343:
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.”
391:, 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.
309:
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.
301:
398:
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.
239:. 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.
42:
153:
256:
356:
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.”
220:, 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.
243:
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
312:
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
359:
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
342:
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
291:
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,
287:
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
355:
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
321:
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
267:
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
242:
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,
397:
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
325:
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
308:
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
368:'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.
203:
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.
292:
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.
288:
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."
212:
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
1089:. 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.
334:
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.
1127:
231:
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
364:, 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,
2091:
2096:
1293:
2101:
2086:
1660:
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Lekythos attributed to the Amasis Painter showing a wedding procession. Gift of Walter C. Baker, 1956, 56.11.1, Metropolitan Museum of Art.
300:
1745:
1120:
1045:
1037:
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has no clear explanation, but he is generally thought to have been poking fun at Amasis as a contemporary professional rival.
1980:
1363:
1060:
1050:
1113:
1725:
1136:
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There are 11 black figure vases and one fragment that are painted by the same hand and bear a signature that reads,
1720:
484:
384:
1910:
543:
247:
explains, "His early work is conventional and tame, but as he matures he displays a more individual assurance".
1203:
360:
to the Getty exhibition, the Amasis Painter was considered an outlier in an Exekian march towards classicism.
2081:
1870:
1601:
1438:
1458:
1413:
1258:
1253:
1845:
1785:
1668:
1453:
1018:
Beazley, J. D. "The Development of Attic Black Figure." Berkeley: University of California Press, 1986.
272:, connoisseurs are reminded to distinguish between the potter Amasis and the Amasis Painter with care.
1985:
1695:
1195:
1162:
1029:
1021:
388:
168:
581:
updated by Dietrich von Bothmer and Mary Moore (Berkeley: University of California Press, 1986), 52.
41:
1965:
1885:
1840:
1820:
1248:
152:
2033:
1970:
1915:
1905:
1890:
1810:
1795:
1682:
1428:
1398:
1358:
1333:
1283:
1278:
1185:
1077:
331:
244:
232:
516:
Schalen-Skyphos A 479 • Amphora F 25 • Amphora F 26 • Oinochoe F 30 • Amphora F 36 • Schale F 75
1955:
1950:
1945:
1875:
1780:
1755:
1735:
1710:
1627:
1503:
1448:
1443:
1423:
1378:
1368:
1323:
1238:
1228:
1041:
1033:
255:
1960:
1935:
1925:
1900:
1860:
1835:
1715:
1700:
1690:
1645:
1619:
1568:
1553:
1543:
1308:
1303:
1298:
1218:
1180:
1175:
1170:
409:
269:
54:
1990:
1975:
1855:
1850:
1800:
1790:
1760:
1548:
1523:
1483:
1478:
1463:
1313:
1288:
183:, "Amasis made me"). Cabinet des médailles de la Bibliothèque nationale de France, Paris.
1895:
1865:
1805:
1770:
1765:
1750:
1740:
1705:
1650:
1563:
1558:
1528:
1473:
1468:
1433:
1408:
1403:
1353:
1348:
1343:
1243:
1233:
1152:
1092:
327:
284:
164:
275:
The painter's twelve signed pieces include three broad-shouldered neck-amphorae, four
2075:
2005:
1930:
1775:
1637:
1538:
1518:
1513:
1498:
1488:
1373:
1144:
838:
Andrew F. Stewart, "Narrative, Genre and Realism in the Work of the Amasis Painter,"
594:(New York and London: Thames and Hudson, and Malibu: J. Paul Getty Museum, 1985), 11.
330:
suggests, or reacting to it. The extent of the Amasis Painter's interaction with the
196:
50:
816:
Cook, 81; Mary B. Moore, "The Amasis Painter and Exekias: Approaches to Narrative,"
1920:
1825:
1578:
1493:
1388:
1338:
1318:
1268:
1009:
365:
200:
57:
by the Amasis Painter, dated to within 550–530 BC. Inscription: AMASIS MEΠOIESEN,
2056:
1830:
1263:
2023:
2018:
1591:
1586:
1328:
1105:
17:
979:
Von Bothmer, “Greek Vase-Painting: Two Hundred Years of Connoisseurship,” in
2013:
1880:
1418:
1273:
1026:
The Amasis Painter and His World. Vase-Painting in Sixth-Century B.C. Athens
592:
The Amasis Painter and His World: Vase-Painting in Sixth-Century B.C. Athens
236:
225:
217:
235:. This painter worked around 575–550 BC, and is best known for his work on
1995:
1815:
1533:
1383:
1208:
429:
Bauchamphora F 1688 • Amphora F 1691 • Fragment einer Bauchamphora F 1692
383:, the first retrospective of an Attic black-figure artist, opened at the
280:
276:
156:
46:
2038:
1940:
1609:
1223:
352:
313:
to the house of the groom, or the working of wool by a group of women.
