Cycnus. Lydos decorated other types of vessels besides hydriai and dinos, such as plates, cups (overlap Siena cups), column kraters and psykters, as well as votive tablets. It continues to be difficult to identify Lydos’ products as such since they frequently differ only slightly from those of his immediate milieu. The style is quite homogenous, but the pieces vary considerably in quality. The drawings are not always carefully produced. Lydos was probably a foreman in a very productive workshop in Athens’pottery district. He was presumably the last Attic vase painter to put animal friezes on large vases. Still in the Corinthian tradition, his figure drawings are a link in the chain of vase painters extending from Kleitias via Lydos and the Amasis Painters to Exekias. Along with them he participated in the evolution of this art in Attica and had a lasting influence.
A special form of Attic vases of this period was the Tyrrhenian amphora (550-530 BC). These were egg-shaped neck amphora with decorations atypical of the usual Attic design canon of the period. Almost all of the c. 200 surviving vases were found in Etruria. The body of the amphora is usually subdivided into several parallel friezes. The upper or shoulder frieze usually shows a popular scene from mythology. There are sometimes less common subjects, such as a unique scene of the sacrificing of
Polyxena. The first known erotic images on Attic vases are also found at this vase location. The painters frequently put annotations on Tyrrhenian amphora which identify the persons shown. The other two or three friezes were decorated with animals; sometimes one of them was replaced with a plant frieze. The neck is customarily painted with a lotus palmette cross or festoons. The amphoras are quite colorful and recall Corinthian products. In this case a Corinthian form was obviously deliberately copied to produce a particular vase type for the Etruscan market, where the style was popular. It is possible that this form was not manufactured in Athens but somewhere else in Attica, or even outside Attica. Important painters were the
Castellani Painter and the
Goltyr Painter.
The years of mastery
The period between 560 and the inception of red-figure pottery painting around 530/520 BC is considered to be the absolute pinnacle of black-figure vase painting. In this period the best and most well-known artists exploited all the possibilities offered by this style.
The first important painter of this time was the
Amasis Painter
The Amasis Painter (active around 550–510 BC in Athens) was an ancient Greek vase painter who worked in the black-figure technique. He owes his name to the signature of the potter Amasis ("Amasis made me"), who signed twelve works painted by ...
(560–525 BC), named after the famous potter
Amasis, with whom he primarily worked. Many researchers regard them as the same person. He began his painting career at about the same time as Lydos but was active over a period almost twice as long. Whereas Lydos showed more the abilities of a skilled craftsman, the Amasis Painter was an accomplished artist. His images are clever, charming and sophisticated and his personal artistic development comes close to a reflection of the overall evolution of black-figure Attic vase painting at that time. His early work shows his affinity to the painters of Siana cups. Advances can be most easily recognized in how he draws the folds of clothing. His early female figures wear clothes without folds. Later he paints flat, angular folds, and in the end he is able to convey the impression of supple, flowing garments. Drawings of garments were one of his chief characteristics; he liked to depicted patterned and fringed clothing. The groups of figures which the Amasis Painter shows were carefully drawn and symmetrically composed. Initially they were quite static, later figures convey an impression of motion. Although the Amasis Painter often depicted mythological events—he is known for his pig-faced
satyrs, for example—he is better known for his scenes of daily life. He was the first painter to portray them to a significant extent. His work decisively influenced the work of red-figure painters later. He possibly anticipated some of their innovations or was influenced by them toward the end of his painting career: on many of his vases women are only shown in outline, without a black filling, and they are no longer identifiable as women by the application of opaque white as skin color.
Group E Group E may refer to:
* E-Group: E-Groups are unique architectural complexes found among a number of ancient Maya settlements
* Group E (vase painting), a group of Attic vase painters of the black-figure style, active between 560 and 540 BC.
* One ...
(550–525 v. Chr.) was a large, self-contained collection of artisans, and is considered to be the most important anonymous group producing black-figure Attic pottery. It rigorously broke with the stylistic tradition of Lydos both as to image and vessel. Egg-shaped neck amphoras were completely given up, column kraters almost entirely abandoned. Instead, this group introduced Type A belly amphoras, which then became an index form. Neck amphoras were usually produced only in customized versions. The group had no interest in small formats. Many scenes, especially those originating in myths, were reproduced again and again. Thus several amphoras of this group show Heracles with Geryon or the
Nemean Lion, and increasingly
Theseus
Theseus (, ; grc-gre, Θησεύς ) was the mythical king and founder-hero of Athens. The myths surrounding Theseus his journeys, exploits, and friends have provided material for fiction throughout the ages.
Theseus is sometimes describ ...
and the
Minotaur
In Greek mythology, the Minotaur ( , ;. grc, ; in Latin as ''Minotaurus'' ) is a mythical creature portrayed during classical antiquity with the head and tail of a bull and the body of a man or, as described by Roman poet Ovid, a being "p ...
, as well as the birth of Athena. The particular significance of the group is, however, in the influence it exerted on Exekias. Most Attic artists of the period copied the styles of Group E and Exekias. The work of Lydos and the Amasis Painter was, by contrast, not imitated as frequently. Beazley describes the importance of the group for Exekias as follows: "Group E is the fertile ground from which the art of Exekias sprouts, the tradition which he takes up and surpasses on his way from an excellent craftsman to a true artist".
Exekias
Exekias ( grc, Ἐξηκίας, ''Exēkías'') was an ancient Greek vase painter and potter who was active in Athens between roughly 545 BC and 530 BC. Exekias worked mainly in the black-figure technique, which involved the painting of sce ...
(545-520 BC) is generally considered to be the absolute master of the black-figure style, which reaches its apex with him. His significance is not only due to his masterful vase painting, but also to his high quality and innovative pottery. He signed 12 of his surviving vessels as potter, two as both painter and potter. Exekias probably had a large role in the development of
Little-master cups and the Type A belly amphora mentioned above, and he possibly invented the
calyx
Calyx or calyce (plural "calyces"), from the Latin ''calix'' which itself comes from the Ancient Greek ''κάλυξ'' (''kálux'') meaning "husk" or "pod", may refer to:
Biology
* Calyx (anatomy), collective name for several cup-like structures ...
krater, at least the oldest existing piece is from his workshop. In contrast to many other comparable craftsmen, as a painter he attached great importance to the careful elaboration of ornaments. The details of his images—horses’ manes, weapons, clothing—are also outstandingly well executed. His scenes are usually monumental and the figures emanate a dignity previously unknown in painting. In many cases he broke with Attic conventions. For his most famous vessel, the Dionysus cup, he was the first to use a coral-red interior coating instead of the customary red color. This innovation, as well as his placing of two pairs of eyes on the exterior, connects Exekias with the classic eye cups. Probably even more innovative was his use of the entire inside of the cup for his picture of Dionysus, reclining on a ship from which grapevines sprout. At this time it was in fact customary to decorate the inside surface merely with a gorgon face. The cup is probably one of the experiments undertaken in the pottery district to break new ground before the red-figure style was introduced. He was the first to paint a ship sailing along the rim of a dinos. He only seldom adhered to traditional patterns of depicting customary mythological subjects. His depiction of the
suicide of Ajax is also significant. Exekias does not show the act itself, which was in the tradition, but rather Ajax’ preparations. About as famous as the Dionysus cup is an amphora with his visualization of Ajax and Achilles engaged in a board game. Not only is the portrayal detailed, Exekias even conveys the outcome of the game. Almost in the style of a speech balloon he has both players announce the numbers they cast with their dice—Ajax a three and Achilles a four. This is the oldest known depiction of this scene, of which there is no mention in classical literature. No fewer than 180 other surviving vases, dating from the Exekias version up to about 480 BC, show this scene.
