332:
to separate the panel scene from the ornamental band, and occasionally used a meander. Two other motifs he regularly employed in were zig-zag bands and rosettes. Finally, the Amasis
Painter is most recognizable in his use of floral ornamental bands, which Beazley characterizes as lively and vivid. Beginning with simple upright-buds, as opposed to the pendant buds characteristic of other artists, he eventually developed the more complex palmette-lotus festoon. He used both of these motifs throughout his career, and, especially in later works, they are notable for their excellent symmetry and balance of color. As Mertens describes, “In the palmette-lotus festoon…, each unit is meticulously spaced within the field, and extraordinary care has been taken with the tendrils, especially those developing from the palmettes. The intervals are as important as the forms.”
380:, J. D. Beazley's close friend and associate, the show brought together 65 works attributed to the Amasis Painter from around the world, opening on the centenary of Beazley's birth. Beazley devoted his 60-year career to diligent observation and detailed categorization and attribution of ancient Greek vase painters and schools based on style. The exhibition recognized not only the work of the Amasis Painter, but also Beazley's scholarship, which established this artist's body of work. The scholarly catalogue for exhibition and the papers published from the accompanying colloquium greatly contributed to an awareness of and scholarship on this painter, and helped to relocate him within the complex tapestry of artists and influence of sixth-century black-figure vase painting.
298:
subjects of gods and mortals, and in his many genre scenes. The Amasis
Painter is credited as the first to show non-specific scenes of interactions between gods, especially Dionysus and his merry revelers whom he painted more than 20 times, compared to Exekias’ one. Another of his most common subjects is Athena facing Poseidon, and while the viewer is reminded of the myth of the competition for Athens, the Amasis Painter’s portrayal of this scene typically does not convey a specific narrative. He extends these representations of gods to include mortals; as Stewart argues, such scenes speak to the painter's ability to evoke a contemporary cultural awareness of the ever-present gods in Greek daily life.
290:
387:
attributions to artists and schools regardless of perceived quality. The ability to view the Amasis
Painter's large body of work in a single exhibition has led to a better appreciation of the context of his workshop—and the hundreds of other black-figure vases by the many painters and potters working in the sixth-century BC. The Amasis Painter's oeuvre provides a fascinating glimpse into one part of this puzzle, which, when pieced together by scholars, reveals much about the arts and crafts of Archaic Greece.
228:. The Amasis Painter borrows scenes from the Heidelberg Painter, such as a warrior dressing himself in greaves with multiple bystanders; however, the Amasis Painter adds his own touch in the treatment of his figures, imparting a greater sense of detail, and often adding a signature double-band border and palmette-lotus festoon to the ornamental decoration. In other examples, the Amasis Painter’s use of fringed garments also emphasizes a possible close relationship between the two.
31:
142:
245:
345:
exceptional draughtsmen and masters of detail, which was employed to convey a vivid scene. In the traditional literature, scholars have favored
Exekias as the superior artist, and he is credited with mastering the pre-Classical development of narrative: condensing well-known stories and depicting moments that imply past and future events, and “invoking causes and consequences with a power and economy unattained by his predecessors.”
209:, leading some to believe that the Amasis Painter—or at least the potter Amasis—may have been a foreigner, originally from Egypt. Other possibilities include that he was an Athenian with an Egyptian name, which is highly plausible, given close trade relations between Greece and Egypt, or that his signed name was a nickname given to him by his contemporaries due to some Egyptian characteristic, an example being the alabastron shape.
