2318:, 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.
1153:, 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
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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.
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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
868:, which depicts this subject to perfection. However, Sophilos does without any trimmings in the form of animal friezes on one of his two dinos, and he does not combine different myths in scenes distributed over various vase surfaces. It is the first large Greek vase showing a single myth in several interrelated segments. A special feature of the dinos is the painter's application of the opaque white paint designating women directly on the clay foundation, and not as usual on the black gloss. The figure's interior details and contours are painted in a dull red. This particular technique is rare, only found in vases painted in Sophilos' workshop and on wooden panels painted in the Corinthian style in the 6th century BC. Sophilos also painted one of the rare chalices (a variety of goblet) and created the first surviving series of votive tablets. He himself or one of his successors also decorated the first marriage vase (known as a
2094:. 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
1096:. 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.
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uniform, glossy, pitch-black coating and the color-intensive terra cotta clay foundation has been meticulously smoothened. Women's skin is always indicated with a white opaque color, which is also frequently used for details such as individual horses, clothing or ornaments. The most outstanding Attic artists elevated vase painting to a graphic art, but a large number of average quality and mass-market products were also produced. The outstanding significance of Attic pottery comes from their almost endless repertoire of scenes covering a wide range of themes. These provide rich testimonials especially in regard to mythology, but also to daily life. On the other hand, there are virtually no images referring to contemporary events. Such references are only occasionally evident in the form of annotations, for example when
1849:) 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.
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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
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910:(570–560 BC). This krater is considered to be the most famous Greek painted vase. It is the first known volute krater made of clay. Mythological events are depicted in several friezes, with animal friezes being shown in secondary locations. Several iconographic and technical details appear on this vase for the first time. Many are unique, such as the representation of a lowered mast of a sailing ship; others became part of the standard repertoire, such as people sitting with one leg behind the other, instead of with the traditional parallel positioning of the legs. Four other, smaller vases were signed by Ergotimos and Kleitias, and additional vases and fragments are attributed to them. They provide evidence for other innovations by Kleitias, like the first depiction of the birth of
2574:. 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
281:, in older literature also designated as varnish) which turned black and glossy after firing. This was not "paint" in the usual sense, since this surface slip was made from the same clay material as the vase itself, only differing in the size of the component particles, achieved during refining the clay before potting began. The area for the figures was first painted with a brush-like implement. The internal outlines and structural details were incised into the slip so that the underlying clay could be seen through the scratches. Two other earth-based pigments giving red and white were used to add details such as ornaments, clothing or parts of clothing, hair, animal manes, parts of weapons and other equipment. White was also frequently used to represent women's skin.
1932:, 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
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on large vases were the
Eucharides Painter and the Kleophrades Painter. Only workshops which produced smaller shapes like olpes, oenochoes, 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
1113:. 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
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1207:(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
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852:(580–570 BC), who is the first Attic vase painter known by name. In all, he signed four surviving vases, three as painter and one as potter, revealing that at this date potters were also painters of vases in the black-figure style. A fundamental separation of both crafts seems to have occurred only in the course of the development of the red-figure style, although prior specialization cannot be ruled out. Sophilos makes liberal use of annotations. He apparently specialized in large vases, since especially dinos and amphoras are known to be his work. Much more frequently than his predecessors, Sophilos shows mythological scenes like the funeral games for
395:, lower Italy and Sicily. In the 7th and first half of the 6th centuries BC, Corinthian vase painting dominated the Mediterranean market for ceramics. It is difficult to construct a stylistic sequence for Corinthian vase painting. In contrast to Attic painting, for example, the proportions of the pottery foundation did not evolve much. It is also often difficult to date Corinthian vases; one frequently has to rely on secondary dates, such as the founding of Greek colonies in Italy. Based on such information an approximate chronology can be drawn up using stylistic comparisons, but it seldom has anywhere near the precision of the dating of Attic vases.
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1996:. 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
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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.
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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.
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1654:(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.
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1366:. 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.
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2593:, 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,
1219:, 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".
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1488:, 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.
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1157:, 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.
1582:, 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.
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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 (
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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.
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1378:. 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,
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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.
352:. The new technique was reminiscent of engraved metal pieces, with the more costly metal tableware being replaced by pottery vases with figures painted on them. A characteristic black-figure style developed before the end of the century. Most orientalizing elements had been given up and there were no ornaments except for dabbed rosettes (the rosettes being formed by an arrangement of small individual dots)
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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. In the meantime, research on all styles is carried out less by individuals than by a large international group of scientists.
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2236:"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
1293:(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
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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.
1009:). There were two types of decoration. In the "double-decker" style the cup body and the lip each have separate decorations. In the "overlap" style the image extends over both body and lip. After the second quarter of the 6th century BC there was more interest in decorating especially cups with pictures of athletes. Another important Siana cup painter was the
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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.