221:
172:
1730:
192:
160:
62:
453:
Halsamphora 18026 • Amphora 01.8026 • Amphora 01.8027 • Kylix 10.651
1070:
Clark, Andrew J. “The Earliest Known Chous by the Amasis Painter.”
768:
Andrew J. Clark, “The Earliest Known Chous by the Amasis Painter,”
562:
2028:
1508:
1393:
299:
254:
213:
176:
139:
1109:
259:
Signature of Amasis on an olpe with trefoil mouth, Louvre F 30
179:. Inscription: ΔΙΟΝVSOS ("Dionysos"), AMASIS MEΠOIESEN (
224:
use of the label “Amasos” for an illustration of an
2047:
2004:
1681:
1659:
1636:
1618:
1600:
1577:
1194:
1161:
1143:
132:
120:
110:
102:
94:
86:
70:
32:
820:(Malibu: J. Paul Getty Museum, 1987), 154-155.
1121:
8:
981:Papers on the Amasis Painter and His World,
840:Papers on the Amasis Painter and His World,
818:Papers on the Amasis Painter and His World.
504:Bauchamphora 06.1021.69 • Amphora 56.171.10
2001:
1574:
1128:
1114:
1106:
1087:Papers on the Amasis Painter and His World
435:Bloomington, Indiana University Art Museum
29:
1055:Athenian Black Figure Vases: A Handbook.
955:Athenian Black Figure Vases: A Handbook,
151:
555:
902:The Development of Attic Black-Figure,
680:3rd ed. (London: Routledge, 1997), 83.
648:The Development of Attic Black-Figure,
631:The Development of Attic Black-Figure,
579:The Development of Attic Black-Figure,
326:anticipating the red-figure style, as
781:John Boardman, “The Amasis Painter,”
163:, one holding a hare. Side B from an
61:, "Amasis made (me)". Located in the
7:
498:New York, Metropolitan Museum of Art
603:Alan L. Boegehold, introduction to
1746:Painter of the Berlin Dancing Girl
1294:Class of Cabinet des MĂ©dailles 218
757:Development of Attic Black-Figure,
722:Development of Attic Black-Figure,
522:WĂĽrzburg, Martin von Wagner Museum
25:
994:The Amasis Painter and His World,
915:The Amasis Painter and His World,
871:The Amasis Painter and His World,
796:The Amasis Painter and His World,
744:The Amasis Painter and His World,
691:The Amasis Painter and His World,
674:The Amasis Painter and His World,
661:The Amasis Painter and His World,
609:The Amasis Painter and His World,
605:The Amasis Painter and His World,
471:Los Angeles, J. Paul Getty Museum
279:(an early form of wine jug), one
1083:3rd ed. London: Routledge, 1997.
1067:London: Thames and Hudson, 2001.
1057:London: Thames and Hudson, 1991.
1015:. Oxford: Clarendon Press, 1956.
1013:Attic Black-Figure Vase-Painters
644:The Amasis Painter and His World
492:Bauchamphora 1383 • Amphora 8763
395:The Amasis Painter and His World
381:The Amasis Painter and His World
373:The Amasis Painter and His World
362:The Amasis Painter and His World
40:
783:The Journal of Hellenic Studies
565:The Journal of Hellenic Studies
510:Paris, Musée National du Louvre
199:vase painter who worked in the
2092:Anonymous artists of antiquity
1981:Painter of the Vatican Mourner
1099:Oxford: Clarendon Press, 1956.