232:
while generally conservative, evolved with certain developments in the medium. However, the Amasis
Painter also rejected certain trends and managed to maintain a consistency that can be traced throughout, making it difficult to date works within his lifetime. His development over the course of his career, which is loosely classified into early, middle and late phases, demonstrates the artist’s journey from novice to master. As
301:
Departure from the traditional canon allowed the Amasis
Painter greater freedom to explore particularized detail in his treatment of mythological subjects. The Amasis Painter was also a pioneer in his depiction of genre scenes of everyday life, such as the transport by cart of a newly married couple
348:
Art historians credit the Amasis
Painter, on the other hand, with the development of original, non-narrative genre scenes. They consider his strongest work to be examples that employ humor, wit and expression through masterful use of both the graver and the brush. In the prevailing literature prior
331:
Connoisseurs are also able to identify the work of the Amasis
Painter by his characteristic use of ornament. The artist typically reinforced his frames with a double and sometimes triple glazed line, another carryover from the Heidelberg Painter. In addition, he might use this double or triple line
280:
Whether the painter was indeed the potter or not, the Amasis
Painter decorated a wide variety of shapes, including panel and neck amphorae, used for wine or oil storage; oinochoai, wine pouring jugs; lethythoi, oil jars; alabastra and aryballoi, for oils or perfumes; and a variety of drinking cups,
276:
and a vessel fragment. For scholars who believe that the potter and painter were identical, the petite and refined shapes of the Amasis vessels reinforce the argument for Amasis' innovative contributions to sixth-century
Athenian vases. As Boardman writes, "The potting of the Amasis Painter's vases
344:
are traditionally considered by scholars to represent the two "schools" of Attic black-figure painting in the mid-6th century BC, and are credited with carrying the black-figure technique to full maturity; traditional scholarly discussion of either painter implies a comparison. Both artists were
310:
The Amasis Painter is recognizable by his preference for symmetry, precision and clarity, and expressiveness through mastery of his medium and composition. As Von Bothmer points out, the artist is especially strong as a miniaturist, and highly skilled in his creation of harmony between shape and
256:
meaning "Amasis made me", indicating the artist Amasis as the potter of these works. As all 12 works were decorated by a single painter, some scholars have assumed that the potter and painter were one and the same. However, since the 1971 attribution of a signed work by Amasis to the hand of the
231:
The career of the Amasis Painter was long, spanning nearly 50 years from around 560 to 515 BC, and encompassed the transition from the early to mature phases in Attic black-figure vase painting. The Amasis Painter was singular in his reaction to the rapid changes happening around him. His style,
386:
was a critical step in acknowledging the individual body of work of this painter and his contributions to the black-figure repertoire, while also highlighting the limitations of over- or under-estimating the influence of a single artist working in any age. Beazley's legacy speaks to this in his
314:
Another unique characteristic of the Amasis Painter's style is his occasional use of a glaze outline to delineate women's figures, specifically maenads. While he was not the first to use a glaze outline, he was the first to combine it with the black-figure technique on a single vessel, possibly
297:
The Amasis Painter tackled nearly every subject available to the sixth-century vase painter; of 165 scenes, 20 are narrative mythological subjects. However, his true character as an artist and most important contributions to the legacy of black-figure painting are revealed in his non-narrative
357:'s connoisseurship accounts for the oeuvre of the Amasis Painter, and allows modern viewers and scholars to consider his work in this way. Exekias and the Amasis Painter were equally talented, each in his own way, and instrumental to the development of black-figure vase painting in Athens.
192:
technique. He owes his name to the signature of the potter Amasis ("Amasis made me"), who signed twelve works painted by the same hand. At the time of the exhibition, "The Amasis Painter and His World" (1985), 132 vases had been attributed to this artist.
281:
including mastoids, skyphoi, and kylikes. Of these shapes, the Amasis Painter seems to have preferred smaller, "user-friendly" forms, from 30 to 35 centimeters high, and reduced dimensions of painting space, for example, in panels.
277:
is as distinctive as the painting. The concurrence of the two phenomena might well suggest that potter and painter were one man, particularly as the distinctive elements in each craft seem to share a common spirit."
201:
As with any of the artisans working during the sixth century BC, very little is understood about the Amasis Painter's life or personality. Scholars do know that Amasis is a Greek version of an
1078:. Colloquium sponsored by the Getty Center for the History of Art and the Humanities and symposium sponsored by the J. Paul Getty Museum. Malibu, California: J. Paul Getty Museum, 1987.
323:
technique, which was in use at the end of his career, is unknown, but the free, curvilinear lines and bright compositions in his later work may indicate its influence.
1116:
220:
Despite the possibility of his Egyptian origin, it is generally agreed by scholars that the Amasis Painter learned his trade in Athens, most likely with the
353:, however, served to reintroduce the Amasis Painter in a new light: as one crucial thread in a network of painters in sixth-century Greece. Importantly,
2080:
2085:
1282:
2090:
2075:
1649:
293:
Lekythos attributed to the Amasis Painter showing a wedding procession. Gift of Walter C. Baker, 1956, 56.11.1, Metropolitan Museum of Art.
289:
1734:
1109:
1034:
1026:
2037:
217:
has no clear explanation, but he is generally thought to have been poking fun at Amasis as a contemporary professional rival.
1969:
1352:
1049:
1039:
1102:
1714:
1125:
527:
252:
There are 11 black figure vases and one fragment that are painted by the same hand and bear a signature that reads,
1709:
473:
373:
1899:
532:
236:
explains, "His early work is conventional and tame, but as he matures he displays a more individual assurance".
1699:
1192:
349:
to the Getty exhibition, the Amasis Painter was considered an outlier in an Exekian march towards classicism.
2070:
1859:
1590:
1427:
1447:
1402:
1247:
1242:
1834:
1774:
1657:
1442:
1007:
Beazley, J. D. "The Development of Attic Black Figure." Berkeley: University of California Press, 1986.