John Boardman emphasizes the exceptional status of Exekias which singles him out from traditional vase painters: "The people depicted by earlier artist are elegant dolls at best. Amasis (the Amasis Painter) was able to visualize people as people. But Exekias could envision them as gods and thereby give us a foretaste of classical art".
Acknowledging that vase painters in ancient Greece were regarded as craftsmen rather than artists, Exekias is nevertheless considered by today's art historians to be an accomplished artist whose work can be compared with "major" paintings (
murals
A mural is any piece of graphic artwork that is painted or applied directly to a wall, ceiling or other permanent substrate. Mural techniques include fresco, mosaic, graffiti and marouflage.
Word mural in art
The word ''mural'' is a Spanish ...
and panel paintings) of that period. His contemporaries apparently recognized this as well. The Berlin Collection of Classical Antiquities in the Altes Museum contains the remnants of a series of his votive tablets. The complete series probably had 16 individual panels. Placing such an order with a potter and vase painter is likely to be unique in antiquity and is evidence of the high reputation of this artist. The tablets show grieving for a dead Athenian woman as well as her lying in state and being transported to a gravesite. Exekias conveys both the grief and the dignity of the figures. One special feature, for example, is that the leader of the funeral procession turns his face to look at the viewer directly, so to speak. The depiction of the horses is also unique; they have individual temperaments and are not reduced to their function as noble animals, as is otherwise customary on vases.
There was further specialization among producers of vessels and cups during the mature Classical Period. The large-volume komast and Siana cups evolved via
Gordion cups into graceful variants called
Little-master cups because of their delicate painting. The potters and painters of this form are accordingly called
Little Masters. They chiefly painted
band cups and
lip cups. The lip cups got their name from their relatively pronounced and delineated lip. The outside of the cup retained much of the clay background and typically bore only a few small images, sometimes only inscriptions, or in some cases the entire cup was only minimally decorated. Also in the area of the handles there are seldom more than palmettes or inscriptions near the attachment points. These inscriptions can be the potter's signature, a drinker's toast, or simply a meaningless sequence of letters. But lip cup interiors are often also decorated with images.
Band cups have a softer transition between the body and the rim. The decoration is in the form of a band circling the cup exterior and can frequently be a very elaborate frieze. In the case of this form the rim is coated with a glossy black slip. The interior retains the color of the clay, except for a black dot painted in the center. Variations include
Droop cups and
Kassel cups. Droop cups have black, concave lips and a high foot. As with classic band cups the rim is left black, but the area below it is decorated with ornaments like leaves, buds, palmettes, dots, nimbuses or animals on the cup exterior. Kassel cups are a small form, squatter than other Little Masters cups, and the entire exterior is decorated. As in the case of Droop cups, primarily ornaments are painted. Famous Little Masters are the potters Phrynos,
Sokles
Sokles was an ancient Greek potter, active in the middle of the 6th century BC, in Athens.
The following signed Little-master cups or fragments thereof are known, all of them painted by the Sokles Painter:
*Berlin, Antikensammlung F 1781
*Bolligen ...
,
Tleson and
Ergoteles, the latter two being sons of the potter Nearchos.
Hermogenes invented a Little Master
variety of skyphos now known as a Hermogenes skyphos. The Phrynos Painter, Taleides Painter, Xenokles Painter and the Group of Rhodes 12264 should also be mentioned here.
Image:Lip cup by Tleson Staatliche Antikensammlungen Munich.jpg, Lip cup by the potter Tleson with signature ("Tleson, son of nearchos, made me"), c. 540 BC, now in the Munich State Collection of Antiquities
Image:Band cup Louvre F72.jpg, Band cup by an unknown artist showing fighters, c. 540 BC, from Vulci, now in the Louvre, Paris
Image:Droop cup Louvre CA2512.jpg, Droop cup by an unknown artist, c. 550/530 BC, from Greece, now in the Louvre, Paris
Image:Kassel cup Louvre E673.jpg, Kassel cup by an unknown artist, c. 540 BC, now in the Louvre, Paris
The last quarter of the 6th century BC
Until the end of the century the quality of black-figure vase production could basically be maintained. But after the development of the red-figure style around 530 BC, presumably by the
Andokides Painter
Andokides was an ancient Athenian vase painter, active from approximately 530 to 515 B.C. His work is unsigned and his true name unknown. He was identified as a unique artistic personality through stylistic traits found in common among several pai ...
, more and more painters went over to the red-figure style, which provided many more possibilities for adding details within the figure contours. The new style also permitted many more promising experiments with foreshortening, perspective views and new designs for arrangements. Scene contents, as always, reflected trends in taste and the spirit of the times, but the red-figure style created better preconditions for presenting more elaborate scenes by exploiting the new arrangement possibilities.
But in the meantime, a few innovative craftsmen could still give new impulses to the production of black-figure vases. The most imaginative potter of the time, also a talented businessman, was
Nikosthenes
Nikosthenes was a potter of Greek black- and red-figure pottery in the time window 550–510 BC. He signed as the potter on over 120 black-figure vases, but only nine red-figure. Most of his vases were painted by someone else, called Painter ...
. Over 120 vases bear his signature, indicating that they were made by him or in his workshop. He seems to have particularly specialized in producing vases for export to Etruria. In his workshop the usual neck amphoras, Little Masters, Droop and eye cups were produced, but also a type of amphora reminiscent of Etruscan
bucchero
Bucchero () is a class of ceramics produced in central Italy by the region's pre-Roman Etruscan population. This Italian word is derived from the Latin ''poculum'', a drinking-vessel, perhaps through the Spanish ''búcaro'', or the Portuguese ' ...
pottery, named the
Nikosthenic amphora
A Nikosthenic amphora is a type of Attic vase invented in the late 6th century BC by the potter Nikosthenes, aimed specifically for export to Etruria. Inspired by Etruscan Bucchero types, it is the characteristic product of the Nikosthenes-Pamph ...
after its creator. These pieces were found particularly in
Caere, the other vase types usually in Cerveteri and Vulci. The many inventions in his workshop were not limited to forms. In Nikosthenes’ workshop what is known as the
Six's technique
Six's technique is the modern name for a technique used by Attic black-figure vase painters that involves laying on figures in white or red on a black surface and incising the details so that the black shows through. It was first described by the ...
was developed, in which figures were painted in reddish brown or white atop a black glossy slip. It is not clear whether Nikosthenes also painted vases, in which case he is usually presumed to be identical with Painter N. The
BMN Painter
The BMN Painter was an Attic vase painter in the black-figure style, active during the third quarter of the 6th century BC.