347:The Amasis Painter and Exekias
1:
283:, one cup, one small bowl, a
191:(active around 550–510 BC in
2097:Immigrants to Archaic Athens
968:Athenian Black Figure Vases,
218:a contemporary Egyptian king
2102:6th-century BC Greek people
2087:Ancient Greek vase painters
1137:Ancient Greek vase painters
1072:Metropolitan Museum Journal
1065:The History of Greek Vases.
770:Metropolitan Museum Journal
539:List of Greek vase painters
216:name, more specifically of
2118:
851:Stewart, 36; Mertens, 176.
485:Staatliche Antikensammlung
459:London, The British Museum
385:Metropolitan Museum of Art
27:Ancient Greek vase painter
544:Corpus vasorum antiquorum
146:
128:
39:
1204:Painter of Acropolis 606
1439:Painter of Nicosia Olpe
567:Vol. 78 (1958), pp. 1-3
423:Berlin, Antikensammlung
351:The Amasis Painter and
175:, ca. 550–530 BC, from
116:About 90 vase paintings
1459:Painter of Palermo 489
1414:Painter of Munich 1410
1259:Painter of Berlin 1686
1254:Painter of Berlin A 34
1081:Greek Painted Pottery.
1028:. Malibu, California,
678:Greek Painted Pottery,
646:, 51, 70-71; Beazley,
590:Dietrich von Bothmer,
563:"The Amasis Painter",
465:Olpe B 52 • Olpe B 471
447:Boston, Museum of Arts
305:
260:
184:
142:, if he was from Egypt
1669:Group of Rhodes 12264
1454:Oxford Palmette Class
935:Cook, 83; Moore, 153.
303:
258:
155:
1986:Villa Giulia Painter
1030:J. Paul Getty Museum
1022:Dietrich von Bothmer
607:27-32; von Bothmer,
389:Dietrich von Bothmer
1966:Triptolemos Painter
1886:Penthesilea Painter
1841:Kleophrades Painter
1821:Ilioupersis Painter
1249:Bellerophon Painter
1097:The Amasis Painter.
379:In autumn of 1985,
338:Decorative elements
1971:Underworld Painter
1916:Providence Painter
1906:Pistoxenos Painter
1891:Persephone Painter
1811:Hasselmann Painter
1796:Eucharides Painter
1399:Lysippides Painter
1364:Horse-bird Painter
1359:Heidelberg Painter
1334:Euphiletos Painter
1284:Cerameicus Painter
1279:Castellani Painter
1186:Polyphemos Painter
306:
261:
233:Heidelberg Painter
185:
124:Black-figure style
2069:
2068:
2065:
2064:
1956:Tarquinia Painter
1951:Tarporley Painter
1946:Snub-nose Painter
1876:Oreithyia Painter
1781:Dokimasia Painter
1756:Bryn Mawr Painter
1736:Baltimore Painter
1711:Andokides painter
1677:
1676:
1628:Cavalcade Painter
1504:Princeton Painter
1449:Northampton Group
1444:Nikoxenos Painter
1424:Naucratis Painter
1379:Kassandra Painter
1369:Hypobibazon Class
1324:Edinburgh Painter
1239:Antimenes Painter
1229:Arkesilas Painter
1074:15 (1980): 35-51.
676:168; R. M. Cook,
672:Joan R. Mertens,
387:. Curated by Dr.
150:
149:
98:Greek or Egyptian
59:Amasis m'epoiesen
16:(Redirected from
2109:
2002:
1961:Tithonos Painter
1936:Sisyphus Painter
1926:Shuvalov Painter
1901:Pisticci Painter
1861:Meleager Painter
1836:Kleophon Painter
1716:Antiphon Painter
1701:Altamura Painter
1691:Achilles Painter
1646:Acheloos Painter
1620:Gorgoneion Group
1575:
1569:Xenokles Painter
1554:Three Line Group
1544:Taleides Painter
1309:Diosphos Painter
1304:Daybreak Painter
1299:Columbus Painter
1219:Anagyrus Painter
1181:Mesogeia Painter
1176:Honolulu Painter
1171:Analatos Painter
1130:
1123:
1116:
1107:
997:
990:
984:
977:
971:
964:
958:
951:
945:
944:Stewart, 33, 39.