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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.
1510:. 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
2132:, 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,
2378:, 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.
1979:(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,
704:. With his Nessos amphora he created the first outstanding piece in the Attic black-figure style. At the same time he was an early master of the Attic animal frieze style. One of his vases was also the first known Attic vase exported to Etruria. He was also responsible for the first representations of
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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
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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
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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
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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,
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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
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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
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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
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In Late Corinthian times (sometimes designated Late Corinthian I, 575–550 BC) Corinthian vases had a red coating to enhance the contrast between the large white areas and the rather pale color of the clay vessel. This put the Corinthian craftsmen in competition with Attic pottery painters, who had in
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continued to paint animal friezes, although other painters had already given up this tradition. His creative period extended into the Late Corinthian period (575–550 BC), and his influence cannot be overestimated on vase painting of that time. Likewise of exceptional reputation were the master of the
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The foundation for pottery painting is the vase onto which an image is painted. Popular shapes alternated with passing fashions. Whereas many recurred after intervals, others were replaced over time. They all had a common method of manufacture: after the vase was made, it was first dried before being
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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
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in Attic art. In contrast to the Corinthian painters he used double and even triple incised lines to better depict animal anatomy. A double-scored shoulder line became a characteristic of Attic vases. The possibilities inherent in large pieces of pottery such as belly amphoras as carriers for images
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are painted on a vase. Vases were produced for the domestic market on the one hand, and were important for celebrations or in connection with ritual acts. On the other hand, they were also an important export product sold throughout the Mediterranean area. For this reason most of the surviving vases
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On vase production and style see Ingeborg Scheibler: Griechische Töpferkunst. München 1995, S. 73–134; Matthias Steinhart: Töpferkunst und Meisterzeichnung, von Zabern, Mainz 1996, S. 14–17; Heide Mommsen, Matthias Steinhart: Schwarzfigurige Vasenmalerei. In: Der Neue Pauly (DNP). Band 12, Metzler,
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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
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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
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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
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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
856:. The decline of the animal frieze begins with him, and plant and other ornaments are also of lower quality since they are regarded as less important and thus receive scant attention from the painter. But in other respects Sophilos shows that he was an ambitious artist. On two dinos the marriage of
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productive artist who seldom made use of mythological themes or human figures, and when he did, always accompanied them with animals or animal friezes. Some of his other vases had only animal representations, as was the case with many Corinthian vases. Besides the Gorgon Painter the painters of the
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are associated with the horse-head amphoras. The Corinthian influence was not only maintained, but even intensified. The animal frieze was recognized as generally obligatory and customarily used. This had economic as well as stylistic reasons, because Athens competed with Corinth for markets. Attic
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The black-figure technique was first applied in the middle of the 7th century BC, during the period of Proto-Attic vase painting. Influenced by pottery from Corinth, which offered the highest quality at the time, Attic vase painters switched to the new technology between about 635 BC and the end of
2601:
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
2029:
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
1791:
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
366:
The clay used in Corinth was soft, with a yellow, occasionally green tint. Faulty firing was a matter of course, occurring whenever the complicated firing procedure did not function as desired. The result was often unwanted coloring of the entire vase, or parts of it. After firing, the glossy slip
296:
turning the vase a reddish-orange color. The temperature was then raised to about 950 °C with the kiln's vents closed and green wood added to remove the oxygen. The vessel then turned an overall black. The final stage required the vents to be re-opened to allow oxygen into the kiln, which was
2404:
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
2266:
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
1824:
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
1306:
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
323:
The evolution of black-figure pottery painting is traditionally described in terms of various regional styles and schools. Using Corinth as the hub, there were basic differences in the productions of the individual regions, even if they did influence each other. Especially in Attica, although not
3105:
On votive tablets see Heide Mommsen: „Bleib stehn und erhebe die Klage...". Zu den wiedervereinigten Fragmenten der Grabtafeln des Exekias, in EOS 12 (August 2000), S. IV-VII. and also: Exekias I. Die Grabtafeln, von Zabern, Mainz 1997 (Forschungen zur antiken Keramik. Reihe 2, Kerameus, Bd. 11)
2187:
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.
