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Attic (Mainland Greek pottery styles)
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- Description
- Pottery: red-figured column-krater: Orestes, Apollo and a Fury (back: procession of revellers). --The British Museum
- Description
- Pottery: red-figured column-krater: Orestes, Apollo and a Fury (back: procession of revellers). --The British Museum
- Description
- Pottery: black-figured amphora. On the neck, double honeysuckle. (a) Aeneas carrying off Anchises from Troy: In the centre is Aeneas to right, fully armed, with Boeotian shield and two spears, carrying Anchises on his shoulders; the latter has white hair and beard, long embroidered chiton, and sceptre. In front of them is Creusa (?) advancing to right and looking back at them, veiled in an embroidered himation. On the right is an old man to left, partly bald, with white hair and beard, long chiton and himation, holding a staff. Behind Aeneas is Aphrodite (?) retreating to left and looking back, with long hair, fillet, long chiton, and embroidered himation. On the left is an archer to right, beardless, with high-peaked cap, cuirass, short purple chiton, and quiver. (b) Combat of three warriors (perhaps Achilles defending Antilochos against Memnon): On the left is a bearded warrior, fully armed, with short white chiton and embroidered chlamys, thrusting with spear at a retreating warrior also fully armed, who looks back at him; he has two white plumes on his helmet, short purple chiton, Boeotian shield with device of a thunderbolt and defends himself with spear. On the right is another warrior defending the latter, fully armed, with short purple chiton, and shield with device of a dolphin to left, thrusting with spear. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929
- Description
- Pottery: black-figured lekythos (oil-flask). On the shoulder, palmettes; above the design, network. Two heroes (Achilles and Ajax?) casting lots before the statue of Athene: In the centre is the goddess, on a base of two steps, looking to left, with long hair, high-crested helmet, aegis with snakes in front, long chiton, folds indicated, spear in right hand, left extended. On either side of the base is a hero crouching down on one knee fully armed, with high-crested helmet, ornamented cuirass, that of the one on the right probably of linen, short striped chiton, greaves with incised volutes, and two spears, right hand extended to throw the dice. Behind each is his shield; the one on the left has a tripod as device, the other an ivy-wreath. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851
5. Revelers
- Description
- Scenes of nude male revelers and hetairai, or high-class prostitutes, decorate this Athenian red-figure kylix or cup. On the interior of the cup, a reclining hetaira plays kottabos, a popular drinking game at symposia, or aristocratic drinking parties. The woman slips one handle of a cup over her index finger and tries to flick the dregs from the bottom of the cup at a target some distance away. Related scenes cover the outside of the cup. On one side, another reclining hetaira plays krotala, castanet-like instruments, while one youth offers her a large cup and another youth dances behind her. On the other side, three more youths dance. Scenes of hetairai were a were a popular subject in Greek vase-painting, especially on vases meant to be used at a symposion. For most Athenian men, the only interaction that they would have with women outside their own family was with mistresses or hetairai, who were usually slaves or foreigners. Respectable Athenian women led a very secluded life in which the nudity and frolicking shown on this vase would have been unthinkable. --J. Paul Getty Museum
- Description
- Pottery: black-figured olpe (jug). The handles have a metallic form. Design in black on a red panel on the right side of the handle, with a border of lotus-buds along the top; accessories of white and purple. A hunter to right, bearded, with pilos and short embroidered chiton, holding stick over left shoulder, from which hang a fox and a hare tied by the forepaws; by his side is a dog to right. On either side facing him is a bearded figure in an embroidered himation with purple lining, holding a staff; the one on the left wears a fillet. --The British Museum