942:
936:
933:
927:
924:
918:
911:
905:
898:
892:
889:
883:
880:
874:
867:
861:
858:
852:
849:
843:
836:
830:
827:
821:
814:
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805:
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792:
786:
779:
773:
766:
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753:
747:
740:
734:
731:
725:
718:
712:
709:
703:
700:
694:
687:
681:
670:
664:
657:
651:
640:
634:
627:
621:
618:
612:
601:
595:
588:
582:
575:
569:
560:
477:Schale 79.AE.197
410:Acropolis Museum
270:Taleides Painter
265:Amasis mepoiesen
181:Amasis mepoiesen
135:
113:
44:
30:
21:
2117:
2116:
2112:
2111:
2110:
2108:
2107:
2106:
2072:
2071:
2070:
2061:
2043:
2000:
1991:Wedding Painter
1976:Varrese Painter
1856:Meidias Painter
1851:Marsyas Painter
1801:Foundry Painter
1791:Eretria Painter
1761:Chrysis Painter
1673:
1655:
1632:
1614:
1596:
1573:
1549:Theseus Painter
1524:Rycroft Painter
1484:Piraeus Painter
1479:Phrynos Painter
1464:Panther Painter
1314:Dodwell Painter
1289:Chimera Painter
1190:
1157:
1139:
1134:
1103:
1093:Karouzou, Semni
1006:
1001:
1000:
991:
987:
978:
974:
965:
961:
952:
948:
943:
939:
934:
930:
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921:
912:
908:
899:
895:
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886:
881:
877:
868:
864:
859:
855:
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846:
837:
833:
828:
824:
815:
811:
806:
802:
793:
789:
780:
776:
767:
763:
754:
750:
741:
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728:
719:
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710:
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684:
671:
667:
658:
654:
641:
637:
628:
624:
619:
615:
602:
598:
589:
585:
577:J. D. Beazley,
576:
572:
561:
557:
552:
535:
404:
377:
349:
340:
319:
298:
253:
210:
208:Life and career
133:
111:
82:
81:Athens or Egypt
79:
77:
76:
66:
35:
28:
23:
22:
15:
12:
11:
5:
2115:
2113:
2105:
2104:
2099:
2094:
2089:
2084:
2082:510s BC deaths
2074:
2073:
2067:
2066:
2063:
2062:
2060:
2059:
2053:
2051:
2045:
2044:
2042:
2041:
2036:
2031:
2026:
2021:
2016:
2010:
2008:
1999:
1998:
1993:
1988:
1983:
1978:
1973:
1968:
1963:
1958:
1953:
1948:
1943:
1938:
1933:
1928:
1923:
1918:
1913:
1908:
1903:
1898:
1896:Phiale Painter
1893:
1888:
1883:
1878:
1873:
1868:
1866:Niobid Painter
1863:
1858:
1853:
1848:
1843:
1838:
1833:
1828:
1823:
1818:
1813:
1808:
1806:Harrow Painter
1803:
1798:
1793:
1788:
1783:
1778:
1773:
1771:Darius Painter
1768:
1766:Codrus Painter
1763:
1758:
1753:
1751:Brygos Painter
1748:
1743:
1741:Berlin Painter
1738:
1733:
1728:
1723:
1718:
1713:
1708:
1706:Amykos Painter
1703:
1698:
1693:
1687:
1685:
1679:
1678:
1675:
1674:
1672:
1671:
1665:
1663:
1661:Little Masters
1657:
1656:
1654:
1653:
1651:Chiusi Painter
1648:
1642:
1640:
1634:
1633:
1631:
1630:
1624:
1622:
1616:
1615:
1613:
1612:
1606:
1604:
1598:
1597:
1595:
1594:
1589:
1583:
1581:
1572:
1571:
1566:
1564:Tydeus Painter
1561:
1559:Tityos Painter
1556:
1551:
1546:
1541:
1536:
1531:
1529:Sappho Painter
1526:
1521:
1516:
1511:
1506:
1501:
1496:
1491:
1486:
1481:
1476:
1474:Pholoe Painter
1471:
1469:Perizoma Group
1466:
1461:
1456:
1451:
1446:
1441:
1436:
1434:Nessos Painter
1431:
1426:
1421:
1416:
1411:
1409:Mastos Painter
1406:
1404:Madrid Painter
1401:
1396:
1391:
1386:
1381:
1376:
1371:
1366:
1361:
1356:
1354:Haimon Painter
1351:
1349:Gorgon Painter
1346:
1344:Goltyr Painter
1341:
1336:
1331:
1326:
1321:
1316:
1311:
1306:
1301:
1296:
1291:
1286:
1281:
1276:
1271:
1266:
1261:
1256:
1251:
1246:
1244:Beldam Painter
1241:
1236:
1234:Athena Painter
1231:
1226:
1221:
1216:
1214:Amasis Painter
1211:
1206:
1200:
1198:
1192:
1191:
1189:
1188:
1183:
1178:
1173:
1167:
1165:
1159:
1158:
1156:
1155:
1153:Dipylon Master
1149:
1147:
1141:
1140:
1135:
1133:
1132:
1125:
1118:
1110:
1101:
1100:
1090:
1084:
1075:
1068:
1061:Boardman, John
1058:
1051:Boardman, John
1048:
1019:
1016:
1010:Beazley, J. D.
