th century BCE Attic fine pottery, now predominantly red-figure, maintained its dominance in the markets. Attic pottery was exported to

744:, probably a pupil of the Achilles Painter, is also important. New workshop traditions also developed. Notable examples include the so-called " 2366: 4843: 3909: 2659:, London 2001, p. 286. The hollow needle, or syringe, was proposed by Noble (1965). First publication of the hair method by Gérard Seiterle: 1100: 2464:

ware, although it employed techniques entirely unrelated to those used in antiquity, using ancient motifs merely as a thematic inspiration.

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vases are quite common. Scenes of athletic activity or everyday life only occur in the early phase, they disappear entirely after 370 BC.

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in which the background of the pottery is painted black while the figures and details are left in the natural red or orange color of the

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Rotfigurige Keramik als Handelsware: Erwerb und Gebrauch attischer Vasen im mediterranen und pontischen Raum während des 4. Jhs. v. Chr

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figures is that they are often stockier and less dynamic than their predecessors. As a result, the depictions gained seriousness, even

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Red-figure pottery as a commodity: Acquisition and use of attic vases in the mediterranean and pontic region during the 4th century BC

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influence is evident, too. These workshops dominated the Etruscan market into the 4th century BC. Large and medium-sized vessels like

921:, attempted to combine both traditions. The best works of the Late Classical period are often found on smaller vessels, such as belly 3580: 1486:. After the mid-4th century BC, the style grows more and more similar to the ornate style. An important artist of that period is the 1465:

430 to 300 BC. The plain and ornate styles are distinguished. The main difference between them is that the plain style favoured bell

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technique. The paintings were applied to the shaped but unfired vessels after they had dried to a leathery, near-brittle texture. In

5651: 5646: 4670: 4245: 3861: 3690: 3113: 1171:, suggest a career structure, perhaps starting with an apprenticeship involving mainly painting, and leading up to being a potter. 909:. It is not clear what caused this change of topic among some of the artists. Suggestions include a context with the horrors of the 3638: 369:, initially painted vases in both styles, with black-figure scenes on one side, and red-figure on the other. Such vases, e.g. the 5598: 3536: 2084:

The typical Sicilian style only developed around 340 BC. Three groups of workshops can be distinguished. The first, known as the

745: 3624: 4396: 3259: 2429: 2483:. England and France tried to outdo each other in terms of both research and imitation of vases. The German aesthetic writers 219: 170: 5631: 5530: 4913: 3759: 3733: 3664: 3613: 3482: 3452: 3426: 651: 255: 3558: 2167: 1425: 55: 4219: 3569: 3436: 3410: 2630: 2576: 2537: 1799: 944: 573: 442: 3547: 572:

became very popular at this time. New or modified vase shapes were frequently employed, including the Nolan amphora (see

477:. More generally, the pioneer group tended to use inscriptions. The labelling of mythological figures or the addition of 4663: 4238: 2896:

Unterhaltung beim griechischen Symposion. Darbietungen, Spiele und Wettkämpfe von homerischer bis in spätklassische Zeit

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Vase paintings even had an influence on the development of modern painting. The linear style influenced artists such as

1505: 1370:. A further reason for the end of the production of figurally decorated vases is a change in tastes at the start of the 675: 284: 232: 186: 2221:

The early Etruscan examples merely imitated the red-figure technique. Similar to a rare and early Attic technique (see

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and more dynamic compositions. As a technical innovation Euphronios introduced the "relief line". At the same time new

421:" made the step towards a full exploitation of the possibilities of the red-figure technique. They were active between 5275: 4686: 4591: 2620: 2440: 1148: 445:

were invented, a development favored by the fact that many of the pioneer group painters were also active as potters.

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The first red-figure vases were produced around 530 BCE. The invention of the technique normally is accredited to the

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and Etruscan workshops or "schools", strongly influenced by Attic style, but producing exclusively for local markets.

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Vasen für Etrurien: Verbreitung und Funktionen attischer Keramik im Etrurien des 6. und 5. Jahrhunderts vor Christus

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Hoffmann, Herbert (1979). Fehr, Burkhard; Meyer, Klaus-Heinrich; Schalles, Hans-Joachim; Schneider, Lambert (eds.).

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Although from a modern perspective the vase painters are often considered artists, and their vases thus as works of

701:. The human figures had returned to their earlier slenderness; they often radiate a self-absorbed, divine serenity. 5641: 5270: 4209: 2488: 2338: 2138:

scenes. Mythological scenes are rare. Like in all other areas, vase painting disappears from Sicily around 300 BC.

1247:. Conversely, an individual painter could also change from one workshop to another. For example, the bowl painter 5460: 4624: 4440: 4387: 4261: 4167: 3918: 3902: 2390: 1134: 757: 165: 85: 1716: 1061: 5260: 4753: 4427: 4417: 2599: 1820: 1457:

vase painting tradition is considered as the leading South Italian style. The main centre of production was at

1371: 1347: 768:. The role of bowls decreased, although they were still produced in large numbers, e.g. by the workshop of the 528: 385: 99:

around 520 BCE and remained in use until the late 3rd century CE. It replaced the previously dominant style of

3795: 2495:("outline style", i.e. red-figure painting). Vase ornaments were compiled and disseminated in England through 2484: 1782:, where some of his works were discovered. He was strongly influenced by Attic tradition. His successors, the 568:

decorations. In contrast, the repertoire of depicted scenes was increased. For example, the myths surrounding

5420: 5151: 4988: 4488: 4280: 4011: 1669:

of the second half of the 5th century is known. Campanian vase painting is subdivided in three main groups:

1408:. Especially the ornate style was adopted by other mainland schools, but without reaching the same quality. 1228: 1143:

among the painters. Additionally, some of the names are not unique: for example, several painters signed as

545: 2680:

In: Berichte der deutschen keramischen Gesellschaft 32 (1942), S. 408–426. More references in Noble (1965).

2085: 2038: 1137:. On the other hand, some of the known names indicate that there were at least some former slaves and some 5008: 4963: 4808: 4803: 4561: 4543: 4521: 4478: 4412: 4402: 4285: 4046: 3785: 3521: 582: 411: 5395: 5335: 5218: 5003: 4498: 4483: 4445: 4407: 4351: 4056: 3973: 3353: 2382: 1803: 1497: 1420: 1232: 1156: 1152: 867: 798: 553: 549: 509: 2002: 1828: 600: 2355: 2042: 1685: 1666: 1435: 192:

Red figure is, put simply, the reverse of the black figure technique. Both were achieved by using the

5535: 5245: 4745: 4712: 4629: 4450: 4382: 4366: 4356: 4305: 4016: 3895: 3743: 3504: 3447:]. Kulturgeschichte der antiken Welt (in German). Vol. 4 (2nd ed.). Mainz: von Zabern. 3421:]. Kulturgeschichte der antiken Welt (in German). Vol. 4 (4th ed.). Mainz: von Zabern. 2595: 2584: 2281: 2226: 2006: 1824: 1787: 1689: 1681: 1629:. The most popular shape is the bow-handled amphora. Many typical Apulian vessel shapes, like volute 1297: 1183: 1129:

The status of painters in relation to that of potters remains somewhat unclear. The fact that, e.g.,

299:, active around 530 BCE, can be seen as the most important representative of the black-figure style. 267: 263: 174: 133: 100: 36: 2678:

Oberflächenverzierung in der antiken Töpferkunst. Terra sigillata und griechische Schwarzrotmalerei.

2502: 1930: 1540:), develop. Since 360 BC, such structures are often depicted in scenes connected with burial rites ( 1318: 5515: 5435: 5390: 5370: 4798: 4435: 4127: 4089: 2603: 2401: 2242: 1816: 1750: 1598: 1545: 1475: 1310: 1240: 769: 541: 41: 2351: 1885:. They are the only South Italian vase painters known from inscriptions. They mainly painted bell 5583: 5520: 5465: 5455: 5440: 5360: 5345: 4978: 4948: 4908: 4883: 4833: 4828: 4735: 4392: 4275: 4214: 4122: 3699: 3674: 3657:

Vases for Etruria: Proliferation and function of Attic ceramics in 6th and 5th century BC Etruria

3319: 3284: 3276: 2559:. Beazley began to study the vases from about 1910 onwards, inspired by the methodology that the 2525: 2318: 2238: 1501: 1355: 1244: 1216: 1133:

was able to work as both painter and potter suggests that at least some of the painters were not

1077: 1065: 729: 717: 637: 608: 434: 319: 193: 4313: 2265: 2222: 1723: 1965:

The themes depicted often belong to the Dionysiac cycle: thiasos and symposium scenes, satyrs,

492:. Many of their works were bilingual, often using red-figure only on the interior of the bowl. 5505: 5500: 5495: 5425: 5330: 5305: 5285: 5177: 5053: 4998: 4993: 4973: 4928: 4918: 4873: 4788: 4778: 4639: 4609: 4290: 4177: 4021: 3965: 3857: 3755: 3729: 3686: 3660: 3609: 3508: 3478: 3448: 3422: 3398: 3239: 3109: 2689: 2615: 2476: 2475:

studies. Vase painting was now treated as a substitute for the almost entirely lost oeuvre of

2444: 2412:. We even know of some imports from Greece to Italy at that time. Still, until the end of the 2146: 2017: 1712: 1673: 1553: 1483: 1384: 1314: 1259: 1032: 914: 910: 893: 780: 645: 500: 478: 374: 362: 323: 3659:] (habilitation thesis). Akanthus crescens (in German). Vol. 5:1. Zürich: Akanthus. 1099:

was discovered. The artefacts from it are now on display in the University collection of the