Initially, the BMN Painter worked for the potter Lydos. Of the collaboration between the two, a band cup and a belly amph ...
and the red-figure Nikosthenes Painter are also named after Nikosthenes. In his workshop he employed many famous vase painters, including the elderly Lydos,
Oltos
Oltos was a Late Archaic Greek vase painter, active in Athens from 525 BC to 500 BC. About 150 works by him are known. Two pieces, a cup in Berlin (Antikensammlung F 2264) and a cup in Tarquinia (Museo Nazionale Tarquiniese RC 6848), are sign ...
and
Epiktetos
Epiktetos was an Attic vase painter in the early red-figure style. Besides Oltos, he was the most important painter of the Pioneer Group. He was active between 520 BC and 490 BC. His name translates as "newly acquired", which is most probably a ...
. The workshop tradition was continued by Nikosthenes’ successor,
Pamphaios
Pamphaios was an Attic potter active around the end of the 6th century BC.
Pamphaios was the successor of Nikosthenes in that artist's workshop, and thus took over from one of the most influential and creative potters of antiquity. He probably took ...
.
Two black-figure vase painters are considered to be mannerists (540-520 BC). The painter
Elbows Out
Elbows Out is the name given to an Attic black-figure vase painter, active in Athens around 550/540 to 520 BC.
His conventional name is derived from the strongly exaggerated gestures and odd anatomy of his dancing figures. Together with the Affect ...
decorated primarily Little Masters cups. The extended elbows of his figures are conspicuous, a characteristic responsible for his pragmatic name. He only seldom depicted mythological scenes; erotic scenes are much more common. He also decorated a rare vase form known as a
lydion
The lydion (Greek λύδιον; plural ''lydia'') was an ancient Greek vase shape. The shape may have been of Egyptian derivation.
As indicated by its name, the ''lydion'' originated in Lydia
Lydia ( Lydian: 𐤮𐤱𐤠𐤭𐤣𐤠, '' ...
. The most important of the two painters was
The Affecter, whose name comes from the exaggeratedly artificial impression made by his figures. These small-headed figures do not seem to be acting as much as posing. His early work shows scenes of daily life; later he turned to decorative scenes in which figures and attributes are recognizable, but hardly actions. If his figures are clothed they look as if they were padded; if they are naked they are very angular. The Affecter was both potter and painter; over 130 of his vases have survived.
The
Antimenes Painter (530–500 BC) liked to decorate hydria with animal friezes in the predella, and otherwise especially neck amphoras. Two hydria attributed to him are decorated on the neck region using a
white ground technique. He was the first to paint amphoras with a masklike face of Dionysus. The most famous of his over 200 surviving vases shows an olive harvest on the back side. His drawings are seldom really precise, but neither are they excessively careless. Stylistically, the painter
Psiax
Psiax was an Attic vase painter of the transitional period between the black-figure and red-figure styles. His works date to ''circa'' 525 to 505 BC and comprise about 60 surviving vases, two of which bear his signature. Initially he was allocat ...
is closely related to the Antimenes Painter, although the former also used the red-figure technique. As the teacher of the painters
Euphronius and
Phintias, Psiax had a great influence on the early development of the red-figure style. He frequently shows horse and chariot scenes and archers.
The last important group of painters was the
Leagros Group
The Leagros Group was a group of Attic black-figure vase painters active during the last two decades of the 6th century BC. The name given to the group by modern scholars is a conventional one, derived from a series of name vases.
The Leagros Gro ...
(520-500 BC), named after the kalos inscription they frequently used, Leagros. Amphoras and hydria, the latter often with palmettes in the predella, are the most frequently painted vessels. The image field is usually filled absolutely to capacity, but the quality of the images is still kept very high. Many of the over 200 vases in this group were decorated with scenes of the Trojan War and the life of Heracles Painters like the witty Acheloos Painter, the conventional Chiusi Painter, and the Daybreak Painter with his faithful detailing belong to the Leagros Group.
Other well-known vase painters of the time are the
Painter of the Vatican Mourner, The
Princeton Painter
The Princeton Painter was an Attic black-figure vase painter, active in the third quarter of the sixth century BC, just after Group E. His real name is not known.
He is a typical representative of the Attic vase painting of his time. He mainly pai ...
, the
Painter of Munich 1410 and the
Swing Painter (540-520 BC), to whom many vases are attributed. He is not considered to be a very good artist, but his figures are unintentionally humorous because of the figures with their large heads, strange noses and frequently clenched fists. The work of the
Rycroft Painter bears a resemblance to red-figure vase painting and the new forms of expression. He liked to depict Dionysian scenes, horses and chariots, and the adventures of Heracles. He often uses outline drawings. The approximately 50 usually large-size vessels attributed to him are elegantly painted. The
Class of C.M. 218 primarily decorated variations of the Nikosthenic amphoras. The
Hypobibazon Class worked with a new type of belly amphora with rounded handles and feet, whose decoration is characterized by a key meander above the image fields. A smaller variant of neck amphora was decorated by the
Three Line Group. The
Perizoma Group
The term Perizoma Group describes a group of Attic black-figure
Black-figure pottery painting, also known as the black-figure style or black-figure ceramic ( grc, , }), is one of the styles of painting on antique Greek vases. It was especially ...
adopted around 520 BC the newly introduced form of the
stamnos
A stamnos (plural stamnoi) is a type of Greek pottery
Ancient Greek pottery, due to its relative durability, comprises a large part of the archaeological record of ancient Greece, and since there is so much of it (over 100,000 painted vases ar ...
. Toward the end of the century, high quality productions were still being produced by the
Euphiletos Painter
The Euphiletos Painter was an Attic black-figure vase painter active in the second half of the sixth century BC.
One of the better-quality vase painters of the black-figure style in Athens, he is known especially for his Panathenaic prize ampho ...
, the
Madrid Painter and the imaginative
Priam Painter.
Particularly cup painters like Oltos, Epiktetos, Pheidippos and Skythes painted vases in both red- and black-figure styles (
Bilingual Pottery
Bilingual vase painting is a special form of ancient Greek vase painting. The term, derived from linguistics, is essentially a metaphorical one; it describes vases that are painted both in the black-figure and in the red-figure techniques. It al ...