1005:
1002:
999:
998:
985:
972:
959:
946:
937:
928:
919:
906:
893:
884:
875:
862:
853:
844:
831:
822:
809:
800:
787:
774:
772:15 (1980): 35.
761:
748:
735:
733:Boegehold, 30.
726:
713:
704:
695:
682:
665:
652:
635:
622:
620:Boegehold, 31.
613:
596:
583:
570:
554:
553:
551:
548:
547:
546:
541:
534:
531:
530:
529:
525:
524:
518:
517:
513:
512:
506:
505:
501:
500:
494:
493:
489:
488:
479:
478:
474:
473:
467:
466:
462:
461:
455:
454:
450:
449:
443:
442:
438:
437:
431:
430:
426:
425:
419:
418:
414:
413:
403:
402:Selected works
400:
376:
370:
348:
345:
339:
336:
328:Semni Karouzou
318:
315:
297:
294:
252:
249:
209:
206:
189:Amasis Painter
148:
147:
144:
143:
136:
130:
129:
126:
125:
122:
118:
117:
114:
108:
107:
104:
103:Known for
100:
99:
96:
92:
91:
88:
84:
83:
80:
74:
72:
68:
67:
65:Museum, Paris.
45:
37:
36:
34:Amasis Painter
33:
26:
24:
18:Amasis painter
14:
13:
10:
9:
6:
4:
3:
2:
2114:
2103:
2100:
2098:
2095:
2093:
2090:
2088:
2085:
2083:
2080:
2079:
2077:
2058:
2055:
2054:
2052:
2050:
2046:
2040:
2037:
2035:
2032:
2030:
2027:
2025:
2022:
2020:
2017:
2015:
2012:
2011:
2009:
2007:
2006:Pioneer Group
2003:
1997:
1994:
1992:
1989:
1987:
1984:
1982:
1979:
1977:
1974:
1972:
1969:
1967:
1964:
1962:
1959:
1957:
1954:
1952:
1949:
1947:
1944:
1942:
1939:
1937:
1934:
1932:
1931:Siren Painter
1929:
1927:
1924:
1922:
1919:
1917:
1914:
1912:
1909:
1907:
1904:
1902:
1899:
1897:
1894:
1892:
1889:
1887:
1884:
1882:
1879:
1877:
1874:
1872:
1869:
1867:
1864:
1862:
1859:
1857:
1854:
1852:
1849:
1847:
1844:
1842:
1839:
1837:
1834:
1832:
1829:
1827:
1824:
1822:
1819:
1817:
1814:
1812:
1809:
1807:
1804:
1802:
1799:
1797:
1794:
1792:
1789:
1787:
1784:
1782:
1779:
1777:
1776:Dinos Painter
1774:
1772:
1769:
1767:
1764:
1762:
1759:
1757:
1754:
1752:
1749:
1747:
1744:
1742:
1739:
1737:
1734:
1732:
1729:
1727:
1724:
1722:
1719:
1717:
1714:
1712:
1709:
1707:
1704:
1702:
1699:
1697:
1694:
1692:
1689:
1688:
1686:
1684:
1680:
1670:
1667:
1666:
1664:
1662:
1658:
1652:
1649:
1647:
1644:
1643:
1641:
1639:
1638:Leagros Group
1635:
1629:
1626:
1625:
1623:
1621:
1617:
1611:
1608:
1607:
1605:
1603:
1599:
1593:
1590:
1588:
1585:
1584:
1582:
1580:
1576:
1570:
1567:
1565:
1562:
1560:
1557:
1555:
1552:
1550:
1547:
1545:
1542:
1540:
1539:Swing Painter
1537:
1535:
1532:
1530:
1527:
1525:
1522:
1520:
1519:Rider Painter
1517:
1515:
1514:Ptoon Painter
1512:
1510:
1507:
1505:
1502:
1500:
1499:Priam Painter
1497:
1495:
1492:
1490:
1489:Polos Painter
1487:
1485:
1482:
1480:
1477:
1475:
1472:
1470:
1467:
1465:
1462:
1460:
1457:
1455:
1452:
1450:
1447:
1445:
1442:
1440:
1437:
1435:
1432:
1430:
1427:
1425:
1422:
1420:
1417:
1415:
1412:
1410:
1407:
1405:
1402:
1400:
1397:
1395:
1392:
1390:
1387:
1385:
1382:
1380:
1377:
1375:
1374:Kabiria Group
1372:
1370:
1367:
1365:
1362:
1360:
1357:
1355:
1352:
1350:
1347:
1345:
1342:
1340:
1337:
1335:
1332:
1330:
1327:
1325:
1322:
1320:
1317:
1315:
1312:
1310:
1307:
1305:
1302:
1300:
1297:
1295:
1292:
1290:
1287:
1285:
1282:
1280:
1277:
1275:
1272:
1270:
1267:
1265:
1262:
1260:
1257:
1255:
1252:
1250:
1247:
1245:
1242:
1240:
1237:
1235:
1232:
1230:
1227:
1225:
1222:
1220:
1217:
1215:
1212:
1210:
1207:
1205:
1202:
1201:
1199:
1197:
1193:
1187:
1184:
1182:
1179:
1177:
1174:
1172:
1169:
1168:
1166:
1164:
1163:Orientalizing
1160:
1154:
1151:
1150:
1148:
1146:
1142:
1138:
1131:
1126:
1124:
1119:
1117:
1112:
1111:
1108:
1104:
1098:
1094:
1091:
1088:
1085:
1082:
1079:
1076:
1073:
1069:
1066:
1062:
1059:
1056:
1052:
1049:
1047:
1046:0-89236-086-0
1043:
1039:
1038:0-500-23443-4
1035:
1031:
1027:
1023:
1020:
1017:
1014:
1011:
1008:
1007:
1003:
995:
992:Von Bothmer,
989:
986:
982:
976:
973:
969:
963:
960:
956:
950:
947:
941:
938:
932:
929:
926:Mertens, 169.
923:
920:
916:
913:Von Bothmer,
910:
907:
903:
897:
894:
891:Mertens, 175.
888:
885:
882:Mertens, 171.
879:
876:
872:
869:Von Bothmer,
866:
863:
860:Mertens, 168.
857:
854:
848:
845:
841:
835:
832:
829:Mertens, 170.
826:
823:
819:
813:
810:
807:Mertens, 179.
804:
801:
797:
794:Von Bothmer,
791:
788:
785:78 (1958): 2.
784:
778:
775:
771:
765:
762:
758:
752:
749:
745:
742:Von Bothmer,
739:
736:
730:
727:
723:
717:
714:
708:
705:
702:Mertens, 168.
699:
696:
692:
689:Von Bothmer,
686:
683:
679:
675:
669:
666:
662:
659:Von Bothmer,
656:
653:
650:46-48, 52-57.