5510: 5485: 5475: 5450: 5410: 5385: 5265: 5250: 5240: 5195: 5169: 5118: 5103: 5093: 4858: 4853: 4848: 4768: 4730: 4725: 4720: 4204: 3462: 3311: 3268: 2563: 1946: 1919:. Characteristics include decorations such as lateral palmettes, a pattern of tendrils with 1882: 1775: 1479: 1383:

scenes. Buyers from other cultural backgrounds, such as Etruscans or later customers in the

1236: 1164: 1042: 957: 840: 761: 737: 663: 627: 1174: 302: 30: 5540: 5525: 5405: 5400: 5350: 5340: 5310: 5098: 5073: 5033: 5028: 5013: 4863: 4838: 4460: 4455: 4295: 4194: 4172: 4064: 4041: 3754:]. Kulturgeschichte der Antiken Welt (in German). Vol. 47. Mainz: P. von Zabern. 3394: 3235: 2472: 2417: 2078: 1738: 1590: 1487: 1343: 1013: 929: 918: 885: 861: 794: 201: 149: 70: 65: 3790: 2627:

Liste der Formen, Typen und Varianten der antiken griechischen Fein- und Gebrauchskeramik

2575:

vases. Famous scholars who continued the study of Attic red-figure after Beazley include

3339:"In the wake of Beazley: Prolegomena to an Anthropological Study of Greek Vase-Painting" 1662:, ornamental elements and polychromy are adopted after 340 BC under Lucanian influence. 484:

Apart from the vase painters, some bowl painters also used the new style. These include

5445: 5415: 5355: 5320: 5315: 5300: 5290: 5255: 5200: 5113: 5108: 5078: 5023: 5018: 4983: 4958: 4953: 4903: 4898: 4893: 4793: 4783: 4763: 4702: 4529: 3942: 3848: 3593: 2702: 2529: 2374: 2097: 1958: 1920: 1783: 1549: 1220: 1037: 822: 753: 741: 713: 557: 537: 438: 141: 137: 121: 1000:. Scenes from female life are very common. Mythological themes are still dominated by 5625: 5555: 5480: 5325: 5187: 5088: 5068: 5063: 5048: 5038: 4923: 4694: 4551: 4511: 4361: 3955: 3531: 3492: 3323: 3288: 3140:

Die Welt der Etrusker, Archäologische Denkmäler aus Museen der sozialistischen Länder

3127:

Die Welt der Etrusker, Archäologische Denkmäler aus Museen der sozialistischen Länder

2591: 2568: 2560: 2545: 2378: 2370: 2302: 1895: 1397: 1363: 765: 561: 418: 350: 342: 109: 2963:, in: DNP 12/1 (2002), col. 1010 and Trendall p. 9, with slightly differing numbers. 5470: 5375: 5128: 5043: 4938: 4888: 4868: 4818: 4758: 4604: 4569: 4506: 3983: 3950: 3386: 2556: 2533: 2206: 2175: 1866: 1557: 1522: 1447: 1367: 1096: 1092: 1081: 1012:

are the most commonly depicted heroes. The best-known painter of this style is the

961: 852: 604: 129: 3877: 2432:. Like some of his contemporary collectors, Peiresc owned a number of clay vases. 3882: 2661:

Die Zeichentechnik in der rotfigurigen Vasenmalerei. Das Rätsel der Relieflinien.

5606: 5380: 4813: 4331: 4094: 3991: 3932: 3717: 2580: 2572: 2468: 2457: 2425: 2409: 2397: 2022: 1924: 1849: 1574: 1569: 1267:

has not been satisfactorily clarified so far. Do the frequent depictions of the

1178: 973: 749: 145: 17: 3679:

Griechische Töpferkunst. Herstellung, Handel und Gebrauch der antiken Tongefäße

3106:

Antike Kunstwerke aus der Sammlung Ludwig. Vol 1. Frühe Tonsarkophage und Vasen

1512:

The artists using the ornate style tended to favour large vessels, like volute

1362:, probably the main western export market, came under increasing pressure from 5573: 5568: 5141: 5136: 4878: 4655: 4634: 4230: 4079: 4074: 3315: 2449: 2436: 2421: 2171: 2101: 1791: 1561: 1224: 1144: 1130: 1088: 810: 430: 426: 399: 240: 3512: 3402: 3243: 1556:. Mythological scenes were especially popular: The assembly of the Gods, the 5563: 5430: 4968: 4823: 4644: 4199: 4189: 4099: 4069: 3887: 2254: 2089: 2074: 1982: 1811: 1379: 1359: 1303: 1268: 1192: 1188: 1139: 906: 880: 871: 790: 721: 686: 682: 489: 395: 213: 681:

Other influences on High Classical vase painting include the newly erected

698: 592:

types. The specialisation into separate vase and bowl painters increased.

5545: 5365: 5083: 4933: 4104: 4026: 2506: 2461: 2322: 2273: 2202: 1807: 1779: 1680:, still under Sicilian influence. He was followed by the workshop of the 1617: 1565: 1160: 1123: 1021: 1009: 1001: 972:

The final decades of Attic red—figure vase painting are dominated by the

935: 923: 902: 806: 802: 733: 690: 577: 505: 468: 259: 2555:

The scientific study of Attic vase paintings was advanced especially by

2329:

were produced and, especially in the early phases, painted elaborately.

2157:, Kantharos by the Painter of the Great Athens Kantharos, ca 450/425 BC. 1802:) vase type. Mythical or theatrical scenes are common. For example, the 5588: 5490: 5159: 4773: 4132: 3501:

Tragic, grief and consolation: Vase images for an apulian funeral feast

2413: 2314: 2250: 2210: 2194: 2187: 2183: 2179: 2163: 2154: 2150: 2035: 2031: 1978: 1974: 1970: 1934: 1874: 1771: 1705: 1697: 1536: 1458: 1430: 1322: 1291: 1273: 1212: 1005: 728:

Important painters of this period, roughly 480 to 425 BCE, include the

716:

is exemplary of his affinity for balanced and harmonious compositions.

709: 694: 655: 641: 569: 450: 346: 315: 296: 291: 272: 117: 3280: 2416:

period, vase painting was overshadowed by other genres, especially by

2128:

are more typical. The most common motifs are scenes from female life,

5280: 4142: 4137: 4084: 3474: 2510: 2453: 2310: 2293: 2269: 2105: 2070: 2062: 2054: 1998: 1994: 1990: 1966: 1954: 1938: 1878: 1862: 1854: 1758: 1742: 1653: 1643: 1610: 1454: 1443: 1405: 1401: 1375: 1351: 1334: 1285: 1279: 1204: 1055: 949: 875: 848: 818: 785: 671: 659: 632: 620: 527:

The generation of artists after the pioneers, active during the Late

521: 462: 456: 407: 390: 335: 311: 307: 280: 228: 197: 182: 113: 105: 96: 60: 49: 3497:

Tragik, Trauer und Trost: Bildervasen für eine apulische Totenfeier

3272: 2520:, using a variety of techniques to imitate red-figure vase painting 1774:

vase painting tradition began around 430 BC, with the works of the

1582:

painted decor (Gnathia vases) and polychrome vases (Canosa vases).

1109:(égrapsen, has painted). In contrast, the signature of the potter, 5578: 5058: 4943: 2501: 2386: 2365: 2289: 2264: 2246: 2230: 2198: 2145: 2066: 2050: 2016: 1929: 1838: 1754: 1737: 1727: 1693: 1677: 1606: 1594: 1589: 1531: 1492: 1424: 1330: 1309: 1264: 1248: 1200: 1173: 1060: 1051: 1031: 866: 828: 779: 703: 650: 616: 599: 588: 517: 499: 485: 384: 366: 331: 301: 254: 218: 209: 169: 54: 29: 3831:

Farnsworth, Marie. 1964. "Greek Pottery: A Mineralogical Study."

2065:

vase painting began before the end of the 5th century BC, in the

349:. The preference for Attic vases led to the development of local 3878:

The Beazley archive – searchable archive of Attic vase paintings

3683:

Greek pottery. Production, trade and use of antique clay vessels

2130: 2093: 1986: 1715:

also had its workshop in Capua. Of particular importance is the

640:

began to show an influence on vase painting. Thus influences of

89: 4659: 4234: 3891: 2439:, ceramic vessels were collected more frequently. For example, 3441:

Rotfigurige Vasen aus Athen: die archaische Zeit: ein Handbuch

3415:

Rotfigurige Vasen aus Athen: die archaische Zeit: ein Handbuch

1255: 3748:

Rotfigurige Vasen aus Unteritalien und Sizilien: Ein Handbuch

3473:]. Internationale Archäologie (in German). Vol. 71. 1110: 1104: 2460:

specialised in imitating ancient pottery. The best known is

1317:

on a double head-shaped vessel, painted by an artist of the

3445:

Red-figure vases from Athens: the archaic times: a handbook

3419:

Red-figure vases from Athens: the archaic times: a handbook

2834: 2832: 2491:

studied vase paintings. Winckelmann especially praised the

564:

world, overshadowing nearly all other production centers.

239:

generally more lively and realistic than the black-figure

2542:

Still Life with Silver Vessels and Red-Figure Bell Krater

740:, all following the tradition of the Berlin Painter. The 398:

scene: athletes preparing for a competition, ascribed to

365:. He, and other early representatives of the style, e.g. 3812:

The History of Greek Vases: Potters, Painters, Pictures.

3752:

Red-figure vases from Lower Italy and Sicily: A handbook

1544:

vases). Important representatives of this style are the

1735:

with the end of Campanian vase painting around 300 BC.

1700:, depictions of heads (normally below the handles of 120:

became an important center of production outside the

3257:

Cook, R.M. (1987). "'Artful crafts': A commentary".