- Description
- Pottery: black-figured amphora. On the neck, double honeysuckle. Under the handles, patterns of palmettes and spirals; below, maeander and lotus-buds. (a) In the centre Memnon to right, bearded and fully armed; on his helmet the figure of a dog, the tail supporting the crest; he has long curls ending in spirals, a white cuirass, probably of linen, richly ornamented, short striped chiton, shield and spear. On either side facing him is an beardless African attendant; the one on the right has a short striped chiton and a pelta, on which is a pellet; the other has a cuirass and short diapered chiton; each has a club in right hand. Above Memnon behind is inscribed έπ]οίησ(ε)ν (?); in front: AMAΣIΣ, Αμασις. (b) Achilles slaying Penthesilea: Achilles to right, fully armed, bearded, with hair as Memnon's in (a), short striped chiton, sword, and Boeotian shield, is thrusting with spear at Penthesilea, who retreats to right. She has long tresses, high-crested helmet with cheek-pieces, and meander border on crest, cuirass, and short striped chiton, and defends herself with spear and shield with device of an ivy-wreath. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 5, British Museum 4, London, BMP, 1929
8. [No Caption]
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- Description
- Side A: Dancing youth holding a kylix in one hand; Side B: Dancing man; his features are those of a non-Greek.--True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 32-35, no. 21, fig. 21a-c; p. 75, no. 97.; Bareiss Loan Number: S.80.AE.327, P. Graupe, Berlin. Sale cat., Verschiedener deutscher Kunstbesitz. May 27-29, 1935. lot 911; pl. 82.; Beazley, J. D. Attic Red-figure Vase-painters. Oxford: 1942. p. 134, no. 40.; Kunst-Auktion Fritz Nagel, Stuttgart. Sale cat, October 12, 1962. pl. 15, 326.; Beazley, J. D. Attic Red-figure Vase-painters. 2nd ed. Oxford: 1963. pp. 200, no. 51; 1700.; Munzen und Medaillen, Basel. Auktion 26, October 5, 1963. lot 128.; Bothmer, Dietrich von, and J. Bean. Greek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss. Exh. checklist, The Metropolitan Museum of Art. New York: 1969. p. 4, no. 39.; Beazley, J. D. Paralipomena. Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters. 2nd ed. Oxford: 1971. p. 342.; Matheson, Susan Burke, and J. Jerome Pollitt. Greek Vases at Yale. New Haven: 1975. pp. 50-51, no. 45, fig. 45.; Kurtz, Donna C. Athenian White Lekythoi: Patterns and Painters. Oxford: 1975. pp. 14, 199; pl. 7.3.; Bothmer, Dietrich. Review of S. Matheson and J. Pollitt, Greek Vases at Yale. Art Bulletin 58 (1976). p. 615.; Cardon, Carol M. The Berlin Painter and His School. Ann Arbor, Michigan: University Microfilms, no. 78-3069, 1977. p. 62, no. 73; p. 81; pl. 48.; Johnston, Alan. Trademarks on Greek Vases. Warminster: Aris & Phillips, 1979. p. 158, type 10F, no. 8.; Kurtz, Donna C., and John D. Beazley. The Berlin Painter. Oxford: 1983. pp. 52, 76, and 89.; True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 32-35, no. 21, fig. 21a-c; p. 75, no. 97.; Williams, D.J.R. "Close Shaves," Ancient Greek and Related Pottery. Proceedings of the international Vase Symposium in Amsterdam, April 12-15,1984. Amsterdam: 1984. pp. 275-281. p. 280, n. 38.; "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 160 - 161, no. 7.; Euwe, J. "The Shape of Early Nolan Amphorae (490-480 B.C.): the Origin and Relation with Other Small Neck-Amphorae," Proceedings, 3rd Symposium on Ancient Greek and Related Pottery, Copenhagen, Aug. 31-Sept. 4, 1987. Copenhagen: 1988. pp. 144-151. p. 151, n. 4, no. 8.; Beazley Addenda: Additional References to ABV, ARV2, and Paralipomena. 2nd ed. Compiled by T. Carpenter with T. Mannack and M. Mendonca. Oxford: 1989. p. 192.; Oakley, John. H. Corpus Vasorum Antiquorum. Walters Art Gallery 1 (USA 28). Baltimore: 1992. p. 6, under comparanda.; Neer, Richard T. Corpus Vasorum Antiquorum. The J. Paul Getty Museum 7 (USA 32). Malibu: 1997. pp. 5-7, no. 4; pls. 331-332; and 335, 1-2.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 75.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 31, ill.; Jubier-Galinier, C. "Les Ateliers de Potiers: le Temoignage des Doubleens Amphorae" In Shapes and Uses of Greek Vases. Athena Tsingarida, ed. (Bruxelles: CReA-Patrimoine, 2009), 47-58. , p.52, fig. 4c.