261:, connoisseurs are reminded to distinguish between the potter Amasis and the Amasis Painter with care.
1974:
1684:
1184:
1151:
1018:
1010:
377:
157:
570:
updated by Dietrich von Bothmer and Mary Moore (Berkeley: University of California Press, 1986), 52.
30:
1954:
1874:
1829:
1809:
1237:
141:
2022:
1959:
1904:
1894:
1879:
1799:
1784:
1671:
1417:
1387:
1347:
1322:
1272:
1267:
1174:
1066:
320:
233:
221:
505:
Schalen-Skyphos A 479 • Amphora F 25 • Amphora F 26 • Oinochoe F 30 • Amphora F 36 • Schale F 75
1944:
1939:
1934:
1864:
1769:
1744:
1724:
1616:
1492:
1437:
1432:
1412:
1367:
1357:
1312:
1227:
1217:
1030:
1022:
244:
1949:
1924:
1914:
1889:
1849:
1824:
1704:
1689:
1679:
1634:
1608:
1557:
1542:
1532:
1297:
1292:
1287:
1207:
1169:
1164:
1159:
398:
258:
43:
1979:
1964:
1844:
1839:
1789:
1779:
1749:
1537:
1512:
1472:
1467:
1452:
1302:
1277:
172:, "Amasis made me"). Cabinet des médailles de la Bibliothèque nationale de France, Paris.
1884:
1854:
1794:
1759:
1754:
1739:
1729:
1694:
1639:
1552:
1547:
1517:
1462:
1457:
1422:
1397:
1392:
1342:
1337:
1332:
1232:
1222:
1141:
1081:
316:
273:
153:
264:
The painter's twelve signed pieces include three broad-shouldered neck-amphorae, four
2064:
1994:
1919:
1764:
1626:
1527:
1507:
1502:
1487:
1477:
1362:
1133:
827:
Andrew F. Stewart, "Narrative, Genre and Realism in the Work of the Amasis Painter,"
583:(New York and London: Thames and Hudson, and Malibu: J. Paul Getty Museum, 1985), 11.
319:
suggests, or reacting to it. The extent of the Amasis Painter's interaction with the
185:
39:
805:
Cook, 81; Mary B. Moore, "The Amasis Painter and Exekias: Approaches to Narrative,"
1909:
1814:
1567:
1482:
1377:
1327:
1307:
1257:
1197:
998:
354:
189:
46:
by the Amasis Painter, dated to within 550–530 BC. Inscription: AMASIS MEΠOIESEN,
2045:
1819:
1252:
2012:
2007:
1580:
1575:
1317:
1094:
968:
Von Bothmer, “Greek Vase-Painting: Two Hundred Years of Connoisseurship,” in
2002:
1869:
1407:
1262:
1015:
The Amasis Painter and His World. Vase-Painting in Sixth-Century B.C. Athens
581:
The Amasis Painter and His World: Vase-Painting in Sixth-Century B.C. Athens
225:
214:
206:
224:. This painter worked around 575–550 BC, and is best known for his work on
1984:
1804:
1522:
1372:
418:
Bauchamphora F 1688 • Amphora F 1691 • Fragment einer Bauchamphora F 1692
372:, the first retrospective of an Attic black-figure artist, opened at the
269:
265:
145:
35:
2027:
1929:
1598:
1212:
341:
302:
to the house of the groom, or the working of wool by a group of women.
210:
161:
1719:
181:
149:
51:
442:
Halsamphora 18026 • Amphora 01.8026 • Amphora 01.8027 • Kylix 10.651
1059:
Clark, Andrew J. “The Earliest Known Chous by the Amasis Painter.”
757:
Andrew J. Clark, “The Earliest Known Chous by the Amasis Painter,”
551:
2017:
1497:
1382:
288:
243:
202:
165:
128:
1098:
248:
Signature of Amasis on an olpe with trefoil mouth, Louvre F 30
168:. Inscription: ΔΙΟΝVSOS ("Dionysos"), AMASIS MEΠOIESEN (
213:
use of the label “Amasos” for an illustration of an
2036:
1993:
1670:
1648:
1625:
1607:
1589:
1566:
1183:
1150:
1132:
121:
109:
99:
91:
83:
75:
59:
21:
809:(Malibu: J. Paul Getty Museum, 1987), 154-155.
1110:
8:
970:Papers on the Amasis Painter and His World,
829:Papers on the Amasis Painter and His World,
807:Papers on the Amasis Painter and His World.