371:

Belly Amphora by the Andokides Painter (Munich 2301)

225:

Belly Amphora by the Andokides Painter (Munich 2301)

179:

Belly Amphora by the Andokides Painter (Munich 2301)

5597: 5554: 5231: 5209: 5186: 5168: 5150: 5127: 4744: 4711: 4693: 4617: 4598: 4582: 4560: 4542: 4520: 4497: 4469: 4426: 4375: 4344: 4322: 4304: 4268: 4155: 4113: 4055: 4004: 3982: 3964: 3941: 3925: 3883:

The Trendall archive – South Italian vase paintings

3232:

Artful Crafts: Ancient Greek silverware and pottery

2325:became a main centre. Here, especially rod-handled 425:520 and 500 BCE. Important representatives include 3847: 3728:] (in German) (2nd ed.). Munich: Hirmer. 3709: 3643: 3629: 3585: 3574: 3563: 3552: 3541: 3526: 1692:. Their work is characterised by a preference for 797:. The upper register depicts the abduction of the 1597:killing one of her children, neck amphora by the 290:Black-figure vase painting had been developed in 3840:The Red and the Black: Studies In Greek Pottery. 3685:] (in German) (2nd ed.). Munich: Beck. 3087: 3085: 3032: 3030: 2428:depicting figural vases, which was produced for 1354:gift by the painter Euphronios was found on the 3819:Studies of Greek Pottery In the Black Sea Area. 3267:. Oxford: Cambridge University Press: 169–171. 2935:Athenian Red Figure Vases: The Classical Period 2909:Athenian Red Figure Vases: The Classical Period 2853:Athenian Red Figure Vases: The Classical Period 2116:were painted, but smaller vessels like flasks, 1307:, were made and bought to be used at symposia. 112:. The style was also adopted in other parts of 3824:Cook, Robert Manuel, and Pierre Dupont. 1998. 3302:Whitley, James (1998). "Beazley as theorist". 1461:. Apulian red-figure vases were produced from 4671: 4246: 3903: 2745:Athenian Red Figure Vases: The Archaic Period 8: 3856:. New York: The Metropolitan Museum of Art. 2793: 2791: 2777: 2775: 2773: 2771: 2769: 2755: 2753: 1251:worked for at least six different potters. 5551: 5124: 4678: 4664: 4656: 4494: 4423: 4301: 4253: 4239: 4231: 4110: 3938: 3910: 3896: 3888: 3608: ed.). Stuttgart; Darmstadt: Theiss. 3310:(271). Antiquity Publications Ltd: 40–47. 2452:. In the diaries of his voyage to Italy, 1434:with depiction of a woman's head, by the 481:are the rule rather than the exception. 2736: 2648: 2229:and other masters from his workshop in 1794:. They were the first to paint the new 3230:Vickers, Michael; Gill, David (1994). 1672:The first group is represented by the 3589:, in: DNP 12/1 (2002), col. 1009–1011 3108:, von Zabern, Mainz 1979, p. 178–181 2998:Hurschmann in: DNP 1 (1996), col. 923 2950:, in: DNP 12/1 (2002), col. 1009–1011 2168:Painter of the Great Athens Kantharos 1827:, strongly influenced by the Apulian 1263:vase painters, belonged to the Attic 1122:(first known signature by the potter 1101:Friedrich Schiller University of Jena 752:. Another tradition was begun by the 7: 1923:and umbel known as "asteas flower", 3138:Huberta Heres – Max Kunze (Hrsg.): 3125:Huberta Heres – Max Kunze (Hrsg.): 813:and a group of local Attic heroes. 611:, a young man brandishing a sword, 27:Ancient Greek painted pottery style 5637:Ancient Greek vase-painting styles 5296:Painter of the Berlin Dancing Girl 4844:Class of Cabinet des Médailles 218 3713:, in: DNP 12/I (2002), col. 1147f. 3606:Wissenschaftliche Buchgesellschaft 212:, the reddish color by a final re- 25: 3647:, in: DNP 10 (2001), col. 1141–43 3567:, in: DNP 9 (2000), col. 142/43; 3545:, in: DNP 6 (1998), col. 227 f.; 2883:Euphronios. Vasenmaler und Töpfer 2606:and unknown private collections. 2571:, who had especially studied the 1227:have been found to be painted by 1070:Painter of the Wedding Procession 3708: 3642: 3628: 3584: 3573: 3562: 3551: 3540: 3525: 2813:, Reichert, Wiesbaden 1996, p. 3 748:", most famously among them the 626:The key characteristic of Early 3833:American Journal of Archaeology 3578:, in: DNP 11 (2001), col. 606; 3218:Schwarzfigurige Vasen aus Athen 2430:Nicolas-Claude Fabri de Peiresc 2217:Pseudo-red-figure vase painting 5531:Painter of the Vatican Mourner 3846:Von Bothmer, Dietrich (1987). 3814:New York: Thames & Hudson. 3556:, in: DNP 7 (1999), col. 491; 3391:Attic Red-figure vase-painters 3079:, in: DNP 9 (2000), col. 142f. 2976:, in: DNP 1 (1996), col. 922f. 2801:, in: DNP 10 (2001), col. 1143 2785:, in: DNP 10 (2001), col. 1142 2763:, in: DNP 10 (2001), col. 1141 544:, and among the bowl painters 417:The artists of the so-called " 1: 3095:, in: DNP 11 (2001), col. 606 3024:, in: DNP 6 (1998), col. 227f 2638:Notes, references and sources 2631:Typology of Greek vase shapes 2548:produced a similar painting ( 2514: 2339:Den Haag Funnel Group Painter 1800:Typology of Greek Vase Shapes 1726:and his successors worked in 1116: 945:Typology of Greek Vase Shapes 574:Typology of Greek Vase Shapes 3796:Resources in other libraries 3352:. Archäologisches Institut, 3066:, in: DNP 9 (2000), col. 142 3053:, in: DNP 7 (1999), col. 491 3040:, in: DNP 6 (1998), col. 228 3011:, in: DNP 6 (1998), col. 227 2989:, in: DNP 1 (1996), col. 923 2881:, p. 13; Martine Denoyelle: 2879:Schwarzfigurige Vasenmalerei 1778:. He was probably active in 1506:Staatliche Antikensammlungen 676:Staatliche Antikensammlungen 285:Staatliche Antikensammlungen 233:Staatliche Antikensammlungen 187:Staatliche Antikensammlungen 4687:Ancient Greek vase painters 4592:List of Greek vase painters 4262:Ancient Greek vase painting 3821:Prague: Charles University. 3651:Reusser, Christoph (2002). 3633:, in DNP 15/3, col. 946-958 3581:Unteritalische Vasenmalerei 3503:] (in German). Berlin: 3260:Journal of Hellenic Studies 3238:, Oxford University Press. 3194:, in DNP 15/3, col. 951-954 3181:, in DNP 15/3, col. 949-950 3168:, in DNP 15/3, col. 947-949 2961:Unteritalische Vasenmalerei 2948:Unteritalische Vasenmalerei 2922:Athenian Black Figure Vases 2842:, in: DNP 12/I, col. 1147f. 2621:List of Greek vase painters 2406:Capitolo delle vasa antiche 1400:ones (including those from 1191:scene and the signature of 1149:Aristophanes (vase painter) 896:: Museo Pomarici-Santomasi. 162:Ancient Greek vase painting 5668: 2657:The History of Greek Vases 2600:archaeological excavations 2550:Intérieur au vase étrusque 2538:Ferdinand Georg Waldmüller 2489:Johann Joachim Winckelmann 2350:and drinking bowls of the 1717:Whiteface-Frignano Painter 1418: 1111: 1105: 580:, as well as bowls of the 159: 77:470/460 BCE. Paris: Louvre 4625:Corpus vasorum antiquorum 4168:Corpus vasorum antiquorum 3919:Pottery of ancient Greece 3791:Resources in your library 3316:10.1017/S0003598X00084520 2868:, in: DNP 12/I, col. 1148 2477:Greek monumental painting 2142:Etruria and other regions 1821:Brooklyn-Budapest Painter 166:Pottery of ancient Greece 5652:4th-century BC Greek art 5647:5th-century BC Greek art 4754:Painter of Acropolis 606 3838:Sparkes, Brian A. 1996. 