2178:
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
2056:
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
1844:
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
1301:
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
788:
In addition to following Corinthian models, Athens vases also showed local innovations. Thus at the beginning of the 6th century BC a "Deianaira type" of lekythos arose, with an elongated, oval form. The most important painter of this early time was the Gorgon Painter (600–580 BC). He was a very
2116:
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
1714:
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
775:
The black-figure style became generally established in Athens around 600 BC. An early Athenian development was the horse-head amphora, the name coming from the depiction of horse heads in an image window. Image windows were frequently used in the subsequent period and were later adopted even in
414:
was more popular in Corinth than later in Athens. Primarily fights, horsemen and banquets were the most common scenes of daily life, the latter appearing for the first time during the early Corinthian period. Sport scenes are rare. Scenes with fat-bellied dancers are unique and their meaning is
192:
especially was the home of well-known artists. Some potters introduced a variety of innovations which frequently influenced the work of the painters; sometimes it was the painters who inspired the potters’ originality. Red- as well as black-figure vases are some of the most important sources of
1991:
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
1313:
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
901:
Starting around the second third of the 6th century BC, Attic artists became interested in mythological scenes and other representations of figures. Animal friezes became less important. Only a few painters took care with them, and they were generally moved from the center of attention to less
628:
Around 550 BC the production of figured vases came to an end. The following Late Corinthian Style II is characterized by vases only with ornaments, usually painted with a silhouette technique. It was succeeded by the red-figure style, which however did not attain a particularly high quality in
236:
The extent to which potters and painters were identical is uncertain. It is likely that many master potters themselves made their main contribution in the production process as vase painters, while employing additional painters. It is, however, not easy to reconstruct links between potters and
2618:
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
2191:
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
661:
With over 20,000 extant pieces, Attic black-figure vases comprise the largest and at the same time most significant vase collection, second only to Attic red-figure vases. Attic potters benefitted from the excellent, iron-rich clay found in Attica. High quality Attic black-figure vases have a
570:
also started to be increasingly produced. The column krater, a Corinthian invention which was for that reason called a korinthios in the rest of Greece, was modified. Shortening the volutes above the handles gave rise to the Chalcidic krater. The main image field it was decorated with various
423:
The transitional style (640-625 BC) linked the orientalizing (Proto-Corinthian) with the black-figure style. The old animal frieze style of the Proto-Corinthian period had run dry, as did the interest of vase painters in mythological scenes. During this period animal and hybrid creatures were
1108:
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
2440:. 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.
424:
dominant. The index form of the time was the spherical aryballos, which was produced in large numbers and decorated with animal friezes or scenes of daily life. The image quality is inferior compared with the orientalizing period. The most distinguished artists of the time were the
2536:
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
253:
and Painter N, it is impossible to make unambiguous attributions, although in much of the scientific literature these painters and potters are assumed to be the same person. But such attributions can only be made with confidence if the signatures of potter and painter are at hand.
1608:
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
2492:
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.
2117:
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.
440:
and the alabastron are the most important vase shapes. The edges of kotyles were ornamented, and the other decorations consisted of animals and rays. The two vertical vase surfaces frequently have mythological scenes. The alabastrons were usually painted with single figures.
2484:. 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
1573:
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
1129:
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.
3032:
Quote translated from John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 62. On Group E see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 62 und Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S.
1404:
2314:(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,
939:(565–555 BC) signed as potter and painter. He favored large figures and was the first to create images showing the harnessing of a chariot. Another innovation was to place a tongue design on a white background under the vase lip. Other talented painters were the
1936:
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.
597:
grimace on the inside. This type of painting was also adopted by Attic painters. On their part, Corinthian painters took over framed image fields from Athens. Animal friezes became less important. During this time the third Corinthian painter with a known name,
2144:
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
3328:, Sp. 1074–1075.; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 125–128; Conrad M. Stibbe: Das andere Sparta, von Zabern, Mainz 1996, S. 163–203; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, pp. 185–188
1754:), 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
1103:
The Calydonia boar hunt is possibly shown in the upper frieze of this Tyrrhenian amphora, which is attributed to the Timiades Painter or the Tyrrhenian Group, 560 BC, from southern Etruria, now in the Berlin Collection of Classical Antiquities, Altes
2373:
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
2240:(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
2541:, 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
1710:(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
476:. Starting in the Middle Corinthian period (600–575 BC), opaque colors were used more and more frequently to emphasize details. Figures were additionally painted using a series of white dots. The aryballos became larger and were given a flat base.
2597:
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.
3518:
is an argument against localization in lower Italy. The argument against production in Etruria is that Etruscan pottery was not generally exported to southern Italy. The painting style has no Euboic features, so it cannot have originated there
1049:
were produced contemporaneously with Siana cups. Their handles are in the form of a two-pronged fork and end in what looks like a button. These cups do not have a delineated rim. They also have a deeper bowl with a higher and narrower foot.
2244:. 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.
3409:
On Klazomenian pottery painting see Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 81f.; Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch. In: Der Neue Pauly (DNP). Band 11, Metzler, Stuttgart 2001,
1325:
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
2639:
3427:
On Samian pottery painting see Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 81f.; Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch. In: Der Neue Pauly (DNP). Band 11, Metzler, Stuttgart 2001,
187:
Black-figure painting on vases was the first art style to give rise to a significant number of identifiable artists. Some are known by their true names, others only by the pragmatic names they were given in the scientific literature.