), primarily eye cups. The interior was usually in the black-figure style, the exterior in the red-figure style. There are several cases of amphoras whose front and back sides are decorated in the two different styles. The most famous are works by the
Andokides Painter
Andokides was an ancient Athenian vase painter, active from approximately 530 to 515 B.C. His work is unsigned and his true name unknown. He was identified as a unique artistic personality through stylistic traits found in common among several pai ...
, whose black-figure scenes are attributed to the
Lysippides Painter. Scholars are divided on the issue of whether these painters are the same person. Only a few painters, for example the
Nikoxenos Painter and the
Athena Painter
The Athena Painter was an Attic black-figure vase painter, active about 490 to 460 BC. His speciality were white-ground ''lekythoi'' painted in the black-figure style.
His pseudonym, for his real name is unknown, refers to his preference for Ath ...
, produced large quantities of vases using both techniques. Although bilingual pottery was quite popular for a short time, the style went out of fashion already toward the end of the century.
Late Period
At the beginning of the 5th century BC until 480 BC at the latest, all painters of repute were using the red-figure style. But black-figure vases continued to be produced for some 50 additional years, with their quality progressively decreasing. The last painters producing acceptable quality images on large vases were the Eucharides Painter and the Kleophrades Painter. Only workshops which produced smaller shapes like olpes, oenoches, skyphos, small neck amphoras and particular lekythos increasingly used the old style. The Phanyllis Painter used the Six technique, among other methods, and both the Edinburgh Painter and the Gela Painter decorated the first cylindrical lekythos. The former primarily produced casual, clear and simple scenes using a black-figure style on a white ground. The white ground of the vases was quite thick and no longer painted directly on the clay foundation, a technique which became the standard for all white-ground vases. The Sappho Painter specialized in funerary lekythos. The workshop of the
Haimon Painter was especially productive; over 600 of their vases have survived. The Athena Painter (who is perhaps identical with the red-figure Bowdoin Painter) and the Perseus Painter continued to decorate large, standard lekythos. The scenes of the Athena Painter still radiate some of the dignity inherent in the work of the Leagros Group. The Marathon Painter is primarily known for the funerary lekythos found in the tumulus for the Athenians who died in the
Battle of Marathon in 490 BC. The last significant lekythos painter, the Beldam Painter, worked from around 470 BC until 450 BC. Except for the Panathenaic prize amphoras, the black-figure style came to a close in Attica at this time.
Panathenaic prize amphoras
Among black-figure Attic vases, the Panathenaic prize amphoras play a special role. After 566 BC—when the Panathenaic celebrations were introduced or reorganized—they were the prize for the winners of sport competitions and were filled with olive oil, one of the city's main export goods. On the front they routinely bore the image of the goddess Athena standing between two pillars on which
roosters perched; on the back there was a sports scene. The shape was always the same and was only modified slightly over the long period of its production. The belly amphora was, as its name suggests, originally especially bulbous, with a short neck and a long, narrow foot. Around 530 BC the necks become shorter and the body somewhat narrower. Around 400 BC the vase shoulders were considerably reduced in width and the curve of the vase body looked constricted. After 366 BC the vases were again more elegant and become even narrower.
These vases were primarily produced in the leading workshops of the Kerameikos district. It seems to have been an honor or particularly lucrative to be awarded a commission for producing the vases. This also explains the existence of many prize amphoras by excellent vase painters. In addition to superior black-figure painters like the Euphiletos Painter, Exekias, Hypereides and the Leagros Group, many red-figure master craftsmen are known as creators of prize amphoras. These include the Eucharides Painter, the Kleophrades Painter, the Berlin Painter, the Achilleus Painter and Sophilos, who was the only one to have signed one of the surviving vases. The first known vase was produced by the Burgon Group and is known as the Burgon vase. Since the name of the ruling official (
Archon
''Archon'' ( gr, ἄρχων, árchōn, plural: ἄρχοντες, ''árchontes'') is a Greek word that means "ruler", frequently used as the title of a specific public office. It is the masculine present participle of the verb stem αρχ-, mean ...
) occasionally appears on the vase after the 4th century BC, some of the vases can be precisely dated. Since the Panathenaia were religious festivals, the style and the type of decoration changed neither during the red-figure period nor after figured vases were no longer really traded in Athens. The prize amphoras were produced into the 2nd century BC, and about 1,000 of them have survived. Since for some dates the number of amphorae awarded to a winner is known, it is possible to deduce that about one percent of the total production of Athenian vases has survived. Other projections lead to the conclusion that in all about seven million vases with painted figures were produced in Athens. In addition to the prize amphoras, imitative forms known as Pseudo-Panathenaic prize amphoras were also manufactured.
Laconia
Starting already in the 7th century BC painted pottery was being produced in Sparta for local consumption as well as for export. The first quality pieces were produced around 580 BC. The zenith in black-figure pottery was reached between about 575 and 525 BC. Besides Sparta, the main discovery sites are the islands of
Rhodes
Rhodes (; el, Ρόδος , translit=Ródos ) is the largest and the historical capital of the Dodecanese islands of Greece. Administratively, the island forms a separate municipality within the Rhodes regional unit, which is part of the S ...
and
Samos
Samos (, also ; el, Σάμος ) is a Greek island in the eastern Aegean Sea, south of Chios, north of Patmos and the Dodecanese, and off the coast of western Turkey, from which it is separated by the -wide Mycale Strait. It is also a sepa ...
, as well as
Taranto
Taranto (, also ; ; nap, label=Tarantino, Tarde; Latin: Tarentum; Old Italian: ''Tarento''; Ancient Greek: Τάρᾱς) is a coastal city in Apulia, Southern Italy. It is the capital of the Province of Taranto, serving as an important comme ...
, Etruscan necropolises, and
Cyrene, which was at first considered to be the original source of the pottery. The quality of the vessels is very high. The clay was well slurried and was given a cream-colored coating. Amphoras, hydriai, column kraters (called ''krater lakonikos'' in antiquity), volute kraters, Chalcidic kraters, lebes, aryballoi and the Spartan drinking cup, the
lakaina, were painted. But the index form and most frequent find is the cup. In Lakonia the deep bowl was usually put on a high foot; cups on low feet are rare. The exterior is typically decorated with ornaments, usually festoons of pomegranates, and the interior scene is quite large and contains figures. In Laconia earlier than in the rest of Greece the tondo became the main framework for cup scenes. The main image was likewise divided into two segments at an early date, a main scene and a smaller, lower one. Frequently the vessel was only coated with a glossy slip or decorated with just a few ornaments. Inscriptions are uncommon but can appear as name annotations. Signatures are unknown for potters as well as painters. It is probable that the Laconian craftsmen were
perioeci pottery painters. Characteristic features of the pottery often match the fashion of known painters. It is also possible that they were migrant potters from eastern Greece, which would explain the strong eastern Greek influence especially on the Boreads Painter.