3639:Rotfigurige Vasenmalerei 3598:Griechische Vasenmalerei 3537:Kampanische Vasenmalerei 3393:(2nd ed.). Oxford: 3038:Kampanische Vasenmalerei 3022:Kampanische Vasenmalerei 3009:Kampanische Vasenmalerei 2898:, von Zabern, Mainz 1997 2826:, in: DNP 12/I, Sp. 1148 2799:Rotfigurige Vasenmalerei 2783:Rotfigurige Vasenmalerei 2761:Rotfigurige Vasenmalerei 2342:included simply painted 2261:Red-figure vase painting 1036:Signature by the potter 596:Early and High Classical 508:, interior of a bowl by 223:Red-figure scene on the 4989:Painter of Nicosia Olpe 3534:1 (1996), col. 922 f.; 3356:: 61–70. Archived from 3207:, in DNP 15/3, col. 954 3155:, in DNP 15/3, col. 946 2424:exception is a book of 1745:pursuing a woman, bell 662:, Nolan amphora by the 448:New shapes include the 5009:Painter of Palermo 489 4964:Painter of Munich 1410 4809:Painter of Berlin 1686 4804:Painter of Berlin A 34 3810:Boardman, John. 2001. 3722:Die griechischen Vasen 3720:; Hirmer, Max (1981). 3387:Beazley, John Davidson 2521: 2393: 2391:Kinský Palace (Prague) 2362:Research and reception 2297: 2237:workshops include the 2158: 2058: 1962: 1907:and jugs, more rarely 1870: 1762: 1614: 1509: 1450: 1338: 1208: 1095:, the workshop of the 1084: 1058: 897: 856: 826: 805:, the lower one shows 725: 678: 623: 524: 475:"as Euphronios never " 414: 338: 287: 235: 189: 78: 52: 5632:Ancient Greek pottery 5219:Group of Rhodes 12264 5004:Oxford Palmette Class 4005:Ancient Greece proper 3744:Trendall, Arthur Dale 3354:University of Hamburg 2505: 2485:Johann Heinrich Müntz 2404:dedicated a chapter ( 2383:Apulian vase painting 2369: 2268: 2149: 2086:Lentini-Manfria Group 2020: 1933: 1853:scene by the painter 1842: 1741: 1651:amphorae are absent, 1593: 1496: 1428: 1421:Apulian vase painting 1313: 1177: 1064: 1035: 960:(Rich Style) and the 870: 832: 783: 707: 687:sculptural decoration 654: 603: 503: 388: 306:Warriors, flanked by 305: 258: 222: 173: 160:Further information: 86:ancient Greek pottery 58: 33: 5536:Villa Giulia Painter 4630:East Greek Bird Bowl 4210:Terracotta figurines 3234:. Oxford; New York: 3104:Reinhard Lullies in 2894:see Alfred Schäfer: 2885:, Berlin 1991, p. 17 2864:Ingeborg Scheibler: 2838:Ingeborg Scheibler: 2822:Ingeborg Scheibler: 2596:Arthur Dale Trendall 2585:Dietrich von Bothmer 2441:Sir William Hamilton 2435:Since the period of 2354:, and plates of the 1364:South Italian Greeks 1342:vase cost about one 134:Arthur Dale Trendall 101:black-figure pottery 5516:Triptolemos Painter 5436:Penthesilea Painter 5391:Kleophrades Painter 5371:Ilioupersis Painter 4799:Bellerophon Painter 3851:Greek vase painting 3826:East Greek Pottery. 3817:Bouzek, Jan. 1990. 3675:Scheibler, Ingeborg 3604:] (in German) ( 3602:Greek vase painting 2604:illicit excavations 2389:woman, 310-260 BC, 2134:, female heads and 2096:, a second, making 1753:, circa 390/80 BC. 1667:Owl-Pillar Workshop 1546:Ilioupersis Painter 1241:Triptolemos Painter 953:were also popular. 833:Erotic scene on an 770:Penthesilea Painter 542:Kleophrades Painter 504:Youth performing a 42:Triptolemos Painter 34:Procession of men, 5521:Underworld Painter 5466:Providence Painter 5456:Pistoxenos Painter 5441:Persephone Painter 5361:Hasselmann Painter 5346:Eucharides Painter 4949:Lysippides Painter 4914:Horse-bird Painter 4909:Heidelberg Painter 4884:Euphiletos Painter 4834:Cerameicus Painter 4829:Castellani Painter 4736:Polyphemos Painter 4376:Stylistic regions 4276:Three-phase firing 4215:Three-phase firing 3842:London: Routledge. 3828:London: Routledge. 3777:Red-figure pottery 3700:Ingeborg Scheibler 3625:Vasen/Vasenmalerei 3559:Paestanische Vasen 3205:Vasen/Vasenmalerei 3192:Vasen/Vasenmalerei 3179:Vasen/Vasenmalerei 3166:Vasen/Vasenmalerei 3153:Vasen/Vasenmalerei 3077:Paestanische Vasen 3064:Paestanische Vasen 2526:Edward Burne-Jones 2522: 2394: 2298: 2159: 2061:The production of 2059: 1963: 1871: 1806:, named after the 1804:Cheophoroi painter 1790:had a workshop in 1763: 1722:After 350 BC, the 1615: 1510: 1502:Underworld Painter 1451: 1372:Hellenistic period 1356:Athenian Acropolis 1339: 1260:Kalos inscriptions 1245:Pistoxenos Painter 1209: 1085: 1066:Judgement of Paris 1059: 943:, Bell krater(see 898: 857: 827: 809:the garden of the 730:Providence Painter 726: 718:Walters Art Museum 679: 638:Athenian democracy 624: 609:Providence Painter 525: 479:Kalos inscriptions 415: 339: 288: 236: 194:three-phase firing 190: 82:Red-figure pottery 79: 53: 5642:Archaic Greek art 5619: 5618: 5615: 5614: 5506:Tarquinia Painter 5501:Tarporley Painter 5496:Snub-nose Painter 5426:Oreithyia Painter 5331:Dokimasia Painter 5306:Bryn Mawr Painter 5286:Baltimore Painter 5261:Andokides painter 5227: 5226: 5178:Cavalcade Painter 5054:Princeton Painter 4999:Northampton Group 4994:Nikoxenos Painter 4974:Naucratis Painter 4929:Kassandra Painter 4919:Hypobibazon Class 4874:Edinburgh Painter 4789:Antimenes Painter 4779:Arkesilas Painter 4653: 4652: 4640:Kalos inscription 4610:Adolf Furtwangler 4578: 4577: 4538: 4537: 4397:Pseudo-Chalkidian 4345:Stylistic periods 4340: 4339: 4291:Black-glazed Ware 4228: 4227: 4178:Hellenistic glass 4151: 4150: 4022:Black-glazed Ware 4000: 3999: 3772:Library resources 3519:Rolf Hurschmann: 3505:Staatliche Museen 3463:Fless, Friederike 2946:Rolf Hurschmann: 2616:Ancient Greek art 2590:For the study of 2445:Giuseppe Valletta 2317:. Especially the 2301:workshops, but a 2104:, and a third on 2041:: slave in short 2003:Aphrodite Painter 1889:, neck amphorae, 1829:Lycourgos Painter 1674:Kassandra Painter 1554:Baltimore Painter 1484:Tarporley Painter 1385:Iberian Peninsula 1315:Kalos inscription 1028:Artists and works 911:Peloponnesian War 894:Gravina in Puglia 756:and continued by 363:Andokides Painter 324:Andokides Painter 16:(Redirected from 5659: 5552: 5511:Tithonos Painter 5486:Sisyphus Painter 5476:Shuvalov Painter 5451:Pisticci Painter 5411:Meleager Painter 5386:Kleophon Painter 5266:Antiphon Painter 5251:Altamura Painter 5241:Achilles Painter 5196:Acheloos Painter 5170:Gorgoneion Group 5125: 5119:Xenokles Painter 5104:Three Line Group 5094:Taleides Painter 4859:Diosphos Painter 4854:Daybreak Painter 4849:Columbus Painter 4769:Anagyrus Painter 4731:Mesogeia Painter 4726:Honolulu Painter 4721:Analatos Painter 4680: 4673: 4666: 4657: 4495: 4424: 4302: 4255: 4248: 4241: 4232: 4205:Tanagra figurine 4111: 3939: 3912: 3905: 3898: 3889: 3867: 3855: 3765: 3739: 3712: 3711: 3696: 3670: 3646: 3645: 3636:John H. Oakley: 3632: 3631: 3619: 3588: 3587: 3577: 3576: 3570:Sizilische Vasen 3566: 3565: 3555: 3554: 3548:Lukanische Vasen 3544: 3543: 3529: 3528: 3516: 3488: 3458: 3432: 3406: 3373: 3372: 3370: 3368: 3362: 3343: 3334: 3328: 3327: 3299: 3293: 3292: 3254: 3248: 3247: 3227: 3221: 3214: 3208: 3201: 3195: 3188: 3182: 3175: 3169: 3162: 3156: 3149: 3143: 3136: 3130: 3123: 3117: 3102: 3096: 3093:Sizilische Vasen 3089: 3080: 3073: 3067: 3060: 3054: 3051:Lukanische Vasen 3047: 3041: 3034: 3025: 3018: 3012: 3005: 2999: 2996: 2990: 2983: 2977: 2970: 2964: 2957: 2951: 2944: 2938: 2931: 2925: 2918: 2912: 2905: 2899: 2892: 2886: 2875: 2869: 2862: 2856: 2849: 2843: 2836: 2827: 2820: 2814: 2811:Der Jenaer Maler 2808: 2802: 2795: 2786: 2779: 2764: 2759:John H. Oakley: 2757: 2748: 2741: 2725: 2721: 2715: 2712: 2706: 2699: 2693: 2687: 2681: 2674: 2668: 2653: 2564:Giovanni Morelli 2519: 2516: 2402:Restoro d'Arezzo 2356:Genucuilia Group 2088:, was active in 1776:Pisticci Painter 1686:Laghetto Painter 1684:and that of the 1480:Sisyphus Painter 1436:Armidale Painter 1237:Antiphon Painter 1219:and perhaps the 1165:Achilles Painter 1121: 1118: 1114: 1113: 1108: 1107: 964:(Simple Style). 