3445:
On Rhodian vase painting see Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 81f.; Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch. In: Der Neue Pauly (DNP). Band 11, Metzler, Stuttgart 2001,
1825:
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.
1141:, one holding a hare, neck amphora, ca. 550/530 BC, from Vulci, now Cabinet des Médailles de la Bibliothèque Nationale de France. The female maenads are shown here only in outline, without opaque white to characterize them as women.
2508:
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
3337:
On Boeotian pottery see Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 128f.; Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch. In: Der Neue Pauly (DNP). Band 11, Metzler, Stuttgart 2001,
3355:
On Boeotian pottery see Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 129; Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch. In: Der Neue Pauly (DNP). Band 11, Metzler, Stuttgart 2001,
2614:
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.
1526:
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
3391:
On Ionian pottery see Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 81f.; Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch. In: Der Neue Pauly (DNP). Band 11, Metzler, Stuttgart 2001,
2435:
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
2034:, 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
1092:. Lydos was the first to show Heracles with the hide of a lion, which afterward became common in Attic art. He also depicted the battle between the gods and the giants on a dinos found on Athens’ acropolis, and Heracles with
160:. Delicate contours were incised into the paint before firing, and details could be reinforced and highlighted with opaque colors, usually white and red. The principal centers for this style were initially the commercial hub
367:
applied to the vase turned dull black. The supplemental red and white colors first appeared in Corinth and then became very common. The painted vessels are usually of small format, seldom higher than 30 cm. Oil flasks (
3545:
On Pseudo-Chalkidischen pottery see Thomas Mannack: Griechische Vasenmalerei. Theiss, Stuttgart 2002, S. 131; Matthias Steinhart: Pseudochalkidische Vasenmalerei. In: Der Neue Pauly (DNP). Band 10, Metzler, Stuttgart 2001,
1924:, 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
324:
exclusively there, the best and most influential artists of their time characterized classical Greek pottery painting. The further development and quality of the vessels as image carrier are the subjects of this section.
304:
Although scoring is one of the main stylistic indicators, some pieces do without. For these, the form is technically similar to the orientalizing style, but the image repertoire no longer reflects orientalizing practice.
3625:
On Corinthian ceramics research for the archaic period see the summary in Christiane Dehl-von Kaenel: Die archaische Keramik aus dem Malophoros-Heiligtum in Selinunt, Staatliche Museen zu Berlin, Berlin 1995, S. 22–31,
2089:
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
1796:
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.
1005:(575-555 BC). The cups have a higher rim than previously and a trumpet-shaped base on a relatively short hollow stem. For the first time in Attic vase painting the inside of the cup was decorated with framed images (
566:
the meantime taken over a leading role in the pottery trade. Attic vase forms were also increasingly copied. Oinochoes, whose form had remained basically unchanged up until that time, began to resemble Attic forms;
180:, as is evident from frequent imports. Greek artists created customized goods for the Etruscan market which differed in form and decor from their normal products. The Etruscans also developed their own black-figure
1000:
evolved from the komast cup around 575 BC. While the Komast Group produced shapes other than cups, some craftsmen specialized in cup production after the time of the first important exemplifier of Siana cups, the
3373:
John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, p. 215f.; Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch. In: Der Neue Pauly (DNP). Band 11, Metzler, Stuttgart 2001,
276:
The painters, who were either slaves or craftsmen paid as pottery painters, worked on unfired, leather-dry vases. In the case of black-figure production the subject was painted on the vase with a clay slurry (a
2606:, 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
3563:
On the Northampton Group, the Group of Campana Dinoi and Campana hydriai see Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch. In: Der Neue Pauly (DNP). Band 11, Metzler, Stuttgart 2001,
2428:
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.
2101:
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.
1109:
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
1723:
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
3293:
On the Panathenaic prize amphoras see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 180–183; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 113–117.
2153:, 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.
793:(585–570 BC) should be mentioned. This group decorated types of vases which were new to Athens, namely lekanes, kotyles and kothons. The most important innovation was however the introduction of the
1506:
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
1084:(the Lydian). He or his immediate ancestors probably came from Asia Minor but he was undoubtedly trained in Athens. Over 130 surviving vases are now attributed to him. One of his pictures on a
176:, eastern Greece, and Italy. Particularly in Italy individual styles developed which were at least in part intended for the Etruscan market. Greek black-figure vases were very popular with the
1770:, 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.