493:Bauchamphora 06.1021.69 • Amphora 56.171.10
1990:
1563:
1117:
1103:
1095:
1076:Papers on the Amasis Painter and His World
424:Bloomington, Indiana University Art Museum
18:
1044:Athenian Black Figure Vases: A Handbook.
944:Athenian Black Figure Vases: A Handbook,
140:
544:
891:The Development of Attic Black-Figure,
669:3rd ed. (London: Routledge, 1997), 83.
637:The Development of Attic Black-Figure,
620:The Development of Attic Black-Figure,
568:The Development of Attic Black-Figure,
315:anticipating the red-figure style, as
770:John Boardman, “The Amasis Painter,”
152:, one holding a hare. Side B from an
50:, "Amasis made (me)". Located in the
7:
487:New York, Metropolitan Museum of Art
592:Alan L. Boegehold, introduction to
1735:Painter of the Berlin Dancing Girl
1283:Class of Cabinet des MĂ©dailles 218
746:Development of Attic Black-Figure,
711:Development of Attic Black-Figure,
511:WĂĽrzburg, Martin von Wagner Museum
14:
983:The Amasis Painter and His World,
904:The Amasis Painter and His World,
860:The Amasis Painter and His World,
785:The Amasis Painter and His World,
733:The Amasis Painter and His World,
680:The Amasis Painter and His World,
663:The Amasis Painter and His World,
650:The Amasis Painter and His World,
598:The Amasis Painter and His World,
594:The Amasis Painter and His World,
460:Los Angeles, J. Paul Getty Museum
268:(an early form of wine jug), one
1072:3rd ed. London: Routledge, 1997.
1056:London: Thames and Hudson, 2001.
1046:London: Thames and Hudson, 1991.
1004:. Oxford: Clarendon Press, 1956.
1002:Attic Black-Figure Vase-Painters
633:The Amasis Painter and His World
481:Bauchamphora 1383 • Amphora 8763
384:The Amasis Painter and His World
370:The Amasis Painter and His World
362:The Amasis Painter and His World
351:The Amasis Painter and His World
29:
772:The Journal of Hellenic Studies
554:The Journal of Hellenic Studies
499:Paris, Musée National du Louvre
188:vase painter who worked in the
2081:Anonymous artists of antiquity
1970:Painter of the Vatican Mourner
1088:Oxford: Clarendon Press, 1956.
336:The Amasis Painter and Exekias
1:
272:, one cup, one small bowl, a
180:(active around 550–510 BC in
2086:Immigrants to Archaic Athens
957:Athenian Black Figure Vases,
207:a contemporary Egyptian king
2091:6th-century BC Greek people
2076:Ancient Greek vase painters
1126:Ancient Greek vase painters
1061:Metropolitan Museum Journal
1054:The History of Greek Vases.
759:Metropolitan Museum Journal
528:List of Greek vase painters
205:name, more specifically of
2107:
840:Stewart, 36; Mertens, 176.
474:Staatliche Antikensammlung
448:London, The British Museum
374:Metropolitan Museum of Art
16:Ancient Greek vase painter
533:Corpus vasorum antiquorum
135:
117:
28:
1193:Painter of Acropolis 606
1428:Painter of Nicosia Olpe
556:Vol. 78 (1958), pp. 1-3
412:Berlin, Antikensammlung
340:The Amasis Painter and
164:, ca. 550–530 BC, from
105:About 90 vase paintings
1448:Painter of Palermo 489
1403:Painter of Munich 1410
1248:Painter of Berlin 1686
1243:Painter of Berlin A 34
1070:Greek Painted Pottery.
1017:. Malibu, California,
667:Greek Painted Pottery,
635:, 51, 70-71; Beazley,
579:Dietrich von Bothmer,
552:"The Amasis Painter",
454:Olpe B 52 • Olpe B 471
436:Boston, Museum of Arts
294:
249:
173:
131:, if he was from Egypt
1658:Group of Rhodes 12264
1443:Oxford Palmette Class
924:Cook, 83; Moore, 153.
292:
247:
144:
1975:Villa Giulia Painter
1019:J. Paul Getty Museum
1011:Dietrich von Bothmer
596:27-32; von Bothmer,
378:Dietrich von Bothmer
1955:Triptolemos Painter
1875:Penthesilea Painter
1830:Kleophrades Painter
1810:Ilioupersis Painter
1238:Bellerophon Painter
1086:The Amasis Painter.