958:Meleager Painter 841:Shuvalov Painter 762:Kleophon Painter 738:Achilles Painter 664:Achilles Painter 381:Pioneering phase 138:cultural history 95:It developed in 48:480 BCE. Paris: 21: 18:Attic red-figure 5667: 5666: 5662: 5661: 5660: 5658: 5657: 5656: 5622: 5621: 5620: 5611: 5593: 5550: 5541:Wedding Painter 5526:Varrese Painter 5406:Meidias Painter 5401:Marsyas Painter 5351:Foundry Painter 5341:Eretria Painter 5311:Chrysis Painter 5223: 5205: 5182: 5164: 5146: 5123: 5099:Theseus Painter 5074:Rycroft Painter 5034:Piraeus Painter 5029:Phrynos Painter 5014:Panther Painter 4864:Dodwell Painter 4839:Chimera Painter 4740: 4707: 4689: 4684: 4654: 4649: 4613: 4594: 4574: 4556: 4534: 4516: 4493: 4465: 4461:Caeretan hydria 4422: 4371: 4336: 4318: 4300: 4296:West Slope Ware 4264: 4259: 4229: 4224: 4173:Disjecta membra 4147: 4109: 4051: 4042:West Slope Ware 3996: 3978: 3960: 3937: 3921: 3916: 3874: 3864: 3845: 3835:68 (3): 221–28. 3807: 3805:Further reading 3802: 3801: 3800: 3780: 3779: 3775: 3768: 3762: 3742: 3736: 3726:The Greek vases 3716: 3693: 3673: 3667: 3650: 3622:Sabine Naumer: 3616: 3594:Mannack, Thomas 3592: 3522:Apulische Vasen 3491: 3485: 3461: 3455: 3435: 3429: 3409: 3395:Clarendon Press 3385: 3381: 3376: 3366: 3364: 3363:on 28 June 2021 3360: 3341: 3336: 3335: 3331: 3301: 3300: 3296: 3256: 3255: 3251: 3236:Clarendon Press 3229: 3228: 3224: 3216:John Boardman: 3215: 3211: 3203:Sabine Naumer: 3202: 3198: 3190:Sabine Naumer: 3189: 3185: 3177:Sabine Naumer: 3176: 3172: 3164:Sabine Naumer: 3163: 3159: 3151:Sabine Naumer: 3150: 3146: 3137: 3133: 3124: 3120: 3103: 3099: 3090: 3083: 3074: 3070: 3061: 3057: 3048: 3044: 3035: 3028: 3019: 3015: 3006: 3002: 2997: 2993: 2987:Apulische Vasen 2984: 2980: 2974:Apulische Vasen 2971: 2967: 2958: 2954: 2945: 2941: 2932: 2928: 2919: 2915: 2906: 2902: 2893: 2889: 2876: 2872: 2863: 2859: 2850: 2846: 2837: 2830: 2821: 2817: 2809: 2805: 2796: 2789: 2780: 2767: 2758: 2751: 2747:,1975, p. 15-16 2743:John Boardman: 2742: 2738: 2734: 2729: 2728: 2722: 2718: 2713: 2709: 2700: 2696: 2688: 2684: 2675: 2671: 2667:2/1976, S. 2–9. 2655:John Boardman: 2654: 2650: 2645: 2640: 2612: 2594:case painting, 2557:John D. Beazley 2536:. Around 1840, 2517: 2493:Umrißlinienstil 2364: 2333:like that on a 2282:Nazzano Painter 2263: 2227:Praxias Painter 2223:Six's technique 2219: 2144: 2079:Meidias Painter 2015: 2007:Caivano Painter 1837: 1825:Primato Painter 1788:Cyclops Painter 1768: 1690:Caivano Painter 1682:Parrish Painter 1588: 1488:Varrese Painter 1423: 1417: 1393: 1119: 1030: 1014:Marsyas Painter 970: 919:Eretria Painter 886:Eretria Painter 862:Meidias Painter 795:Meidias Painter 778: 712:painted by the 598: 498: 412:Antikensammlung 383: 375:bilingual vases 359: 253: 168: 158: 130:John D. Beazley 71:Wedding Painter 59:The wedding of 28: 23: 22: 15: 12: 11: 5: 5665: 5663: 5655: 5654: 5649: 5644: 5639: 5634: 5624: 5623: 5617: 5616: 5613: 5612: 5610: 5609: 5603: 5601: 5595: 5594: 5592: 5591: 5586: 5581: 5576: 5571: 5566: 5560: 5558: 5549: 5548: 5543: 5538: 5533: 5528: 5523: 5518: 5513: 5508: 5503: 5498: 5493: 5488: 5483: 5478: 5473: 5468: 5463: 5458: 5453: 5448: 5446:Phiale Painter 5443: 5438: 5433: 5428: 5423: 5418: 5416:Niobid Painter 5413: 5408: 5403: 5398: 5393: 5388: 5383: 5378: 5373: 5368: 5363: 5358: 5356:Harrow Painter 5353: 5348: 5343: 5338: 5333: 5328: 5323: 5321:Darius Painter 5318: 5316:Codrus Painter 5313: 5308: 5303: 5301:Brygos Painter 5298: 5293: 5291:Berlin Painter 5288: 5283: 5278: 5273: 5268: 5263: 5258: 5256:Amykos Painter 5253: 5248: 5243: 5237: 5235: 5229: 5228: 5225: 5224: 5222: 5221: 5215: 5213: 5211:Little Masters 5207: 5206: 5204: 5203: 5201:Chiusi Painter 5198: 5192: 5190: 5184: 5183: 5181: 5180: 5174: 5172: 5166: 5165: 5163: 5162: 5156: 5154: 5148: 5147: 5145: 5144: 5139: 5133: 5131: 5122: 5121: 5116: 5114:Tydeus Painter 5111: 5109:Tityos Painter 5106: 5101: 5096: 5091: 5086: 5081: 5079:Sappho Painter 5076: 5071: 5066: 5061: 5056: 5051: 5046: 5041: 5036: 5031: 5026: 5024:Pholoe Painter 5021: 5019:Perizoma Group 5016: 5011: 5006: 5001: 4996: 4991: 4986: 4984:Nessos Painter 4981: 4976: 4971: 4966: 4961: 4959:Mastos Painter 4956: 4954:Madrid Painter 4951: 4946: 4941: 4936: 4931: 4926: 4921: 4916: 4911: 4906: 4904:Haimon Painter 4901: 4899:Gorgon Painter 4896: 4894:Goltyr Painter 4891: 4886: 4881: 4876: 4871: 4866: 4861: 4856: 4851: 4846: 4841: 4836: 4831: 4826: 4821: 4816: 4811: 4806: 4801: 4796: 4794:Beldam Painter 4791: 4786: 4784:Athena Painter 4781: 4776: 4771: 4766: 4764:Amasis Painter 4761: 4756: 4750: 4748: 4742: 4741: 4739: 4738: 4733: 4728: 4723: 4717: 4715: 4709: 4708: 4706: 4705: 4703:Dipylon Master 4699: 4697: 4691: 4690: 4685: 4683: 4682: 4675: 4668: 4660: 4651: 4650: 4648: 4647: 4642: 4637: 4632: 4627: 4621: 4619: 4618:Special topics 4615: 4614: 4612: 4607: 4602: 4600: 4596: 4595: 4590: 4588: 4587: 4586: 4580: 4579: 4576: 4575: 4573: 4572: 4566: 4564: 4558: 4557: 4555: 4554: 4548: 4546: 4540: 4539: 4536: 4535: 4533: 4532: 4530:Centuripe ware 4526: 4524: 4518: 4517: 4515: 4514: 4509: 4503: 4501: 4492: 4491: 4486: 4481: 4475: 4473: 4467: 4466: 4464: 4463: 4458: 4453: 4448: 4443: 4438: 4432: 4430: 4421: 4420: 4415: 4410: 4405: 4400: 4390: 4385: 4379: 4377: 4373: 4372: 4370: 4369: 4364: 4359: 4357:Protogeometric 4354: 4348: 4346: 4342: 4341: 4338: 4337: 4335: 4334: 4328: 4326: 4320: 4319: 4317: 4316: 4310: 4308: 4299: 4298: 4293: 4288: 4283: 4278: 4272: 4270: 4266: 4265: 4260: 4258: 4257: 4250: 4243: 4235: 4226: 4225: 4223: 4222: 4217: 4212: 4207: 4202: 4197: 4192: 4187: 4180: 4175: 4170: 4165: 4159: 4157: 4156:Special topics 4153: 4152: 4149: 4148: 4146: 4145: 4140: 4135: 4130: 4125: 4119: 4117: 4115:Little Masters 4108: 4107: 4102: 4097: 4092: 4087: 4082: 4077: 4072: 4067: 4061: 4059: 4053: 4052: 4050: 4049: 4044: 4039: 4034: 4029: 4024: 4019: 4014: 4008: 4006: 4002: 4001: 3998: 3997: 3995: 3994: 3988: 3986: 3980: 3979: 3977: 3976: 3970: 3968: 3962: 3961: 3959: 3958: 3953: 