1037:, who decorated mid-sized cups with high bases and lips, marks the end of the development of the Siana cup. He is primarily significant as the first known painter to belong to the so-called
3195:
On Elbows Out and The Affecter see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 73f., Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 124.
3572:, Sp. 276–281.; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, p. 220; Thomas Mannack: Griechische Vasenmalerei. Eine Einführung. Theiss, Stuttgart 2002, S. 132.
1484:
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
3186:
On Nikosthenes’ workshop see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 71–73, Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 123f.
1604:(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
3204:
On the Antimenes Painter see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 119f.; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 124.
2969:
on the François vase see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 37f. und Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 111f.
1815:
Competition painted on a Panathenaic prize amphora, attributed to the Berlin Painter, c. 480/470 BC, found in Nola, now in the Berlin Collection of Classical Antiquities, Altes Museum
103:. It was especially common between the 7th and 5th centuries BCE, although there are specimens dating in the 2nd century BCE. Stylistically it can be distinguished from the preceding
3536:, Sp. 1088–1089.; Thomas Mannack: Griechische Vasenmalerei. Theiss, Stuttgart 2002, S. 129–131; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, pp. 217–219.
3023:
On the Amasis Painter see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 60–62; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 120.
3514:
The Chalkidian alphabet was not only used in Chalcis, but also in other places in Euboea and in Etruria. The fact that many vases had trademarks not used elsewhere in this part of
3222:
On the Leagros Group see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 120f.; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 124.
593:
Cups had become deeper already in Mid-Corinthian times and this trend continued. They became just as popular as kotyles. Many of them have mythological scenes on the outside and a
500:, given this designation because of his preference for depicting horsemen on cup interiors; he was active around 580 BC. Two of his masterpieces are a cup showing the suicide of
3471:, Sp. 907–908.; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, pp. 219–223; Thomas Mannack: Griechische Vasenmalerei. Theiss, Stuttgart 2002, S. 132f.
3488:, Sp. 138–139.; Thomas Mannack: Griechische Vasenmalerei. Theiss, Stuttgart 2002, S. 133; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, pp. 219–223.
3078:
On Exekias see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 63f. and Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 121–123.
3123:
On the Gordion cup see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 65; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 118.
2747:, Sp. 738–742 the following is given: Early Corinthian (620/615–595 BC), Middle Corinthian (595–570 BC), Late Corinthian I (570–550 BC), and Late Corinthian II (after 550 BC).
2038:. 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.
610:
with a red background. Incised rosettes continued to be put on vases; they are lacking on only a few kraters and cups. The most outstanding piece of art in this period is the
1423:
3150:
On Droop cups see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 68f.; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 119.
2646:
3159:
On Kassel cups see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 69; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 119.
3141:
On band cups see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 66f.; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 118.
3132:
On lip cups see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 65–67; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 118.
201:, and sometimes also for researching day-to-day ancient Greek life. Since the 19th century CE at the latest, these vases have been the subject of intensive investigation.
2722:: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 100–104; Matthias Steinhart: Korinthische Vasenmalerei. In: Der Neue Pauly (DNP). Band 6, Metzler, Stuttgart 1999,
3213:
On Psiax siehe John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 115; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 124.
2987:
On Lydos see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 57–58, Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 113.
1442:
1522:, 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
345:
533:
wine jug was replaced by an Attic version of the oinochoe with a cloverleaf lip. In Middle Corinthian time, depictions of people again became more common. The
3497:
On Etruscan vase painting see Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch. In: Der Neue Pauly (DNP). Band 11, Metzler, Stuttgart 2001,
4008:
1531:
and the red-figure Nikosthenes Painter are also named after Nikosthenes. In his workshop he employed many famous vase painters, including the elderly Lydos,
615:
415:
disputed up to the present time. These are drinkers whose bellies and buttocks are padded with pillows and they may represent an early form of Greek comedy.
1346:
There was further specialization among producers of vessels and cups during the mature Classical Period. The large-volume komast and Siana cups evolved via
3581:
On Etruscan pottery siehe Matthias Steinhart: Schwarzfigurige Vasenmalerei II. Ausserattisch. In: Der Neue Pauly (DNP). Band 11, Metzler, Stuttgart 2001,
558:
1792:
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
1398:
now known as a Hermogenes skyphos. The Phrynos Painter, Taleides Painter, Xenokles Painter and the Group of Rhodes 12264 should also be mentioned here.
599:
74:
2545:
to identify various painters based on kalos inscriptions, signatures and style analyses. Edmond Pottier, curator at the Louvre, initiated in 1919 the
1461:
1964:
2642:
in the German Knowledge for a useful set of tables classifying vase shapes and variations, with distinguishing shape outlines and typical examples.