- Description
- Scenes from the mythological Trojan War decorate this Athenian black-figure neck-amphora. On the front, Achilles and Ajax, two great heroes of the Greeks, sit playing a board game. The goddess Athena stands in front of the board and gestures. The warriors have their armor and weapons ready, as if just pausing during a break in the conflict. This scene of Ajax and Achilles gaming was very popular in Athenian vase-painting of the late 500s B.C. and was a favorite of the painters in the Leagros Group. Many scholars believe that this mythological scene also served as a contemporary political parable on the value of staying alert, since the tyrant Peisistratos had been able to take control of the city of Athens while the army was distracted. The back of the vase depicts three hoplites, or warriors, in a line. Such files of hoplites are rather unusual in vase-painting, and this depiction may have been meant to relate to the scene on the front of the vase. These hoplites may be Greeks on the march to counter a Trojan attack, while Ajax and Achilles are notified by Athena. Such an interpretation would explain Athena's unusually prominent position on this rendition of the scene. --J. Paul Getty Museum; Bareiss Loan: S.80.AE.292, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 24.; Bothmer, Dietrich von, and J. Bean. Greek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss. Exh. checklist, The Metropolitan Museum of Art. New York: 1969. p. 2, no. 19.; Brommer, Frank. Vasenlisten zur griechischen Heldensage. 3rd ed. (Marburg: 1973) p. 335, no. 23.; Woodford, Susan.
10. Prothesis
- Description
- Pottery Pitcher. Clay: orange-buff clay, white grits, semilustrous brown-black paint. Shape: Flaring lip, near-vertical neck, plump ovoid body with two mastoi on the shoulder, ring foot; broad strap handle rising above rim, linked to the neck by a strut. Decoration: Neck: double meander between dotted lozenge chains; at either side, columns of check pattern between diagonal bars. Shoulder: central metope with kneeling goat, head reverted , above latticed triangles; at each side, columns of diagonal bars and mastos panel containing bird, dots and latticed triangle; eight-point star within circle on each mastos. In the long lateral panels, hatched zigzags with latticed triangles in the spaces, each bordered by columns of latticing. Dotted lozenge chain. Figured zone around belly: alternating with rows of female mourners, four prothesis scenes, on front, back, and each flank. All four share the following details, although with some variations and omissions: a four-legged bier and, below, a kneeling goat with reverted head; a shroud in double outline, usually hatched, and drawn upward to reveal the corpse; and a latticed pillow near the head of the deceased. Variations: (a) in front, to the right of the bier, a latticed tongue with double outline; (b), on one flank, the shroud is omitted; (c) on the back, a second goat to the left of the bier, and the shroud is filled with a zigzag; and (d), on the other flank, the corpse has no hands or pillow and, to the right of the bier, is a smaller mourner, perhaps an adolescent female, with breasts shown. Filling ornaments: standing and pendent latticed triangles, dotted circles, columns of chevron flanked by dots between mourners. Lower body: lozenge chain, small dotted triangles with prolonged and curved apices, dots in the field; vertical wavy lines, paint on foot. Handle: serpent flanked by dots, dotted ovals in the field, between vertical lines; above, panel with twelve-point star, between bars. Groups of nine bars on rim, band inside. --The British Museum