3947: 3945: 3936: 3935: 3929: 3927: 3923: 3922: 3917: 3915: 3914: 3907: 3900: 3892: 3886: 3885: 3880: 3873: 3872:External links 3870: 3869: 3868: 3862: 3843: 3836: 3829: 3822: 3815: 3806: 3803: 3799: 3798: 3793: 3788: 3782: 3781: 3770: 3769: 3767: 3766: 3760: 3740: 3734: 3714: 3697: 3691: 3671: 3665: 3648: 3634: 3620: 3614: 3590: 3517: 3493:Giuliani, Luca 3489: 3483: 3459: 3453: 3437:Boardman, John 3433: 3427: 3411:Boardman, John 3407: 3382: 3380: 3377: 3375: 3374: 3329: 3294: 3273:10.2307/630079 3249: 3222: 3209: 3196: 3183: 3170: 3157: 3144: 3131: 3118: 3097: 3081: 3068: 3055: 3042: 3026: 3013: 3000: 2991: 2978: 2965: 2952: 2939: 2926: 2913: 2900: 2887: 2870: 2857: 2844: 2828: 2815: 2803: 2787: 2765: 2749: 2735: 2733: 2730: 2727: 2726: 2716: 2707: 2703:British museum 2694: 2690:Balbina Bäbler 2682: 2669: 2647: 2646: 2644: 2641: 2639: 2636: 2635: 2634: 2623: 2618: 2611: 2608: 2530:Gustave Moreau 2469:iconographical 2375:southern Italy 2363: 2360: 2262: 2259: 2218: 2215: 2143: 2140: 2098:Centuripe Ware 2014: 2011: 1959:British Museum 1836: 1833: 1784:Amycus Painter 1767: 1764: 1660:Naiskos scenes 1587: 1584: 1550:Darius Painter 1416: 1413: 1392: 1391:Southern Italy 1389: 1319:Epilykos Class 1221:Amasis Painter 1120: 580 BCE 1029: 1026: 969: 966: 823:British Museum 777: 776:Late Classical 774: 754:Niobid Painter 742:Phiale Painter 714:Niobid Painter 597: 594: 558:Brygos Painter 538:Berlin Painter 497: 494: 439:foreshortening 382: 379: 358: 355: 318:by the potter 252: 249: 157: 154: 110:Southern Italy 84:is a style of 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5664: 5653: 5650: 5648: 5645: 5643: 5640: 5638: 5635: 5633: 5630: 5629: 5627: 5608: 5605: 5604: 5602: 5600: 5596: 5590: 5587: 5585: 5582: 5580: 5577: 5575: 5572: 5570: 5567: 5565: 5562: 5561: 5559: 5557: 5556:Pioneer Group 5553: 5547: 5544: 5542: 5539: 5537: 5534: 5532: 5529: 5527: 5524: 5522: 5519: 5517: 5514: 5512: 5509: 5507: 5504: 5502: 5499: 5497: 5494: 5492: 5489: 5487: 5484: 5482: 5481:Siren Painter 5479: 5477: 5474: 5472: 5469: 5467: 5464: 5462: 5459: 5457: 5454: 5452: 5449: 5447: 5444: 5442: 5439: 5437: 5434: 5432: 5429: 5427: 5424: 5422: 5419: 5417: 5414: 5412: 5409: 5407: 5404: 5402: 5399: 5397: 5394: 5392: 5389: 5387: 5384: 5382: 5379: 5377: 5374: 5372: 5369: 5367: 5364: 5362: 5359: 5357: 5354: 5352: 5349: 5347: 5344: 5342: 5339: 5337: 5334: 5332: 5329: 5327: 5326:Dinos Painter 5324: 5322: 5319: 5317: 5314: 5312: 5309: 5307: 5304: 5302: 5299: 5297: 5294: 5292: 5289: 5287: 5284: 5282: 5279: 5277: 5274: 5272: 5269: 5267: 5264: 5262: 5259: 5257: 5254: 5252: 5249: 5247: 5244: 5242: 5239: 5238: 5236: 5234: 5230: 5220: 5217: 5216: 5214: 5212: 5208: 5202: 5199: 5197: 5194: 5193: 5191: 5189: 5188:Leagros Group 5185: 5179: 5176: 5175: 5173: 5171: 5167: 5161: 5158: 5157: 5155: 5153: 5149: 5143: 5140: 5138: 5135: 5134: 5132: 5130: 5126: 5120: 5117: 5115: 5112: 5110: 5107: 5105: 5102: 5100: 5097: 5095: 5092: 5090: 5089:Swing Painter 5087: 5085: 5082: 5080: 5077: 5075: 5072: 5070: 5069:Rider Painter 5067: 5065: 5064:Ptoon Painter 5062: 5060: 5057: 5055: 5052: 5050: 5049:Priam Painter 5047: 5045: 5042: 5040: 5039:Polos Painter 5037: 5035: 5032: 5030: 5027: 5025: 5022: 5020: 5017: 5015: 5012: 5010: 5007: 5005: 5002: 5000: 4997: 4995: 4992: 4990: 4987: 4985: 4982: 4980: 4977: 4975: 4972: 4970: 4967: 4965: 4962: 4960: 4957: 4955: 4952: 4950: 4947: 4945: 4942: 4940: 4937: 4935: 4932: 4930: 4927: 4925: 4924:Kabiria Group 4922: 4920: 4917: 4915: 4912: 4910: 4907: 4905: 4902: 4900: 4897: 4895: 4892: 4890: 4887: 4885: 4882: 4880: 4877: 4875: 4872: 4870: 4867: 4865: 4862: 4860: 4857: 4855: 4852: 4850: 4847: 4845: 4842: 4840: 4837: 4835: 4832: 4830: 4827: 4825: 4822: 4820: 4817: 4815: 4812: 4810: 4807: 4805: 4802: 4800: 4797: 4795: 4792: 4790: 4787: 4785: 4782: 4780: 4777: 4775: 4772: 4770: 4767: 4765: 4762: 4760: 4757: 4755: 4752: 4751: 4749: 4747: 4743: 4737: 4734: 4732: 4729: 4727: 4724: 4722: 4719: 4718: 4716: 4714: 4713:Orientalizing 4710: 4704: 4701: 4700: 4698: 4696: 4692: 4688: 4681: 4676: 4674: 4669: 4667: 4662: 4661: 4658: 4646: 4643: 4641: 4638: 4636: 4633: 4631: 4628: 4626: 4623: 4622: 4620: 4616: 4611: 4608: 4606: 4603: 4601: 4597: 4593: 4589: 4585: 4584: 4581: 4571: 4568: 4567: 4565: 4563: 4559: 4553: 4552:Kabiria Group 4550: 4549: 4547: 4545: 4541: 4531: 4528: 4527: 4525: 4523: 4519: 4513: 4512:Gnathia vases 4510: 4508: 4505: 4504: 4502: 4500: 4496: 4490: 4487: 4485: 4482: 4480: 4477: 4476: 4474: 4472: 4471:South Italian 4468: 4462: 4459: 4457: 4454: 4452: 4449: 4447: 4444: 4442: 4439: 4437: 4434: 4433: 4431: 4429: 4425: 4419: 4416: 4414: 4411: 4409: 4406: 4404: 4401: 4398: 4394: 4391: 4389: 4386: 4384: 4381: 4380: 4378: 4374: 4368: 4367:Orientalizing 4365: 4363: 4360: 4358: 4355: 4353: 4352:Sub-Mycenaean 4350: 4349: 4347: 4343: 4333: 4330: 4329: 4327: 4325: 4321: 4315: 4312: 4311: 4309: 4307: 4303: 4297: 4294: 4292: 4289: 4287: 4284: 4282: 4279: 4277: 4274: 4273: 4271: 4267: 4263: 4256: 4251: 4249: 4244: 4242: 4237: 4236: 4233: 4221: 4218: 4216: 4213: 4211: 4208: 4206: 4203: 4201: 4198: 4196: 4193: 4191: 4188: 4186: 4185: 4181: 4179: 4176: 4174: 4171: 4169: 4166: 4164: 4161: 4160: 4158: 4154: 4144: 4141: 4139: 4136: 4134: 4131: 4129: 4126: 4124: 4121: 4120: 4118: 4116: 4112: 4106: 4103: 4101: 4098: 4096: 4093: 4091: 4088: 4086: 4083: 4081: 4078: 4076: 4073: 4071: 4068: 4066: 4063: 4062: 4060: 4058: 4054: 4048: 4045: 4043: 4040: 4038: 4037:South Italian 4035: 4033: 4030: 4028: 4025: 4023: 4020: 4018: 4015: 4013: 4010: 4009: 4007: 4003: 3993: 3990: 3989: 3987: 3985: 3981: 3975: 3974:Sub-Mycenaean 3972: 3971: 3969: 3967: 3963: 3957: 3956:Vasiliki ware 3954: 3952: 3949: 3948: 3946: 3944: 3940: 3934: 3931: 3930: 3928: 3924: 3920: 3913: 3908: 3906: 3901: 3899: 3894: 3893: 3890: 3884: 3881: 3879: 3876: 3875: 3871: 3865: 3863:0-87099-084-5 3859: 3854: 3853: 3850: 3844: 3841: 3837: 3834: 3830: 3827: 3823: 3820: 3816: 3813: 3809: 3808: 3804: 3797: 3794: 3792: 3789: 3787: 3784: 3783: 3778: 3773: 3763: 3757: 3753: 3749: 3745: 3741: 3737: 3731: 3727: 3723: 3719: 3715: 3707: 3706: 3701: 3698: 3694: 3692:9783406393075 3688: 3684: 3680: 3676: 3672: 3668: 3662: 3658: 3654: 3649: 3641: 3640: 3635: 3627: 3626: 3621: 3617: 3611: 3607: 3603: 3599: 3595: 3591: 3583: 3582: 3572: 3571: 3561: 3560: 3550: 3549: 3539: 3538: 3533: 3524: 3523: 3518: 3514: 3510: 3506: 3502: 3498: 3494: 3490: 3486: 3480: 3476: 3472: 3468: 3464: 3460: 3456: 3450: 3446: 3442: 3438: 3434: 3430: 3424: 3420: 3416: 3412: 3408: 3404: 3400: 3396: 3392: 3388: 3384: 3383: 3378: 3359: 3355: 3351: 3347: 3340: 3333: 3330: 3325: 3321: 3317: 3313: 3309: 3305: 3298: 3295: 3290: 3286: 3282: 3278: 3274: 3270: 3266: 3262: 3261: 3253: 3250: 3245: 3241: 3237: 3233: 3226: 3223: 3219: 3213: 3210: 3206: 3200: 3197: 3193: 3187: 3184: 3180: 3174: 3171: 3167: 3161: 3158: 3154: 3148: 3145: 3141: 3135: 3132: 3128: 3122: 3119: 3115: 3114:3-8053-0439-0 3111: 3107: 3101: 3098: 3094: 3088: 3086: 3082: 3078: 3072: 3069: 3065: 3059: 3056: 3052: 3046: 3043: 3039: 3033: 3031: 3027: 3023: 3017: 3014: 3010: 3004: 3001: 2995: 2992: 2988: 2982: 2979: 2975: 2969: 2966: 2962: 2956: 2953: 2949: 2943: 2940: 2937:,1987, p. 222 2936: 2930: 2927: 2923: 2917: 2914: 2911:,1989 p. 237. 