368:In autumn of 1985,
327:Decorative elements
1960:Underworld Painter
1905:Providence Painter
1895:Pistoxenos Painter
1880:Persephone Painter
1800:Hasselmann Painter
1785:Eucharides Painter
1388:Lysippides Painter
1353:Horse-bird Painter
1348:Heidelberg Painter
1323:Euphiletos Painter
1273:Cerameicus Painter
1268:Castellani Painter
1175:Polyphemos Painter
295:
250:
222:Heidelberg Painter
174:
113:Black-figure style
2058:
2057:
2054:
2053:
1945:Tarquinia Painter
1940:Tarporley Painter
1935:Snub-nose Painter
1865:Oreithyia Painter
1770:Dokimasia Painter
1745:Bryn Mawr Painter
1725:Baltimore Painter
1700:Andokides painter
1666:
1665:
1617:Cavalcade Painter
1493:Princeton Painter
1438:Northampton Group
1433:Nikoxenos Painter
1413:Naucratis Painter
1368:Kassandra Painter
1358:Hypobibazon Class
1313:Edinburgh Painter
1228:Antimenes Painter
1218:Arkesilas Painter
1063:15 (1980): 35-51.
665:168; R. M. Cook,
661:Joan R. Mertens,
376:. Curated by Dr.
139:
138:
87:Greek or Egyptian
48:Amasis m'epoiesen
2098:
1991:
1950:Tithonos Painter
1925:Sisyphus Painter
1915:Shuvalov Painter
1890:Pisticci Painter
1850:Meleager Painter
1825:Kleophon Painter
1705:Antiphon Painter
1690:Altamura Painter
1680:Achilles Painter
1635:Acheloos Painter
1609:Gorgoneion Group
1564:
1558:Xenokles Painter
1543:Three Line Group
1533:Taleides Painter
1298:Diosphos Painter
1293:Daybreak Painter
1288:Columbus Painter
1208:Anagyrus Painter
1170:Mesogeia Painter
1165:Honolulu Painter
1160:Analatos Painter
1119:
1112:
1105:
1096:
986:
979:
973:
966:
960:
953:
947:
940:
934:
933:Stewart, 33, 39.
931:
925:
922:
916:
913:
907:
900:
894:
887:
881:
878:
872:
869:
863:
856:
850:
847:
841:
838:
832:
825:
819:
816:
810:
803:
797:
794:
788:
781:
775:
768:
762:
755:
749:
742:
736:
729:
723:
720:
714:
707:
701:
698:
692:
689:
683:
676:
670:
659:
653:
646:
640:
629:
623:
616:
610:
607:
601:
590:
584:
577:
571:
564:
558:
549:
466:Schale 79.AE.197
399:Acropolis Museum
259:Taleides Painter
254:Amasis mepoiesen
170:Amasis mepoiesen
124:
102:
33:
19:
2106:
2105:
2101:
2100:
2099:
2097:
2096:
2095:
2061:
2060:
2059:
2050:
2032:
1989:
1980:Wedding Painter
1965:Varrese Painter
1845:Meidias Painter
1840:Marsyas Painter
1790:Foundry Painter
1780:Eretria Painter
1750:Chrysis Painter
1662:
1644:
1621:
1603:
1585:
1562:
1538:Theseus Painter
1513:Rycroft Painter
1473:Piraeus Painter
1468:Phrynos Painter
1453:Panther Painter
1303:Dodwell Painter
1278:Chimera Painter
1179:
1146:
1128:
1123:
1092:
1082:Karouzou, Semni
995:
990:
989:
980:
976:
967:
963:
954:
950:
941:
937:
932:
928:
923:
919:
914:
910:
901:
897:
888:
884:
879:
875:
870:
866:
857:
853:
848:
844:
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835:
826:
822:
817:
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804:
800:
795:
791:
782:
778:
769:
765:
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752:
743:
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660:
656:
647:
643:
630:
626:
617:
613:
608:
604:
591:
587:
578:
574:
566:J. D. Beazley,
565:
561:
550:
546:
541:
524:
393:
366:
338:
329:
308:
287:
242:
199:
197:Life and career
122:
100:
71:
70:Athens or Egypt
68:
66:
65:
55:
24:
17:
12:
11:
5:
2104:
2102:
2094:
2093:
2088:
2083:
2078:
2073:
2071:510s BC deaths
2063:
2062:
2056:
2055:
2052:
2051:
2049:
2048:
2042:
2040:
2034:
2033:
2031:
2030:
2025:
2020:
2015:
2010:
2005:
1999:
1997:
1988:
1987:
1982:
1977:
1972:
1967:
1962:
1957:
1952:
1947:
1942:
1937:
1932:
1927:
1922:
1917:
1912:
1907:
1902:
1897:
1892:
1887:
1885:Phiale Painter
1882:
1877:
1872:
1867:
1862:
1857:
1855:Niobid Painter
1852:
1847:
1842:
1837:
1832:
1827:
1822:
1817:
1812:
1807:
1802:
1797:
1795:Harrow Painter
1792:
1787:
1782:
1777:
1772:
1767:
1762:
1760:Darius Painter
1757:
1755:Codrus Painter
1752:
1747:
1742:
1740:Brygos Painter
1737:
1732:
1730:Berlin Painter
1727:
1722:
1717:
1712:
1707:
1702:
1697:
1695:Amykos Painter
1692:
1687:
1682:
1676:
1674:
1668:
1667:
1664:
1663:
1661:
1660:
1654:
1652:
1650:Little Masters
1646:
1645:
1643:
1642:
1640:Chiusi Painter
1637:
1631:
1629:
1623:
1622:
1620:
1619:
1613:
1611:
1605:
1604:
1602:
1601:
1595:
1593:
1587:
1586:
1584:
1583:
1578:
1572:
1570:
1561:
1560:
1555:
1553:Tydeus Painter
1550:
1548:Tityos Painter
1545:
1540:
1535:
1530:
1525:
1520:
1518:Sappho Painter
1515:
1510:
1505:
1500:
1495:
1490:
1485:
1480:
1475:
1470:
1465:
1463:Pholoe Painter
1460:
1458:Perizoma Group
1455:
1450:
1445:
1440:
1435:
1430:
1425:
1423:Nessos Painter
1420:
1415:
1410:
1405:
1400:
1398:Mastos Painter
1395:
1393:Madrid Painter
1390:
1385:
1380:
1375:
1370:
1365:
1360:
1355:
1350:
1345:
1343:Haimon Painter
1340:
1338:Gorgon Painter
1335:
1333:Goltyr Painter
1330:
1325:
1320:
1315:
1310:
1305:
1300:
1295:
1290:
1285:
1280:
1275:
1270:
1265:
1260:
1255:
1250:
1245:
1240:
1235:
1233:Beldam Painter
1230:
1225:
1223:Athena Painter
1220:
1215:
1210:
1205:
1203:Amasis Painter
1200:
1195:
1189:
1187:
1181:
1180:
1178:
1177:
1172:
1167:
1162:
1156:
1154:
1148:
1147:
1145:
1144:
1142:Dipylon Master
1138:
1136:
1130:
1129:
1124:
1122:
1121:
1114:
1107:
1099:
1090:
1089:
1079:
1073:
1064:
1057:
1050:Boardman, John
1047:
1040:Boardman, John
1037:
1008:
1005:
999:Beazley, J. D.
994:
991:
988:
987:
974:
961:
948:
935:
926:
917:
908:
895:
882:
873:
864:
851:
842:
833:
820:
811:
798:
789:
776:
763:
761:15 (1980): 35.
750:
737:
724:
722:Boegehold, 30.
715:
702:
693:
684:
671:
654:
641:
624:
611:
609:Boegehold, 31.
602:
585:
572:
559:
543:
542:
540:
537:
536:
535:
530:
523:
520:
519:
518:
514:
513:
507:
506:
502:
501:
495:
494:
490:
489:
483:
482:
478:
477:
468:
467:
463:
462:
456:
455:
451:
450:
444:
443:
439:
438:
432:
431:
427:
426:
420:
419:
415:
414:
408:
407:
403:
402:
392:
391:Selected works
389:
365:
359:
337:
334:
328:
325:
317:Semni Karouzou
307:
304:
286:
283:
241:
238:
198:
195:
178:Amasis Painter
137:
136:
133:
132:
125:
119:
118:
115:
114:
111:
107:
106:
103:
97:
96:
93:
92:Known for
89:
88:
85:
81:
80:
77:
73:
72:
69:
63:
61:
57:
56:
54:Museum, Paris.