1861:
Horseman with a scrolling tendril growing from his head, under the feet of the horse the separated second segment, cup tondo of a name vase by the
2052:
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
218:
217:
ahead of him. The beast turns one of its heads back in a threatening manner and raises its snake tail. Faultily fired Attic neck amphora by the
1968:
571:
representations of daily life or mythological scenes, the secondary field contained an animal frieze. The back often showed two large animals.
4523:
4098:
406:. But the imagery on Corinthian vases does not have as wide a thematic range as do later works by Attic painters. Gods are seldom depicted,
4029:
2924:: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 105; John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 18f.
3528:
On Chalcidian vase painting see Matthias Steinhart: Chalkidische Vasenmalerei. In: Der Neue Pauly (DNP). Band 2, Metzler, Stuttgart 1997,
1621:, Psiax had a great influence on the early development of the red-figure style. He frequently shows horse and chariot scenes and archers.
5477:
2739:
Chronologies vary somewhat. In Matthias Steinhart: Korinthische Vasenmalerei. In: Der Neue Pauly (DNP). Band 6, Metzler, Stuttgart 1999,
2000:
to Ionian Greece. On Samos, Laconian pottery is more common than Corinthian pottery because of the close political alliance with Sparta.
512:
3275:
On these late painters see siehe Boardman op. cit. p. 158–164; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 125.
2521:
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
962:
The abduction of Thetis. Peleus forces access to the burning altar where Nereids dance, overlap frieze on a Siana cup by the C Painter,
2275:. Heracles is frequently depicted on other vases as well, and scenes of daily life also exist. There are also uncommon scenes, such as
2057:
mythological events in a humorous, exaggerated form. Sometimes komos scenes are shown, which presumably related directly to the cult.
3480:
On Pontic vase painting see Matthias Steinhart: Pontische Vasenmalerei. In: Der Neue Pauly (DNP). Band 10, Metzler, Stuttgart 2001,
1613:
is closely related to the Antimenes Painter, although the former also used the red-figure technique. As the teacher of the painters
809:, who introduced the column krater to Athens. These vessels were designed for use at banquets and were thus decorated with relevant
1061:
fight over the corpse of Cycnus, in the lower register an animal frieze, signed by the potter Kolchos, attributed to the painter
3320:
On Lakonian pottery see Matthias Steinhart: Lakonische Vasenmalerei. In: Der Neue Pauly (DNP). Band 6, Metzler, Stuttgart 1999,
2773:
On the Cavalcade Painter, see Matthias Steinhart: Kavalkade-Maler. In: Der Neue Pauly (DNP). Band 6, Metzler, Stuttgart 1999,
2517:(1837). However it took several years for this insight to be generally accepted. Eduard Gerhard published an article entitled
3755:
2628:
2326:
362:
with animal frieze, ca. 625/600 BC, now in the Musée d’Archéologie Méditerranéenne de la Vieille Charité in Marseille, France
344:
The black-figure technique was developed around 700 BC in Corinth and used for the first time in the early 7th century BC by
4689:
3311:
Found in Vulci, now with the inventory number 189 in the Paris Cabinet des Médailles de la Bibliothèque Nationale de France.
2048:
on a skyphos of the Kabeiric Group (Vine Tendril Group), mid 4th century BC, now in the Metropolitan Museum of Art, New York
1750:
Particularly cup painters like Oltos, Epiktetos, Pheidippos and Skythes painted vases in both red- and black-figure styles (
1716:
5056:
3960:
1355:
1038:
233:
painted. The workshops were under the control of the potters, who as owners of businesses had an elevated social position.
2756:
On the Dodwell Painter, see Matthias Steinhart: Dodwell-Maler. In: Der Neue Pauly (DNP). Band 3, Metzler, Stuttgart 1997,
4316:
3882:
3231:
On the painters of the Leagros Group see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 121f.
700:
at the beginning of this period is the first identified individual painter. The first artist with a unique style was the
3463:
On Caeretan hydriai see Rolf Hurschmann: Caeretaner Hydrien. In: Der Neue Pauly (DNP). Band 2, Metzler, Stuttgart 1997,
1762:. Scholars are divided on the issue of whether these painters are the same person. Only a few painters, for example the
1644:
5141:
2860:
On the Tydeus Painter see Matthias Steinhart: Tydeus-Maler. In: Der Neue Pauly (DNP). Band 2, Metzler, Stuttgart 1997,
1782:
Athena on a lekythos by the Beldam Painter, c. 480 BC, found in Vari, now in the National Archaeological Museum, Athens
436:. The latter's personal style can be most easily recognized in his images of powerful lions. Beside the aryballos, the
2488:
in the black-figure style are known. Local black-figure pottery from Halai is also rare. After the Athenians occupied
391:
are rare, and painters’ signatures even more so. Most of the surviving vessels produced in Corinth have been found in
297:
allowed to cool down. The vessel then returned to its reddish-orange colour due to renewed oxidization, while the now-
4516:
4091:
3631:
3586:
3569:
3551:
3533:
3502:
3485:
3468:
3451:
3433:
3415:
3397:
3379:
3361:
3343:
3325:
3254:
3249:
On the Rycroft Painter see Heide Mommsen: Rycroft-Maler. In: Der Neue Pauly (DNP). Band 10, Metzler, Stuttgart 2001,
3111:
2891:
2865:
2848:
2813:
2778:
2761:
2744:
2727:
2707:
2691:
2670:
895:
288:
process which generated the red color of the body clay and the black of the applied slip. The vessel was fired in a
5444:
2529:. During this work he identified 31 painter and potter signatures. Previously, only the potter Taleides was known.