In the meantime at least eight vase painters can be distinguished. Five painters, the
Arkesilas Painter The Arkesilas Painter was a Laconian vase painter active around 560 BC. He is considered one of the five great vase painters of Sparta.
His conventional name is derived from his name vase, the so-called Arkesilas Cup, a '' kylix'' now on disp ...
(565–555), the
Boreads Painter (575–565), the
Hunt Painter, the
Naucratis Painter (575–550) and the
Rider Painter (550–530) are considered to be the more important representatives of the style, while other painters are regarded as craftsmen of lesser ability. The images are usually angular and stiff, and contain animal friezes, scenes of daily life, especially symposia, and many mythological subjects. Of the latter,
Poseidon
Poseidon (; grc-gre, Ποσειδῶν) was one of the Twelve Olympians in ancient Greek religion and myth, god of the sea, storms, earthquakes and horses.Burkert 1985pp. 136–139 In pre-Olympian Bronze Age Greece, he was venerated as ...
and Zeus are depicted especially frequently, but also Heracles and his twelve
labors as well as the
Theban and Trojan legend cycles. Especially on the early vases, a gorgon grimace is placed in a cup tondo. A depiction of the nymph Cyrene and a tondo with a rider with a scrolling tendril growing from his head (name vase of the Rider Painter) are exceptional. Also important is a cup with an image of
Arcesilaus II. The Arcesilas cup supplied the pragmatic name for the Arcesilas Painter. It is one of the rare depictions on Greek pottery of current events or people. The subjects suggest Attic influence. A reddish purple was the main opaque color. At present over 360 Laconian vases are known, with almost a third of them, 116 pieces, being attributed to the Naucratis Painter. The decline around 550 BC of Corinthian black-figure vase painting, which had an important influence on Laconian painting, led to a massive reduction in the Laconian production of black-figure vases, which came to an end around 500 BC. The pottery was very widely distributed, from
Marseille
Marseille ( , , ; also spelled in English as Marseilles; oc, Marselha ) is the prefecture of the French department of Bouches-du-Rhône and capital of the Provence-Alpes-Côte d'Azur region. Situated in the camargue region of southern Fra ...
to Ionian Greece. On Samos, Laconian pottery is more common than Corinthian pottery because of the close political alliance with Sparta.
Boeotia
Black-figure vases were produced in Boeotia from the 6th to the 4th century BC. As late as the early 6th century BC many Boeotian painters were using the orientalizing outline technique. Afterward they oriented themselves closely on Attic production. Distinctions and attributions to one of the two regions are sometimes difficult and the vases can also be confused with Corinthian pottery. Low-quality Attic and Corinthian vases are often declared to be Boeotian works. Frequently, good Boeotian vases are considered to be Attic and poor Attic vases are falsely considered to be Boeotian. There was probably an exchange of craftsmen with Attica. In at least one case it is certain that an Attic potter emigrated to Boeotia (the Horse-Bird Painter, and possibly also the Tokra Painter, and among the potters certainly Teisias the Athenian). The most important subjects are animal friezes, symposia and komos scenes. Mythological scenes are rare, and when present usually show Heracles or Theseus. From the late 6th century through the 5th century a silhouette-like style predominated. Especially
kantharos, lekanis, cups, plates and pitchers were painted. As was the case in Athens, there are kalos inscriptions. Boeotian potters especially liked to produce molded vases, as well as kantharos with sculptured additions and tripod
pyxides
A ''pyxis'' (, plural ''pyxides'') is a shape of vessel from the classical world, usually a cylindrical box with a separate lid. Originally mostly used by women to hold cosmetics, trinkets or jewellery, surviving ''pyxides'' are mostly Greek pot ...
. The shapes of lekanis, cups and neck amphoras were also taken over from Athens. The painting style is often humorous, and there is a preference for komos scenes and satyrs.
Between 425 and 350 BC Kabeiric vases were the main black-figure style in Boeotia. In most cases this was a hybrid form between a kantharos and a
skyphos
A ''skyphos'' ( grc, σκύφος; plural ''skyphoi'') is a two-handled deep wine-cup on a low flanged base or none. The handles may be horizontal ear-shaped thumbholds that project from the rim (in both Corinthian and Athenian shapes), or they m ...
with a deep bowl and vertical ring handles, but there were also lebes, cups and pyxides. They are named after the primary place where they were found, the Sanctuary of the Kabeiroi near Thebes. The scenes, usually painted on only one side of the vase, depict the local cult. The vases caricature mythological events in a humorous, exaggerated form. Sometimes komos scenes are shown, which presumably related directly to the cult.
Euboea
Black-figure vase painting in Euboea was also influenced by Corinth and especially by Attica. It is not always easy to distinguish these works from Attic vases. Scholars assume that most of the pottery was produced in
Eretria. Primarily amphoras, lekythos, hydria and plates were painted. Large-format amphoras were usually decorated with mythological scenes, such as the adventures of Herakles or the Judgment of Paris. The large amphoras, derived from 7th century shapes, have tapering lips and usually scenes relating to weddings. They are apparently funerary vases produced for children who died before they could marry. Restrained employment of incising and regular use of opaque white for the floral ornaments were typical features of black-figure pottery from Eretria. In addition to scenes reflecting Attic models, there were also wilder scenes like the rape of a deer by a satyr or Heracles with centaurs and demons. The vases of the Dolphin Class were previously regarded as being Attic, but are now considered to be Euboic. However, their clay does not match any known Eretrian sources. Perhaps the pieces were produced in
Chalcis
Chalcis ( ; Ancient Greek & Katharevousa: , ) or Chalkida, also spelled Halkida (Modern Greek: , ), is the chief town of the island of Euboea or Evia in Greece, situated on the Euripus Strait at its narrowest point. The name is preserved fro ...
.
The origin of some black-figure regional styles is disputed. For example, Chalcidian pottery painting was once associated with Euboea; in the meantime production in Italy is considered to be more likely.
Eastern Greece
In hardly any other region of Greece are the borders between the orientalizing and black-figure styles as uncertain as in the case of vases from eastern Greece. Until about 600 BC only outline drawings and empty spaces were employed. Then during the late phase of the orientalizing style incised drawings began to appear, the new technique coming from northern Ionia. The animal frieze style which had previously predominated was certainly decorative, but offered few opportunities for further technical and artistic development. Regional styles arose, especially in Ionia.
Toward the end of the
Wild Goat style, northern Ionian artists imitated—rather poorly—Corinthian models. But already in the 7th century high quality vases were being produced in Ionia. Since approximately 600 BC the black-figure style was used either entirely or in part to decorate vases. In addition to regional styles which developed in Klazomenai,
Ephesus
Ephesus (; grc-gre, Ἔφεσος, Éphesos; tr, Efes; may ultimately derive from hit, 𒀀𒉺𒊭, Apaša) was a city in ancient Greece on the coast of Ionia, southwest of present-day Selçuk in İzmir Province, Turkey. It was built i ...