34:
26:
25:
23:Amasis Painter
22:
15:
13:
10:
9:
6:
4:
3:
2:
2103:
2092:
2089:
2087:
2084:
2082:
2079:
2077:
2074:
2072:
2069:
2068:
2066:
2047:
2044:
2043:
2041:
2039:
2035:
2029:
2026:
2024:
2021:
2019:
2016:
2014:
2011:
2009:
2006:
2004:
2001:
2000:
1998:
1996:
1995:Pioneer Group
1992:
1986:
1983:
1981:
1978:
1976:
1973:
1971:
1968:
1966:
1963:
1961:
1958:
1956:
1953:
1951:
1948:
1946:
1943:
1941:
1938:
1936:
1933:
1931:
1928:
1926:
1923:
1921:
1920:Siren Painter
1918:
1916:
1913:
1911:
1908:
1906:
1903:
1901:
1898:
1896:
1893:
1891:
1888:
1886:
1883:
1881:
1878:
1876:
1873:
1871:
1868:
1866:
1863:
1861:
1858:
1856:
1853:
1851:
1848:
1846:
1843:
1841:
1838:
1836:
1833:
1831:
1828:
1826:
1823:
1821:
1818:
1816:
1813:
1811:
1808:
1806:
1803:
1801:
1798:
1796:
1793:
1791:
1788:
1786:
1783:
1781:
1778:
1776:
1773:
1771:
1768:
1766:
1765:Dinos Painter
1763:
1761:
1758:
1756:
1753:
1751:
1748:
1746:
1743:
1741:
1738:
1736:
1733:
1731:
1728:
1726:
1723:
1721:
1718:
1716:
1713:
1711:
1708:
1706:
1703:
1701:
1698:
1696:
1693:
1691:
1688:
1686:
1683:
1681:
1678:
1677:
1675:
1673:
1669:
1659:
1656:
1655:
1653:
1651:
1647:
1641:
1638:
1636:
1633:
1632:
1630:
1628:
1627:Leagros Group
1624:
1618:
1615:
1614:
1612:
1610:
1606:
1600:
1597:
1596:
1594:
1592:
1588:
1582:
1579:
1577:
1574:
1573:
1571:
1569:
1565:
1559:
1556:
1554:
1551:
1549:
1546:
1544:
1541:
1539:
1536:
1534:
1531:
1529:
1528:Swing Painter
1526:
1524:
1521:
1519:
1516:
1514:
1511:
1509:
1508:Rider Painter
1506:
1504:
1503:Ptoon Painter
1501:
1499:
1496:
1494:
1491:
1489:
1488:Priam Painter
1486:
1484:
1481:
1479:
1478:Polos Painter
1476:
1474:
1471:
1469:
1466:
1464:
1461:
1459:
1456:
1454:
1451:
1449:
1446:
1444:
1441:
1439:
1436:
1434:
1431:
1429:
1426:
1424:
1421:
1419:
1416:
1414:
1411:
1409:
1406:
1404:
1401:
1399:
1396:
1394:
1391:
1389:
1386:
1384:
1381:
1379:
1376:
1374:
1371:
1369:
1366:
1364:
1363:Kabiria Group
1361:
1359:
1356:
1354:
1351:
1349:
1346:
1344:
1341:
1339:
1336:
1334:
1331:
1329:
1326:
1324:
1321:
1319:
1316:
1314:
1311:
1309:
1306:
1304:
1301:
1299:
1296:
1294:
1291:
1289:
1286:
1284:
1281:
1279:
1276:
1274:
1271:
1269:
1266:
1264:
1261:
1259:
1256:
1254:
1251:
1249:
1246:
1244:
1241:
1239:
1236:
1234:
1231:
1229:
1226:
1224:
1221:
1219:
1216:
1214:
1211:
1209:
1206:
1204:
1201:
1199:
1196:
1194:
1191:
1190:
1188:
1186:
1182:
1176:
1173:
1171:
1168:
1166:
1163:
1161:
1158:
1157:
1155:
1153:
1152:Orientalizing
1149:
1143:
1140:
1139:
1137:
1135:
1131:
1127:
1120:
1115:
1113:
1108:
1106:
1101:
1100:
1097:
1093:
1087:
1083:
1080:
1077:
1074:
1071:
1068:
1065:
1062:
1058:
1055:
1051:
1048:
1045:
1041:
1038:
1036:
1035:0-89236-086-0
1032:
1028:
1027:0-500-23443-4
1024:
1020:
1016:
1012:
1009:
1006:
1003:
1000:
997:
996:
992:
984:
981:Von Bothmer,
978:
975:
971:
965:
962:
958:
952:
949:
945:
939:
936:
930:
927:
921:
918:
915:Mertens, 169.
912:
909:
905:
902:Von Bothmer,
899:
896:
892:
886:
883:
880:Mertens, 175.
877:
874:
871:Mertens, 171.
868:
865:
861:
858:Von Bothmer,
855:
852:
849:Mertens, 168.
846:
843:
837:
834:
830:
824:
821:
818:Mertens, 170.
815:
812:
808:
802:
799:
796:Mertens, 179.
793:
790:
786:
783:Von Bothmer,
780:
777:
774:78 (1958): 2.
773:
767:
764:
760:
754:
751:
747:
741:
738:
734:
731:Von Bothmer,
728:
725:
719:
716:
712:
706:
703:
697:
694:
691:Mertens, 168.
688:
685:
681:
678:Von Bothmer,
675:
672:
668:
664:
658:
655:
651:
648:Von Bothmer,
645:
642:
639:46-48, 52-57.