649:
645:
642:Von Bothmer,
639:
636:
632:
626:
623:
617:
614:
610:
606:
600:
597:
593:
587:
584:
580:
574:
571:
568:
566:
559:
556:
549:
545:
542:
540:
537:
536:
532:
528:Amphora L 265
527:
526:
523:
520:
519:
515:
514:
511:
508:
507:
503:
502:
499:
496:
495:
491:
490:
487:
486:
481:
480:
476:
475:
472:
469:
468:
464:
463:
460:
457:
456:
452:
451:
448:
445:
444:
441:Amphora 71.82
440:
439:
436:
433:
432:
428:
427:
424:
421:
420:
416:
415:
412:
411:
406:
405:
401:
399:
396:
392:
390:
386:
382:
374:
371:
369:
367:
366:J. D. Beazley
363:
357:
354:
346:
344:
337:
335:
333:
329:
323:
316:
314:
310:
302:
295:
293:
289:
286:
282:
278:
273:
271:
266:
257:
250:
248:
246:
240:
238:
234:
229:
227:
223:
219:
215:
207:
205:
202:
198:
197:ancient Greek
194:
190:
182:
178:
174:
170:
166:
165:Ancient Greek
162:
158:
154:
145:
141:
137:
131:
127:
123:
119:
115:
109:
106:Vase painting
105:
101:
97:
93:
89:
85:
78:Before 550 BC
73:
69:
64:
60:
56:
52:
51:Mount Olympus
48:
43:
38:
31:
19:
1921:Reed Painter
1826:Jena Painter
1726:Aristophanes
1579:Comast Group
1494:Pontic Group
1389:Lion Painter
1339:Gela Painter
1319:Duel Painter
1269:Burgon Group
1213:
1196:Black-figure
1102:
1096:
1086:
1080:
1071:
1064:
1054:
1025:
1012:
993:
988:
980:
975:
967:
962:
954:
949:
940:
931:
922:
914:
909:
901:
896:
887:
878:
870:
865:
856:
847:
839:
834:
825:
817:
812:
803:
795:
790:
782:
777:
769:
764:
756:
751:
743:
738:
729:
721:
716:
707:
698:
690:
685:
677:
673:
668:
660:
655:
647:
643:
638:
630:
625:
616:
608:
604:
599:
591:
586:
578:
573:
564:
558:
521:
509:
497:
482:
470:
458:
446:
434:
422:
407:
394:
393:
380:
378:
372:
361:
358:
350:
341:
324:
322:decoration.
320:
311:
307:
290:
274:
264:
262:
241:
230:
211:
201:black-figure
188:
186:
180:
169:black-figure
112:Notable work
90:About 510 BC
58:
2057:Pan Painter
1831:Kerch style
1721:Apollodoros
1264:BMN Painter
1078:Cook, R. M.
95:Nationality
2076:Categories
2049:Mannerists
2024:Euthymides
2019:Euphronios
1911:Polygnotos
1683:Red-figure
1592:KY Painter
1587:KX Painter
1329:Elbows Out
1004:References
996:11-12, 36.
966:Boardman,
953:Boardman,
417:Pinax 2510
375:Exhibition
332:red-figure
245:R. M. Cook
237:Siana cups
2014:Epiktetos
1881:Pamphaios
1419:N Painter
1274:C Painter
1145:Geometric
900:Beazley,
755:Beazley,
720:Beazley,
711:Cook, 81.
629:Beazley,
483:MĂĽnchen,
226:Ethiopian
222:Exekias’s
195:) was an
138:Possibly
134:Patron(s)
49:entering
2034:Phintias
1996:YZ Group
1871:Onesimos
1816:Hermonax
1534:Sophilos
1429:Nearchos
1384:Kleitias
1209:Affecter
1032:, 1985.
983:201-202.
798:232-235.
533:See also
408:Athens,
281:band cup
214:Egyptian
159:and two
157:Dionysus
121:Movement
47:Heracles
2039:Smikros
1941:Skythes
1610:Exekias
1602:Group E
1224:Anakles
353:Exekias
296:Subject
173:amphora
161:Maenads
1846:Makron
1786:Douris
1731:Asteas
1044:
1036:
917:47-51.
251:Oeuvre
193:Athens
167:Attic
75:Amasis
63:Louvre
2029:Oltos
1696:Aison
1509:Psiax
1394:Lydos
550:Notes
317:Style
285:pyxis
277:olpai
177:Vulci
171:neck-
140:Solon
1042:ISBN
1034:ISBN
746:229.
611:234.
187:The
87:Died
71:Born
55:olpe
970:58.
957:52.
904:54.
873:43.
842:38.
759:52.
724:52.
693:42.
663:39.
633:46.
2078::
1095:.
1063:.
1053:.
1040:,
1024:.
53:,
1129:e
1122:t
1115:v
20:)
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