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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
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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
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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
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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
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2018:
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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
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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
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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.
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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
246:
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
207:
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
859:
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
535:
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
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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.
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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
2447:
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
2161:
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.
128:
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
1478:
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,
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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
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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
370:
224:
178:
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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
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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
956:
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.
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4252:
4183:
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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.
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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
2629:
in the German Knowledge for a useful set of tables classifying vase shapes and variations, with distinguishing shape outlines and typical examples, also
860:
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
1665:
Before the immigration of Sicilian potters in the second quarter of the 4th century BC, when several workshops were established in Campania, only the
2456:
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.
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of Chiusi, producing mainly drinking vessels with interior depictions of dionysiac scenes, became important. During the second half of the century,
2009:
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:
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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:
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ware, although it employed techniques entirely unrelated to those used in antiquity, using ancient motifs merely as a thematic inspiration.
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4114:
1578:
vases are quite common. Scenes of athletic activity or everyday life only occur in the early phase, they disappear entirely after 370 BC.
88:
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
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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
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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
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The typical Sicilian style only developed around 340 BC. Three groups of workshops can be distinguished. The first, known as the
745:
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2483:. England and France tried to outdo each other in terms of both research and imitation of vases. The German aesthetic writers
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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
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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:
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The early Etruscan examples merely imitated the red-figure technique. Similar to a rare and early Attic technique (see
1069:
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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:
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were invented, a development favored by the fact that many of the pioneer group painters were also active as potters.
361:
The first red-figure vases were produced around 530 BCE. The invention of the technique normally is accredited to the
353:
and Etruscan workshops or "schools", strongly influenced by Attic style, but producing exclusively for local markets.
161:
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Vasen für Etrurien: Verbreitung und Funktionen attischer Keramik im Etrurien des 6. und 5. Jahrhunderts vor Christus
3337:
Hoffmann, Herbert (1979). Fehr, Burkhard; Meyer, Klaus-Heinrich; Schalles, Hans-Joachim; Schneider, Lambert (eds.).
1254:
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:
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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:
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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:
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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:
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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:
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
17:
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:
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:
18:Red-figure vase
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:
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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:
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4308:
4299:
4298:
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4288:
4283:
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4266:
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4260:
4258:
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4225:
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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:
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4039:
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4029:
4024:
4019:
4014:
4008:
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3922:
3917:
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3907:
3900:
3892:
3886:
3885:
3880:
3873:
3872:External links
3870:
3869:
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3843:
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3822:
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3806:
3803:
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3798:
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3697:
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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:
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3144:
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3097:
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2803:
2787:
2765:
2749:
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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:
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5627:
5608:
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5596:
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5580:
5577:
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5572:
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5567:
5565:
5562:
5561:
5559:
5557:
5556:Pioneer Group
5553:
5547:
5544:
5542:
5539:
5537:
5534:
5532:
5529:
5527:
5524:
5522:
5519:
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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:
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5422:
5419:
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5412:
5409:
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5399:
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5389:
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5364:
5362:
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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:
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5284:
5282:
5279:
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5274:
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5269:
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5264:
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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:
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4997:
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4987:
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4927:
4925:
4924:Kabiria Group
4922:
4920:
4917:
4915:
4912:
4910:
4907:
4905:
4902:
4900:
4897:
4895:
4892:
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4734:
4732:
4729:
4727:
4724:
4722:
4719:
4718:
4716:
4714:
4713:Orientalizing
4710:
4704:
4701:
4700:
4698:
4696:
4692:
4688:
4681:
4676:
4674:
4669:
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4608:
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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:
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4289:
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4279:
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4256:
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4134:
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4129:
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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:
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3908:
3906:
3901:
3899:
3894:
3893:
3890:
3884:
3881:
3879:
3876:
3875:
3871:
3865:
3863:0-87099-084-5
3859:
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3808:
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3797:
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3778:
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3749:
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3741:
3737:
3731:
3727:
3723:
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3715:
3707:
3706:
3701:
3698:
3694:
3692:9783406393075
3688:
3684:
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3658:
3654:
3649:
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3607:
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3599:
3595:
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3582:
3572:
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3524:
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3518:
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3502:
3498:
3494:
3490:
3486:
3480:
3476:
3472:
3468:
3464:
3460:
3456:
3450:
3446:
3442:
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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:
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2800:
2794:
2792:
2788:
2784:
2778:
2776:
2774:
2772:
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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:
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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
1883:Python
1879:Asteas
1863:Berlin
1855:Asteas
1850:phlyax
1845:krater
1759:Louvre
1747:krater
1743:Hermes
1611:Louvre
1575:phlyax
1560:, the
1548:, the
1508:Munich
1444:Berlin
1415:Apulia
1406:Apulia
1402:Sicily
1376:Sparta
1368:Romans
1352:votive
1335:Louvre
1286:kalpis
1280:krater
1239:, the
1235:, the
1233:Douris
1205:Louvre
1157:Makron
1153:Douris
1135:slaves
1078:Malibu
1056:Louvre
1040:on an
1038:Amasis
994:hydria
982:krater
978:pelike
950:hydria
947:) and
915:Iberia
876:Hector
849:Berlin
819:London
786:Hydria
760:, the
697:, and
672:Munich
660:sphinx
633:pathos
621:Louvre
554:Makron
550:Douris
540:, the
522:Louvre
510:Makron
463:krater
457:pelike
408:Berlin
391:Krater
336:Louvre
312:Athena
308:Hermes
281:Munich
251:Attica
229:Munich
198:Attica
183:Munich
148:, and
114:Greece
106:Attica
97:Athens
61:Thetis
50:Louvre
5579:Oltos
5246:Aison
5059:Psiax
4944:Lydos
4436:Ionic
4388:Attic
4332:Kerch
4314:Six's
3750:[
3724:[
3681:[
3655:[
3600:[
3499:[
3469:[
3443:[
3417:[
3361:(PDF)
3342:(PDF)
3320:S2CID
3285:S2CID
3277:JSTOR
2643:Notes
2387:blond
2385:of a
2290:Paris
2286:circa
2247:Caere
2231:Vulci
2199:Malta
2193:Only
2153:in a
2051:Paris
2047:circa
2039:Group
1951:circa
1921:calyx
1859:circa
1798:(see
1755:Paris
1728:Cumae
1694:satyr
1678:Capua
1676:from
1644:rhyta
1607:Paris
1603:circa
1595:Medea
1532:Hades
1463:circa
1459:Taras
1440:circa
1331:Paris
1327:circa
1265:elite
1249:Oltos
1201:Paris
1197:circa
1184:kylix
1181:of a
1179:Tondo
1074:circa
1052:Paris
1048:circa
890:circa
878:on a
845:circa
815:Circa
708:This
668:circa
617:Paris
613:circa
589:dinos
583:askos
533:circa
518:Paris
514:circa
486:Oltos
423:circa
404:circa
367:Psiax
332:Paris
328:circa
277:circa
268:kylix
75:circa
66:pyxis
46:circa
37:kylix
4195:Slip
4184:LIMC
3858:ISBN
3756:ISBN
3730:ISBN
3687:ISBN
3661:ISBN
3610:ISBN
3509:OCLC
3479:ISBN
3449:ISBN
3423:ISBN
3399:OCLC
3369:2021
3240:OCLC
3110:ISBN
2663:In:
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