902:
important areas of vases. This new style is especially represented by the François vase, signed by both the potter
3042:
For an assessment see, for example, John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 62.
785:
vases were sold in the Black Sea area, Libya, Syria, lower Italy and Spain, as well as within the Greek homeland.
387:
and cups were the most common vessels painted. Sculptured vases were also widespread. In contrast to Attic vases,
4242:
3659:
1988:
3683:
880:
5376:
4759:
2551:. All major collections worldwide are published in this series, which as of 2009 amounted to over 300 volumes.
1695:
841:
2886:
Heide Mommsen: Schwarzfigurige Vasenmalerei. In: Der Neue Pauly (DNP). Band 12, Metzler, Stuttgart 1996–2003,
2808:
On Tomonidas see Matthias Steinhart: Timonidas. In: Der Neue Pauly (DNP). Band 12/1, Metzler, Stuttgart 2002,
4065:
2575:
1310:
1053:
81:
3673:
3168:
On the Hermogenes Skyphos see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 69.
1317:
4509:
4084:
3266:
On the bilingual style see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 124f.
1242:
49:
17:
2156:
801:
stands at the beginning of the development of Attic cups. Important painters in this group were the elder
5121:
4532:
4437:
3616:
John Boardman: Schwarzfigurige Vasen aus Athen, S. 7f.; Thomas Mannack: Griechische Vasenmalerei, S. 18f.
2603:
1897:/560 BC, found in Vulci, now in the Cabinet des médailles de la Bibliothèque nationale de France in Paris
314:
96:
332:
5482:
5116:
4055:
3240:
On the Swing Painter see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 71.
2730:, Sp. 738–742.; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, S. 178–185. .
2566:. He began studying these vases in about 1910, making use of the method developed by the art historian
958:
820:
504:, and a column krater showing a bridal couple in a chariot. All figures shown on the bowl are labeled.
3589:, Sp. 276–281.; John Boardman: Early Greek Vase Painting., Thames and Hudson, London 1998, p. 219–223.
3554:, Sp. 516–517.; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, pp. 217–219.
3505:, Sp. 276–281.; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, pp. 219–223.
3400:, Sp. 276–281.; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, pp. 141–151.
2843:
On Chares see Matthias Steinhart: Chares . In: Der Neue Pauly (DNP). Band 2, Metzler, Stuttgart 1997,
2532:
The next step in research was scientific cataloging of the major vase collections in museums. In 1854
1675:
1657:
1321:
Remnant of a votive tablet with the leader of the funeral procession facing the viewer. Ca. 540/530 BC
1252:
209:
5306:
4470:
4286:
4233:
4107:
4013:
3902:
3764:
3748:
3346:, Sp. 276–281., John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998 pp. 213–215.
2633:
2547:
2272:
1928:
in antiquity), volute kraters, Chalcidic kraters, lebes, aryballoi and the Spartan drinking cup, the
1222:
1026:
921:
318:
100:
1099:
156:
Figures and ornaments were painted on the body of the vessel using shapes and colors reminiscent of
30:
5487:
5106:
4599:
4273:
4263:
3087:
Back-translated from John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 64.
2346:
2111:
940:
696:
the century. At first they closely followed the methods and subjects of the Corinthian models. The
679:
3436:, Sp. 276–281.; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, p. 146f.
3418:, Sp. 276–281.; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, p. 148f.
1640:
1160:
137:
5266:
4997:
4834:
4334:
4126:
3857:
3454:, Sp. 276–281.; John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, p. 150.
3364:, Sp. 277–277., John Boardman: Early Greek Vase Painting, Thames and Hudson, London 1998, p. 258.
3257:, Sp. 1174–1174., John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 124.
1993:
1880:
1354:
because of their delicate painting. The potters and painters of this form are accordingly called
1204:
1169:
3284:
For the statistics see Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 114.