2910: 2904: 2901: 2897: 2891: 2888: 2884: 2880: 2874: 2871: 2867: 2861: 2858: 2855:,1989, p. 234 2854: 2848: 2845: 2841: 2835: 2833: 2829: 2825: 2819: 2816: 2812: 2807: 2804: 2800: 2794: 2792: 2788: 2784: 2778: 2776: 2774: 2772: 2770: 2766: 2762: 2756: 2754: 2750: 2746: 2740: 2737: 2731: 2720: 2717: 2711: 2708: 2704: 2698: 2695: 2691: 2686: 2683: 2679: 2673: 2670: 2666: 2662: 2658: 2652: 2649: 2642: 2637: 2632: 2628: 2624: 2622: 2619: 2617: 2614: 2613: 2609: 2607: 2605: 2601: 2597: 2593: 2592:South Italian 2588: 2586: 2582: 2578: 2577:John Boardman 2574: 2570: 2569:Karl Schefold 2565: 2562: 2561:art historian 2558: 2553: 2551: 2547: 2546:Henri Matisse 2543: 2539: 2535: 2531: 2527: 2512: 2508: 2504: 2500: 2498: 2497:Pattern books 2494: 2490: 2486: 2482: 2478: 2474: 2470: 2465: 2463: 2459: 2458:manufactories 2455: 2451: 2446: 2442: 2438: 2433: 2431: 2427: 2423: 2420:. A rare pre- 2419: 2415: 2411: 2407: 2403: 2399: 2392: 2388: 2384: 2380: 2379:Magna Graecia 2376: 2372: 2368: 2361: 2359: 2357: 2353: 2349: 2345: 2340: 2336: 2330: 2328: 2324: 2320: 2316: 2312: 2308: 2304: 2303:South Italian 2295: 2291: 2287: 2283: 2279: 2275: 2271: 2267: 2260: 2258: 2256: 2252: 2248: 2244: 2243:Phantom Group 2240: 2234: 2232: 2228: 2224: 2216: 2214: 2212: 2208: 2204: 2200: 2196: 2191: 2189: 2185: 2181: 2177: 2173: 2169: 2165: 2156: 2152: 2148: 2141: 2139: 2137: 2133: 2132: 2127: 2124:and skyphoid 2123: 2119: 2115: 2111: 2107: 2103: 2099: 2095: 2091: 2087: 2082: 2080: 2076: 2072: 2068: 2064: 2056: 2052: 2048: 2044: 2040: 2037: 2033: 2029: 2025: 2024: 2019: 2012: 2010: 2008: 2004: 2000: 1996: 1992: 1988: 1984: 1980: 1976: 1972: 1968: 1960: 1956: 1952: 1948: 1944: 1940: 1936: 1932: 1928: 1926: 1922: 1918: 1914: 1910: 1906: 1902: 1898: 1897: 1896:lebes gamikos 1892: 1888: 1884: 1880: 1876: 1868: 1864: 1860: 1856: 1852: 1851: 1846: 1841: 1834: 1832: 1830: 1826: 1822: 1818: 1817:Dolon Painter 1813: 1809: 1805: 1801: 1797: 1793: 1789: 1785: 1781: 1777: 1773: 1765: 1760: 1756: 1752: 1751:Dolon Painter 1748: 1744: 1740: 1736: 1733: 1729: 1725: 1720: 1718: 1714: 1709: 1707: 1703: 1699: 1696:figures with 1695: 1691: 1687: 1683: 1679: 1675: 1670: 1668: 1663: 1661: 1656: 1655: 1650: 1646: 1645: 1640: 1636: 1632: 1628: 1624: 1619: 1612: 1608: 1604: 1600: 1599:Ixion Painter 1596: 1592: 1585: 1583: 1579: 1577: 1576: 1571: 1567: 1563: 1559: 1555: 1551: 1547: 1543: 1539: 1538: 1533: 1529: 1525: 1524: 1519: 1515: 1507: 1503: 1499: 1495: 1491: 1489: 1485: 1481: 1477: 1472: 1468: 1464: 1460: 1456: 1449: 1445: 1441: 1437: 1433: 1432: 1427: 1422: 1414: 1412: 1409: 1407: 1403: 1399: 1398:South Italian 1390: 1388: 1386: 1381: 1377: 1373: 1369: 1365: 1361: 1357: 1353: 1349: 1345: 1336: 1332: 1328: 1324: 1320: 1316: 1312: 1308: 1306: 1305: 1300: 1299: 1295:, as well as 1294: 1293: 1288: 1287: 1282: 1281: 1276: 1275: 1270: 1266: 1261: 1257: 1252: 1250: 1246: 1242: 1238: 1234: 1230: 1226: 1222: 1218: 1214: 1206: 1202: 1198: 1194: 1190: 1186: 1185: 1180: 1176: 1172: 1170: 1166: 1162: 1158: 1154: 1150: 1146: 1142: 1141: 1136: 1132: 1127: 1125: 1102: 1098: 1094: 1090: 1083: 1079: 1075: 1071: 1067: 1063: 1057: 1053: 1049: 1045: 1044: 1039: 1034: 1027: 1025: 1023: 1017: 1015: 1011: 1007: 1003: 999: 995: 991: 987: 983: 979: 975: 967: 965: 963: 959: 954: 952: 951: 946: 942: 938: 937: 932: 931: 926: 925: 920: 916: 912: 908: 904: 895: 891: 887: 883: 882: 877: 873: 869: 865: 863: 854: 850: 846: 842: 838: 837: 831: 824: 820: 817:420/400 BCE. 816: 812: 808: 804: 800: 796: 792: 788: 787: 782: 775: 773: 771: 767: 766:Dinos Painter 763: 759: 755: 751: 747: 743: 739: 735: 731: 723: 719: 715: 711: 706: 702: 700: 696: 692: 688: 684: 677: 673: 670:440/430 BCE. 669: 665: 661: 657: 653: 649: 647: 646:wall painting 643: 639: 635: 634: 629: 622: 618: 614: 610: 606: 602: 595: 593: 591: 590: 585: 584: 579: 575: 571: 565: 563: 562:Mediterranean 559: 555: 551: 547: 543: 539: 534: 530: 523: 519: 515: 511: 507: 502: 495: 493: 491: 487: 482: 480: 476: 471: 470: 465: 464: 459: 458: 453: 452: 446: 444: 440: 436: 432: 428: 424: 420: 419:Pioneer Group 413: 409: 406:510/500 BCE, 405: 401: 397: 393: 392: 387: 380: 378: 376: 373:, are called 372: 368: 364: 356: 354: 352: 351:South Italian 348: 344: 343:Magna Graecia 337: 333: 329: 325: 321: 317: 313: 309: 304: 300: 298: 293: 286: 282: 278: 274: 270: 269: 265: 261: 257: 250: 248: 244: 242: 234: 230: 226: 221: 217: 215: 211: 205: 203: 199: 195: 188: 184: 180: 177:scene on the 176: 172: 167: 163: 155: 153: 151: 147: 143: 142:everyday life 139: 135: 131: 125: 123: 119: 115: 111: 107: 102: 98: 93: 91: 87: 83: 76: 72: 68: 67: 62: 57: 51: 47: 43: 39: 38: 32: 19: 5471:Reed Painter 5376:Jena Painter 5276:Aristophanes 5232: 5129:Comast Group 5044:Pontic Group 4939:Lion Painter 4889:Gela Painter 4869:Duel Painter 4819:Burgon Group 4746:Black-figure 4605:John Beazley 4570:Pontic Group 4507:Canosa vases 4323: 4306:Black-figure 4286:White-ground 4182: 4163:Conservation 4047:White ground 4031: 4017:Black-figure 3951:Kamares ware 3852: 3849: 3839: 3832: 3825: 3818: 3811: 3786:Online books 3776: 3751: 3747: 3725: 3721: 3718:Simon, Erika 3703: 3682: 3678: 3656: 3652: 3637: 3623: 3601: 3597: 3579: 3568: 3557: 3546: 3535: 3520: 3500: 3496: 3470: 3466: 3444: 3440: 3418: 3414: 3390: 3365:. Retrieved 3358:the original 3349: 3345: 3332: 3307: 3303: 3297: 3264: 3258: 3252: 3231: 3225: 3217: 3212: 3204: 3199: 3191: 3186: 3178: 3173: 3165: 3160: 3152: 3147: 3139: 3134: 3126: 3121: 3105: 3100: 3092: 3091:Hurschmann: 3076: 3075:Hurschmann: 3071: 3063: 3062:Hurschmann: 3058: 3050: 3049:Hurschmann: 3045: 3037: 3036:Hurschmann: 3021: 3020:Hurschmann: 3016: 3008: 3007:Hurschmann: 3003: 2994: 2986: 2985:Hurschmann: 2981: 2973: 2972:Hurschmann: 2968: 2960: 2959:Hurschmann: 2955: 2947: 2942: 2934: 2929: 2924:,1991, p. 12 2921: 2916: 2908: 2903: 2895: 2890: 2882: 2878: 2873: 2865: 2860: 2852: 2847: 2839: 2823: 2818: 2810: 2806: 2798: 2782: 2760: 2744: 2739: 2719: 2714:9. März 1787 2710: 2697: 2685: 2677: 2672: 2664: 2660: 2656: 2651: 2589: 2554: 2549: 2541: 2534:Gustav Klimt 2523: 2496: 2492: 2481:all'etrusque 2480: 2473:mythological 2466: 2434: 2426:watercolours 2405: 2395: 2371:Gnathia ware 2352:Torcop Group 2347: 2343: 2334: 2331: 2326: 2306: 2299: 2285: 2277: 2276:on a volute 2235: 2220: 2192: 2160: 2135: 2129: 2125: 2121: 2117: 2113: 2109: 2083: 2060: 2046: 2027: 2021: 1964: 1950: 1942: 1916: 1912: 1908: 1904: 1900: 1894: 1890: 1886: 