638:
634:
631:Von Bothmer,
628:
625:
621:
615:
612:
606:
603:
599:
595:
589:
586:
582:
576:
573:
569:
563:
560:
557:
555:
548:
545:
538:
534:
531:
529:
526:
525:
521:
517:Amphora L 265
516:
515:
512:
509:
508:
504:
503:
500:
497:
496:
492:
491:
488:
485:
484:
480:
479:
476:
475:
470:
469:
465:
464:
461:
458:
457:
453:
452:
449:
446:
445:
441:
440:
437:
434:
433:
430:Amphora 71.82
429:
428:
425:
422:
421:
417:
416:
413:
410:
409:
405:
404:
401:
400:
395:
394:
390:
388:
385:
381:
379:
375:
371:
363:
360:
358:
356:
355:J. D. Beazley
352:
346:
343:
335:
333:
326:
324:
322:
318:
312:
305:
303:
299:
291:
284:
282:
278:
275:
271:
267:
262:
260:
255:
246:
239:
237:
235:
229:
227:
223:
218:
216:
212:
208:
204:
196:
194:
191:
187:
186:ancient Greek
183:
179:
171:
167:
163:
159:
155:
154:Ancient Greek
151:
147:
143:
134:
130:
126:
120:
116:
112:
108:
104:
98:
95:Vase painting
94:
90:
86:
82:
78:
74:
67:Before 550 BC
62:
58:
53:
49:
45:
41:
40:Mount Olympus
37:
32:
27:
20:
1910:Reed Painter
1815:Jena Painter
1715:Aristophanes
1568:Comast Group
1483:Pontic Group
1378:Lion Painter
1328:Gela Painter
1308:Duel Painter
1258:Burgon Group
1202:
1185:Black-figure
1091:
1085:
1075:
1069:
1060:
1053:
1043:
1014:
1001:
982:
977:
969:
964:
956:
951:
943:
938:
929:
920:
911:
903:
898:
890:
885:
876:
867:
859:
854:
845:
836:
828:
823:
814:
806:
801:
792:
784:
779:
771:
766:
758:
753:
745:
740:
732:
727:
718:
710:
705:
696:
687:
679:
674:
666:
662:
657:
649:
644:
636:
632:
627:
619:
614:
605:
597:
593:
588:
580:
575:
567:
562:
553:
547:
510:
498:
486:
471:
459:
447:
435:
423:
411:
396:
383:
382:
369:
367:
361:
350:
347:
339:
330:
313:
311:decoration.
309:
300:
296:
279:
263:
253:
251:
230:
219:
200:
190:black-figure
177:
175:
169:
158:black-figure
101:Notable work
79:About 510 BC
47:
2046:Pan Painter
1820:Kerch style
1710:Apollodoros
1253:BMN Painter
1067:Cook, R. M.
84:Nationality
2065:Categories
2038:Mannerists
2013:Euthymides
2008:Euphronios
1900:Polygnotos
1672:Red-figure
1581:KY Painter
1576:KX Painter
1318:Elbows Out
993:References
985:11-12, 36.
955:Boardman,
942:Boardman,
406:Pinax 2510
364:Exhibition
321:red-figure
234:R. M. Cook
226:Siana cups
2003:Epiktetos
1870:Pamphaios
1408:N Painter
1263:C Painter
1134:Geometric
889:Beazley,
744:Beazley,
709:Beazley,
700:Cook, 81.
618:Beazley,
472:MĂĽnchen,
215:Ethiopian
211:Exekias’s
184:) was an
127:Possibly
123:Patron(s)
38:entering
2023:Phintias
1985:YZ Group
1860:Onesimos
1805:Hermonax
1523:Sophilos
1418:Nearchos
1373:Kleitias
1198:Affecter
1021:, 1985.
972:201-202.
787:232-235.
522:See also
397:Athens,
270:band cup
203:Egyptian
148:and two
146:Dionysus
110:Movement
36:Heracles
2028:Smikros
1930:Skythes
1599:Exekias
1591:Group E
1213:Anakles
342:Exekias
285:Subject
162:amphora
150:Maenads
1835:Makron
1775:Douris
1720:Asteas
1033:
1025:
906:47-51.
240:Oeuvre
182:Athens
156:Attic
64:Amasis
52:Louvre
2018:Oltos
1685:Aison
1498:Psiax
1383:Lydos
539:Notes
306:Style
274:pyxis
266:olpai
166:Vulci
160:neck-
129:Solon
1031:ISBN
1023:ISBN
735:229.
600:234.
176:The
76:Died
60:Born
44:olpe
959:58.
946:52.
893:54.
862:43.
831:38.
748:52.
713:52.
682:42.
652:39.
622:46.
2067::
1084:.
1052:.
1042:.
1029:,
1013:.
42:,
1118:e
1111:t
1104:v
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