,
Milet
Miletus (; gr, Μῑ́λητος, Mī́lētos; Hittite transcription ''Millawanda'' or ''Milawata'' (exonyms); la, Mīlētus; tr, Milet) was an ancient Greek city on the western coast of Anatolia, near the mouth of the Maeander River in ...
,
Chios
Chios (; el, Χίος, Chíos , traditionally known as Scio in English) is the fifth largest Greek island, situated in the northern Aegean Sea. The island is separated from Turkey by the Chios Strait. Chios is notable for its exports of mast ...
and Samos there were especially in northern Ionia styles which cannot be precisely localized. Oil flasks which adhered to the Lydian model (lydions) were common, but most of them were decorated only with stripes. There are also original scenes, for example a
Scythian with a
Bactrian camel, or a satyr and a ram. For some styles attribution is controversial. Thus the Northampton Group shows strong Ionian influence but production was probably in Italy, perhaps by immigrants from Ionia.
In Klazomenai primarily amphoras and hydria were painted in the middle of the 6th century BC (c. 550 to 350 BC), as well as deep bowls with flat, angular-looking figures. The vessels are not very elegant in workmanship. Dancing women and animals were frequently depicted. Leading workshops were those of the Tübingen Painter, the Petrie Painter, and the Urla Group. Most of the vases were found in
Naukratis and in Tell Defenneh, which was abandoned in 525 BC. Their origin was initially uncertain, but Robert Zahn identified the source by comparison with images on Klazomenian sarcophagi. The pottery was often decorated with sculptured women's masks. Mythological scenes were rare; fishscale ornaments, rows of white dots, and stiff-looking dancing women were popular. The depiction of a herold standing in front of a king and a queen is unique. In general, men were characterized by large, spade-shaped beards. Starting already in 600 BC and continuing to about 520 BC rosette cups, successor to the eastern Greece bird cups, were produced, probably in Klazomenai.
Samian pottery first appeared around 560/550 BC with forms adopted from Attica. These are Little Masters cups and kantharos with facial forms. The painting is precise and decorative. Samos along with Milet and Rhodes was one of the main centers for the production of vases in the Wild Goat style.
Rhodian vase painting is primarily known from Rhodian plates. These were produced using a polychrome technique with many of the details being incised as in black-figure painting. From about 560 to 530 BC situlas were common, inspired by Egyptian models. These show both Greek subjects, such as
Typhon
Typhon (; grc, Τυφῶν, Typhôn, ), also Typhoeus (; grc, Τυφωεύς, Typhōeús, label=none), Typhaon ( grc, Τυφάων, Typháōn, label=none) or Typhos ( grc, Τυφώς, Typhṓs, label=none), was a monstrous serpentine giant an ...
, as well as ancient Egyptian themes like
Egyptian hieroglyphics
Egyptian hieroglyphs (, ) were the formal writing system used in Ancient Egypt, used for writing the Egyptian language. Hieroglyphs combined logographic, syllabic and alphabetic elements, with some 1,000 distinct characters.There were about 1, ...
and Egyptian sport disciplines.
Italy including Etruria
Caeretan Hydria
"Caeretan hydria" is the name used for an especially colorful style of black-figure vase painting. The origin of these vases is disputed in the literature. Based on an assessment of the painting the vases were long considered to be Etruscan or Corinthian, but in recent years the view predominates that the producers were two pottery painters who emigrated from eastern Greece to
Caere (modern Cerveteri) in Etruria. Inscriptions in Ionic Greek support the emigration theory. The workshop existed for only one generation. Today about 40 vases produced by the two master craftsmen in this style are known. All are hydriai except for one
alabastron. None were found outside of Etruria; most came from Caere, which is the reason for their name. The vases are dated to approximately 530 to 510/500 BC. The Caeretan hydria are followed stylistically by neck amphoras decorated with stripes.
These technically rather inferior hydriai are 40–45 cm. high. The bodies of these vases have high and very prominent necks, broad shoulders, and low ring feet in the form of upside-down chalices. Many of the hydriai are misshapen or show faulty firing. The painted images are in four zones: a shoulder zone, a belly zone with figures and one with ornaments, and a lower section. All but the belly zone with figures are decorated with ornaments. There is only one case of both belly friezes having figures. Their multiple colors distinguish them from all other black-figure styles. The style recalls Ionian vase painting and multicolored painted wooden tablets found in Egypt. Men are shown with red, black or white skin. Women are almost always portrayed with an opaque white color. The contours as well as the details are incised, as is typical for the black-figure style. Surfaces of black glossy slip are often covered with an additional colored slip, so that the black slip which becomes visible where there is scoring supplies the various shapes with internal details. On the front side the images are always full of action, on the back heraldic designs are common. Ornaments are an important component of the hydrias; they are not subsidiary to other motifs. Stencils were used to paint the ornaments; they are not incised.
The Busiris Painter and the Eagle Painter are named as painters. The latter is considered the leading representative of this style. They were particularly interested in mythological topics which usually revealed an eastern influence. On the name vase by the Busiris painter, Heracles is trampling on the mythical Egyptian pharao
Busiris. Heracles is frequently depicted on other vases as well, and scenes of daily life also exist. There are also uncommon scenes, such as
Cetus accompanied by a white seal.
Pontic vases
The Pontic vases are also closely related stylistically to Ionian pottery painting. Also in this case it is assumed that they were produced in Etruscan workshops by craftsmen who emigrated from Ionia. The vases got their misleading name from the depiction on a vase of archers thought to be Scythians, who lived at the
Black Sea
The Black Sea is a marginal mediterranean sea of the Atlantic Ocean lying between Europe and Asia, east of the Balkans, south of the East European Plain, west of the Caucasus, and north of Anatolia. It is bounded by Bulgaria, Georgia, Rom ...
(Pontus). Most of the vases were found in graves in Vulci, a significant number also in Cerveteri. The index form was a neck amphora with a particularly slender shape, closely resembling Tyrrhenian amphoras. Other shapes were oenochoes with spiral handles, dinos,
kyathos, plates, beakers with high bases, and, less often, kantharos and other forms. The adornment of Pontic vases is always similar. In general there is an ornamental decoration on the neck, then figures on the shoulder, followed by another band of ornaments, an animal frieze, and finally a ring of rays. Foot, neck and handles are black. The importance of ornaments is noticeable, although they are often rather carelessly formed; some vases are decorated only with ornaments. The clay of these vases is yellowish-red; the slip covering the vases is black or brownish-red, of high quality, and with a metallic sheen. Red and white opaque colors are generously used for figures and ornaments. Animals are usually decorated with a white stripe on their bellies. Scholars have identified six workshops to date. The earliest and best is considered to be that of the Paris Painter. He shows mythological figures, included a beardless Heracles, as was customary in eastern Greece. Occasionally there are scenes which are not a part of Greek mythology, such as Heracles fighting Juno Sospita ("the Savior") by the Paris Painter, or a wolf demon by the Tityos Painter. There are also scenes of daily life, komos scenes, and riders. The vases are dated to a time between 550 and 500 BC, and about 200 are known.