1872: 1867:Altes Museum 1858: 1848: 1844: 1795: 1769: 1746: 1731: 1721: 1710: 1701: 1671: 1664: 1659: 1652: 1648: 1642: 1639:loutrophoroi 1638: 1634: 1630: 1626: 1622: 1616: 1602: 1580: 1573: 1558:amazonomachy 1541: 1535: 1527: 1523:loutrophoroi 1521: 1517: 1513: 1511: 1498:Apulian vase 1470: 1466: 1462: 1452: 1448:Altes Museum 1439: 1429: 1410: 1394: 1340: 1329:520/10 BCE. 1326: 1302: 1296: 1290: 1284: 1278: 1272: 1253: 1210: 1199:520/10 BCE. 1196: 1182: 1168: 1138: 1128: 1097:Jena Painter 1093:Ermou Street 1086: 1082:Getty Museum 1073: 1050:550/30 BCE. 1047: 1041: 1018: 997: 993: 989: 985: 981: 977: 971: 962:Jena Painter 955: 948: 940: 934: 928: 922: 899: 892:425/20 BCE. 889: 879: 858: 853:Altes Museum 844: 834: 814: 784: 727: 680: 667: 631: 625: 612: 605:Neck amphora 587: 581: 566: 532: 526: 513: 496:Late Archaic 483: 474: 467: 461: 455: 449: 447: 422: 416: 403: 389: 360: 340: 327: 289: 276: 266: 264:black-figure 245: 237: 206: 191: 175:Black-figure 126: 94: 81: 80: 74: 64: 45: 35: 5607:Pan Painter 5381:Kerch style 5271:Apollodoros 4814:BMN Painter 4441:Klazomenian 4095:Nikosthenes 3992:Frying pans 3933:Minyan ware 3477:: Leidorf. 2665:Antike Welt 2581:Erika Simon 2573:Kerch Style 2518: 1780 2410:Renaissance 2398:Middle Ages 2319:Tondo Group 2239:Sokra Group 2049:350/40 BC. 2026:scene on a 1981:, the gods 1925:crenelation 1915:and volute 1861:350/40 BC. 1570:Bellerophon 1348:excavations 974:Kerch Style 968:Kerch Style 799:Leucippidae 750:Pan Painter 443:vase shapes 262:on a boat, 241:silhouettes 146:iconography 122:Greek World 5626:Categories 5599:Mannerists 5574:Euthymides 5569:Euphronios 5461:Polygnotos 5233:Red-figure 5142:KY Painter 5137:KX Painter 4879:Elbows Out 4635:Hadra vase 4428:East Greek 4418:Thessalian 4393:Chalkidian 4324:Red-figure 4269:Techniques 4220:Vase types 4128:Hermogenes 4090:Hypereides 4080:Euthymides 4075:Euphronios 4032:Red-figure 3761:3805311117 3735:3777433101 3705:Vasenmaler 3666:3905083175 3615:3806217432 3484:3896463438 3454:3805312628 3428:3805302347 3346:Hephaistos 2933:Boardman: 2920:Boardman: 2907:Boardman: 2877:Boardman: 2866:Vasenmaler 2851:Boardman: 2840:Vasenmaler 2824:Vasenmaler 2732:References 2540:painted a 2450:Grand Tour 2437:Classicism 2422:Classicist 2172:Chalkidike 1911:, chalice 1808:Cheophoroi 1792:Metapontum 1724:CA Painter 1562:Trojan War 1419:See also: 1225:Euphronios 1169:vice versa 1145:Polygnotos 1131:Euphronius 1089:Kerameikos 980:, chalice 811:Hesperides 807:Heraclesin 764:, and the 758:Polygnotos 746:mannerists 736:, and the 473:inscribed 431:Euthymides 427:Euphronios 400:Euphronios 357:Beginnings 108:, were in 5564:Epiktetos 5431:Pamphaios 4969:N Painter 4824:C Painter 4695:Geometric 4645:Name vase 4583:Painters 4489:Campanian 4456:Wild Goat 4362:Geometric 4281:Bilingual 4200:Symposium 4190:Name vase 4123:Ergoteles 4100:Pamphaios 4070:Ergotimos 4012:Bilingual 3966:Mycenaean 3513:878870139 3439:(1991) . 3413:(1994) . 3403:419228649 3389:(1963) . 3324:162478619 3304:Antiquity 3289:161909935 3244:708421572 2625:See also 2418:sculpture 2344:oinochoai 2255:Tarquinia 2102:Mt. Aetna 2090:Syracusae 2075:Syracusae 1983:Aphrodite 1812:Aeschylos 1633:, column 1625:and bell 1469:, column 1380:Black Sea 1360:Etruscans 1304:kantharoi 1269:symposium 1193:Epiktetos 1189:palaestra 1140:perioikoi 1076:360 BCE. 907:Aphrodite 881:kantharos 872:Cassandra 847:430 BCE. 791:name vase 722:Baltimore 683:Parthenon 628:Classical 615:470 BCE. 516:480 BCE. 490:Epiktetos 396:palaestra 345:and even 330:530 BCE. 320:Andokides 279:530 BCE. 214:oxidation 210:reduction 156:Technique 150:mythology 5584:Phintias 5546:YZ Group 5421:Onesimos 5366:Hermonax 5084:Sophilos 4979:Nearchos 4934:Kleitias 4759:Affecter 4599:Scholars 4562:Etruscan 4544:Boeotian 4522:Sicilian 4479:Lucanian 4413:Laconian 4403:Cycladic 4105:Sophilos 4027:Bucchero 3984:Cycladic 3746:(1991). 3677:(1995). 3596:(2002). 3495:(1995). 3465:(2002). 3220:, p. 7f. 2797:Oakley: 2781:Oakley: 2610:See also 2507:Wedgwood 2462:Wedgwood 2348:lekythoi 2323:Volterra 2288:360 BC. 2274:Poseidon 2241:and the 2203:Carthage 2122:lekythoi 2063:Sicilian 1953:330 BC. 1905:lekythoi 1843:Chalice 1819:and the 1796:nestoris 1786:and the 1780:Pisticci 1772:Lucanian 1713:AV Group 1688:and the 1649:nestoris 1618:Campania 1605:330 BC. 1586:Campania 1566:Heracles 1552:and the 1518:amphorae 1482:and the 1442:340 BC. 1366:and the 1321:, maybe 1243:and the 1229:Onesimos 1217:Nearchos 1163:and the 1161:Hermonax 1124:Sophilos 1112:ἐποίησεν 1022:YZ Group 1010:Heracles 1002:Dionysos 998:oinochoe 986:lekythos 984:, belly 936:oinochai 924:lekythoi 903:Dionysos 836:oinochoe 803:Dioscuri 734:Hermonax 691:symmetry 685:and its 658:and the 578:lekythoi 556:and the 546:Onesimos 531:period ( 506:libation 469:amphorae 460:. Large 454:and the 435:Phintias 322:and the 260:Dionysos 5589:Smikros 5491:Skythes 5160:Exekias 5152:Group E 4774:Anakles 4499:Apulian 4484:Paestan 4446:Rhodian 4408:Euboean 4133:Phrynos 4057:Potters 3379:Sources 3367:28 June 2509:volute 2414:Baroque 2337:by the 2327:kraters 2315:Orvieto 2307:kraters 2280:by the 2251:Falerii 2211:Liguria 2195:Etruria 2188:Laconia 2184:Corinth 2180:Eretria 2164:Boeotia 2155:Chariot 2151:Artemis 2126:pyxides 2118:lekanes 2114:hydriai 2110:kraters 2100:around 2036:Manfria 2032:Lentini 2030:of the 1979:Electra 1975:Orestes 1971:Silenos 1967:maenads 1935:Orestes 1917:kraters 1913:kraters 1909:pelikes 1901:lekanes 1891:hydriai 1887:kraters 1875:Paestan 1847:with a 1835:Paestum 1766:Lucania 1749:by the 1732:naiskos 1708:later. 1706:Paestum 1702:hydriai 1698:thyrsos 1654:pelikes 1635:kraters 1631:kraters 1627:kraters 1623:hydriai 1542:naiskos 1537:naiskoi 1528:hydriai 1514:kraters 1500:by the 1476:thiasos 1471:kraters 1467:craters 1455:Apulian 1431:Skyphos 1344:drachma 1323:Skythes 1298:kylikes 1292:stamnos 1274:psykter 1213:Exekias 1187:with a 1106:ἐγραψεν 1006:Ariadne 990:skyphos 941:Lekanis 930:pyxides 884:by the 839:by the 801:by the 793:of the 710:amphora 699:balance 695:harmony 656:Oedipus 644:and of 642:tragedy 607:by the 570:Theseus 529:Archaic 451:psykter 394:with a 347:Etruria 316:Amphora 297:Exekias 292:Corinth 273:Exekias 118:Etruria 69:by the 40:by the 5396:Makron 5336:Douris 5281:Asteas 4451:Samian 4383:Argive 4143:Tleson 4138:Sokles 4085:Gryton 4065:Amasis 3943:Minoan 3926:Aegean 3860: 3774:about 3758: 3732: 3689: 3663: 3612: 3530:, in: 3511: 3481: 3475:Rahden 3451: 3425: 3401: 3322: 3287: 3281:630079 3279: 3242: 3112: 2513:vase, 2511:krater 2454:Goethe 2335:krater 2311:Chiusi 2294:Louvre 2278:krater 2270:Athena 2136:phlyax 2131:erotes 2106:Lipari 2071:Himera 2067:poleis 2055:Louvre 2043:chiton 2028:krater 2023:Phlyax 2013:Sicily 1999:Hermes 1995:Athena 1991:Apollo 1955:London 1947:Python 1943:krater 1939:Delphi 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