Etruria
Locally produced Etruscan vases probably date from the 7th century BC. At first, they resemble black-figure models from Corinth and eastern Greece. It is assumed that in the early phase primarily Greek immigrants were the producers. The first important style was Pontic pottery painting. Afterward, in the period between 530 and 500 BC, the Micali Painter and his workshop followed. At this time Etruscan artists tended to follow Attic models and produced primarily amphoras, hydriai and jugs. They usually had komos and symposia scenes and animal friezes. Mythological scenes are less common, but they are very carefully produced. The black-figure style ended around 480 BC. Toward the end a mannerist style developed, and sometimes a rather careless silhouette technique.
Chalcidian pottery
Chalcidian vase painting was named from the mythological inscriptions which sometimes appeared in Chalcidian script. For this reason the origin of the pottery was first suspected to be Euboea. Currently it is assumed that the pottery was produced in
Rhegion
Reggio di Calabria ( scn, label= Southern Calabrian, Riggiu; el, label=Calabrian Greek, Ρήγι, Rìji), usually referred to as Reggio Calabria, or simply Reggio by its inhabitants, is the largest city in Calabria. It has an estimated popula ...
, perhaps also in Caere, but the issue has not yet been finally decided. Chalcidian vase painting was influenced by Attic, Corinthian and especially Ionian painting. The vases were found primarily in Italian locations like Caeri, Vulci and Rhegion, but also at other locations of the western Mediterranean.
The production of Chalcidian vases began suddenly around 560 BC. To date, no precursors have been identified. After 50 years, around 510 BC, it was already over. About 600 vases have survived, and 15 painters or painter groups have been so far identified. These vases are characterized by high quality pottery work. The glossy slip which covers them is usually pitch-black after firing. The clay has an orange color. Red and white opaque colores were generously used in the painting, as was scoring to produce interior details. The index form is the neck amphora, accounting for a quarter of all known vases, but there are also eye cups, oinochoes and hydria; other vessel types being less common. Lekanis and cups in the Etruscan style are exceptions. The vases are economical and stringent in construction. The "Chalcidian cup foot" is a typical characteristic. It is sometimes copied in black-figure Attic vases, less often in red-figured vases.
The most important of the known artists of the older generation is the Inscription Painter, of the younger representatives the Phineus Painter. The former is presumably the originator of the style; some 170 of the surviving vases are attributed to the very productive workshop of the latter. He is probably also the last representative of this style. The images are usually more decorative than narrative. Riders, animal friezes, heraldic pictures or groups of people are shown. A large lotus-palmette cross is frequently part of the picture. Mythological scenes are seldom, but when they occur they are in general of exceptionally high quality.
Pseudo-Chalcidian vase painting is the successor to Chalcidian painting. It is close to Chalcidian but also has strong links to Attic and Corinthian vase painting. Thus the artists used the Ionian rather than the Chalcidian alphabet for inscriptions. The structure of the clay is also different. There are about 70 known vases of this type, which were first classified by Andreas Rumpf. It is possible that the artisans were successors to the Chalcidian vase painters and potters who emigrated to Etruria.
Pseudo-Chalcidian vase painting is classified into two groups. The elder of the two is the
Polyphemus
Polyphemus (; grc-gre, Πολύφημος, Polyphēmos, ; la, Polyphēmus ) is the one-eyed giant son of Poseidon and Thoosa in Greek mythology, one of the Cyclopes described in Homer's ''Odyssey''. His name means "abounding in songs and ...
Group, which produced most of the surviving vessels, primarily neck amphoras and oinochoes. Groups of animals are usually shown, less seldom mythological scenes. The vessels were found in Etruria, on Sicily, in Marsellle and
Vix. The younger and less productive Memnon Group, to which 12 vases are currently attributed, had a much smaller geographical distribution, being limited to Etruria and Sicily. Except for one oinochoe they produced only neck amphoras, which were usually decorated with animals and riders.
Other
The vases of the Northampton Group were all small neck amphoras with the exception of a single belly amphora. They are stylistically very similar to northern Ionian vase painting, but were probably produced in Italy rather than in Ionia, perhaps in Etruria around 540 BC. The vases of this group are of very high quality. They show rich ornamental decorations and scenes that have captured the interest of scholars, such as a prince with horses and someone riding on a crane. They are similar to the work of the Group of Campana Dinoi and to the so-called Northampton Amphora whose clay is similar to that of Caeretan hydriai. The Northampton Group was named after this amphora. The round Campana hydriai recall Boeotian and Euboean models.
Other regions
Alabastrons with cylindrical bodies from
Andros
Andros ( el, Άνδρος, ) is the northernmost island of the Greek Cyclades archipelago, about southeast of Euboea, and about north of Tinos. It is nearly long, and its greatest breadth is . It is for the most part mountainous, with many ...
are rare, as are lekanis from
Thasos
Thasos or Thassos ( el, Θάσος, ''Thásos'') is a Greek island in the North Aegean Sea. It is the northernmost major Greek island, and 12th largest by area.
The island has an area of and a population of about 13,000. It forms a separate r ...
. These are reminiscent of Boeotian products except that they have two animal friezes instead of the single frieze common for Boeotia. Thasian plates rather followed Attic models and with their figured scenes are more ambitious than on the lekanis. Imitations of vases from
Chios
Chios (; el, Χίος, Chíos , traditionally known as Scio in English) is the fifth largest Greek island, situated in the northern Aegean Sea. The island is separated from Turkey by the Chios Strait. Chios is notable for its exports of mast ...
in the black-figure style are known. Local black-figure pottery from Halai is also rare. After the Athenians occupied
Elaious
Elaeus ( grc, Ἐλαιοῦς ''Elaious'', later ''Elaeus''), the “Olive City”, was an ancient Greek city located in Thrace, on the Thracian Chersonese. Elaeus was located at the southern end of the Hellespont (now the Dardanelles) near t ...
on the Dardanelles, local black-figure pottery production began there as well. The modest products included simple lekanis with outline images. A small number of vases in black-figure style were produced in Celtic France. They too were almost certainly inspired by Greek vases.
Research and reception
Scholarly research on these vases started especially in the 19th century. Since this time the suspicion has intensified that these vases have a Greek rather than an Etruscan origin. Especially a Panathenaic prize amphora found by
Edward Dodwell
Edward Dodwell (30 November 176713 May 1832) was an Irish painter, traveller and a writer on archaeology.
Biography
Dodwell was born in Ireland and belonged to the same family as Henry Dodwell, the theologian. He was educated at Trinity Colle ...
in 1819 in Athens provided evidence. The first to present a proof was Gustav Kramer in his work ''Styl und Herkunft der bemalten griechischen Tongefäße'' (1837). However it took several years for this insight to be generally accepted. Eduard Gerhard published an article entitled ''Rapporto Volcente in the Annali dell’Instituto di Corrispondenza Archeologica'' in which he systematically investigated the vases; he was the first scholar to do so. Toward this end in 1830 he studied vases found in
Tarquinia, comparing them, for example, with vases found in Attica and
Aegina
Aegina (; el, Αίγινα, ''Aígina'' ; grc, Αἴγῑνα) is one of the Saronic Islands of Greece in the Saronic Gulf, from Athens. Tradition derives the name from Aegina, the mother of the hero Aeacus, who was born on the island an ...
. During this work he identified 31 painter and potter signatures. Previously, only the potter Taleides was known.
The next step in research was scientific cataloging of the major vase collections in museums. In 1854
Otto Jahn published the vases in the Munich State Collection of Antiquities. Previously, catalogs of the Vatican museums (1842) and the British Museum (1851) had been published. The description of the vase collection in the Berlin Collection of Classical Antiquities, put together in 1885 by
Adolf Furtwängler, was especially influential. Furtwängler was the first to classify the vessels by region of artistic origin, technology, style, shape, and painting stye, which had a lasting effect on subsequent research. In 1893 Paul Hartwig attempted in his book ''Meisterschalen'' to identify various painters based on kalos inscriptions, signatures and style analyses. Edmond Pottier, curator at the Louvre, initiated in 1919 the ''
Corpus Vasorum Antiquorum''. All major collections worldwide are published in this series, which as of 2009 amounted to over 300 volumes.
Scientific research on Attic vase painting owes a great deal to
John D. Beazley. He began studying these vases in about 1910, making use of the method developed by the art historian
Giovanni Morelli for studying paintings, which had been refined by
Bernard Berenson. He assumed that each painter created original works which could always be unmistakably attributed. He made use of particular details such as faces, fingers, arms, legs, knees, and folds of clothing. Beazley studied 65,000 vases and fragments, of which 20,000 were black-figure. In the course of his studies, which lasted almost six decades, he could attribute 17,000 of them by name or by using a system of pragmatic names, and classified them into groups of painters or workshops, relationships and stylistic affinity. He identified over 1,500 potters and painters. No other archaeologist had such a decisive influence on the research of an archaeological field as did Beazley, whose analyses remain valid to a large extent up to the present time. After Beazley, scholars like
John Boardman,
Erika Simon
Erika Simon (27 June 1927 – 15 February 2019) was a German scholar of classical archaeology and professor emeritus of the University of Würzburg. She was elected to the American Philosophical Society in 2002. Simon died in February 2019 at the ...
and
Dietrich von Bothmer investigated black-figure Attic vases.
Basic research on Corinthian pottery was accomplished by
Humfry Payne, who in the 1930s made a first stylistic classification which is, in essence, being used up to the present time. He classified the vases according to shape, type of decoration and image subjects, and only afterward did he make distinctions as to painters and workshops. He followed Beazley's method except for attributing less importance to allocating painters and groups since a chronological framework was more important for him. Jack L. Benson took on this allocation task in 1953 and distinguished 109 painters and groups. Last of all,
Darrell A. Amyx
__NOTOC__
Darrell Arlynn Amyx (2 April 1911 – 10 January 1997) was an American classical archaeologist. His principal field of study was the archaic pottery of Corinth. Complementing the pioneering work of John Beazley and Humfry Payne, Amyx ap ...
summarized the research up to that point in his 1988 book Corinthian Vase-Painting of the Archaic Period. It is however a matter of scholarly dispute whether it is at all possible in the case of Corinthian pottery to attribute specific painters.
Laconian pottery was known since the 19th century from a significant number of vases from Etruscan graves. At first they were erroneously attributed, being considered for a long time to be a product of Cyrene, where some of the earliest pieces were also found. Thanks to British excavations carried out in Sparta's
Sanctuary of Artemis Orthia, their true origin was quickly identified. In 1934, Arthur Lane put together all the known material and was the first archaeologist to identify different artists. In 1956 the new discoveries were studied by
Brian B. Shefton. He reduced the number of distinct painters by half. In 1958 and 1959 other new material from
Taranto
Taranto (, also ; ; nap, label=Tarantino, Tarde; Latin: Tarentum; Old Italian: ''Tarento''; Ancient Greek: Τάρᾱς) is a coastal city in Apulia, Southern Italy. It is the capital of the Province of Taranto, serving as an important comme ...
was published. A significant number of other vases were also found on Samos. Conrad Michael Stibbe studied anew all 360 vases known to him and published his findings in 1972. He identified five major and three minor painters.
In addition to research on Attic, Corinthian and Laconian vase painting, archaeologists are frequently especially interested in minor Italian styles. The Caeretan hydriai were first identified and named by Carl Humann and Otto Puchstein. Andreas Rumpf, Adolf Kirchhoff and other archaeologists erroneously suspected the origin of Chalkidischen Pottery to be Euboea. Georg Ferdinand Dümmler is responsible for the false naming of the Pontic vases, which he assumed to come from the Black Sea area because of the depiction of a Scythian on one of the vases.
[Thomas Mannack: Griechische Vasenmalerei. Theiss, Stuttgart 2002, S. 129–133.] In the meantime, research on all styles is carried out less by individuals than by a large international group of scientists.
See also
*
*
Pottery of Ancient Greece
Ancient Greek pottery, due to its relative durability, comprises a large part of the archaeological record of ancient Greece, and since there is so much of it (over 100,000 painted vases are recorded in the Corpus vasorum antiquorum), it has ex ...
* See also
w:de:Liste der Formen, Typen und Varianten der antiken griechischen Fein- und Gebrauchskeramik in the German Wikipedia for a useful set of tables classifying vase shapes and variations, with distinguishing shape outlines and typical examples.
* See also
w:de:Liste der griechischen Töpfer und Vasenmaler/Konkordanz
References
Further reading
*Boardman, John. 2001. ''The History of Greek Vases: Potters, Painters, Pictures.'' New York: Thames & Hudson.
*Bouzek, Jan. 1990. ''Studies of Greek Pottery In the Black Sea Area.'' Prague: Charles University.
*Cook, Robert Manuel, and Pierre Dupont. 1998. ''East Greek Pottery.'' London: Routledge.
*Farnsworth, Marie. 1964. "Greek Pottery: A Mineralogical Study." ''American Journal of Archaeology'' 68 (3): 221–28.
*Sparkes, Brian A. 1996. ''The Red and the Black: Studies In Greek Pottery.'' London: Routledge.
{{DEFAULTSORT:Black-Figure Pottery
Ancient Greek vase-painting styles
Archaic Greek art
Ancient Corinth