2513:
in 1819 in Athens provided evidence. The first to present a proof was Gustav Kramer in his work
4854:
4809:
4654:
4649:
4407:
4389:
4367:
4324:
4258:
4248:
4131:
3892:
2610:. He reduced the number of distinct painters by half. In 1958 and 1959 other new material from
2197:
2024:
1902:
1703:
697:
429:
425:
68:
2640:
w:de:Liste der Formen, Typen und Varianten der antiken griechischen Fein- und Gebrauchskeramik
2171:
In Klazomenai primarily amphoras and hydria were painted in the middle of the 6th century BC (
713:
were also recognized at an early date. Other important painters of this pioneer time were the
472:
was the most important early Corinthian painter (625–600 BC), who depicted fighting scenes on
5241:
5181:
5064:
4849:
4344:
4329:
4291:
4253:
4197:
3819:
2448:
2084:
798:
177:
2160:
Head end of a sarcophagus from Klazomenai depicting a homoerotic scene with young noblemen,
1811:
5381:
5091:
4558:
4475:
4296:
4228:
4212:
4202:
3741:
3678:
2583:
2431:
Pseudo-Chalcidian vase painting is classified into two groups. The elder of the two is the
2213:
1735:. Toward the end of the century, high quality productions were still being produced by the
1303:
1276:
349:
104:
2696:
Select Exhibition of Sir John and Lady Beazley's Gifts to the Ashmolean Museum, 1912-1966.
2538:
2437:
1820:
they routinely bore the image of the goddess Athena standing between two pillars on which
301:
painted layer remained the glossy black color which had been created in the second stage.
8:
5361:
5281:
5236:
5216:
4644:
4281:
3973:
3935:
2912:
Fragment in Leipzig, found in Cerveteri, with gorgons on the belly as on the Nessos vase.
1984:
1876:
1806:
1569:
Two black-figure vase painters are considered to be mannerists (540-520 BC). The painter
1515:
1391:
952:
718:
2008:
1342:, tondo inside a lip cup by an unknown painter. Ca. 550/540 BC, now in the Louvre, Paris
5429:
5366:
5311:
5301:
5286:
5206:
5191:
5078:
4824:
4794:
4754:
4729:
4679:
4674:
4581:
4238:
4169:
4159:
4121:
4060:
3968:
3877:
2502:
2452:
Belly amphora of the Northampton Group, the liberation of Io (in the form of a cow) by
2247:
2120:
1793:
1736:
1618:
1523:
1114:
1042:
1010:
982:
936:
777:
449:
285:
126:
108:
2287:
1959:
In the meantime at least eight vase painters can be distinguished. Five painters, the
1334:
5351:
5346:
5341:
5271:
5176:
5151:
5131:
5023:
4899:
4844:
4839:
4819:
4774:
4764:
4719:
4634:
4624:
4485:
4455:
4136:
4023:
3867:
3811:
3627:
3582:
3565:
3547:
3529:
3498:
3481:
3464:
3447:
3429:
3411:
3393:
3375:
3357:
3339:
3321:
3250:
3107:
2887:
2861:
2844:
2809:
2774:
2757:
2740:
2723:
2703:
2687:
2666:
2045:
1972:
1960:
1945:
1940:
1888:
1763:
1755:
1751:
1720:
1699:
1601:
1485:
1351:
1294:
1072:, found in Vulci, now in the Berlin Collection of Classical Antiquities, Altes Museum
1034:
709:
663:
611:
497:
2942:
Found on the Akropolis in Athens, now in the Akropolis Museum, inventory number 587.
537:, dated around 600 BC, is considered to be of particularly high quality; it shows a
5356:
5331:
5321:
5296:
5256:
5231:
5111:
5096:
5086:
5041:
5015:
4964:
4949:
4939:
4704:
4699:
4694:
4614:
4576:
4571:
4566:
4050:
2571:
2567:
2381:
1828:
1724:
1495:
Fighting amazons on a Nikosthenes amphora by the potter Nikosthenes and Painter N,
1046:
1018:
837:
733:
433:
1585:
1491:
1410:
Lip cup by the potter Tleson with signature ("Tleson, son of nearchos, made me"),
1133:
884:
865:
5386:
5371:
5251:
5246:
5196:
5186:
5156:
4944:
4919:
4879:
4874:
4859:
4709:
4684:
4306:
4301:
4141:
4040:
4018:
3910:
3887:
2594:
2393:
2129:
2041:
1711:
1193:
1150:
1017:
Heracles. The Heidelberg Painter is the first Attic painter to show him with the
833:
714:
534:
488:
278:
242:
194:
1168:, victory tripods are placed below the handles, front side of a neck amphora by
632:
355:
5291:
5261:
5201:
5166:
5161:
5146:
5136:
5101:
5046:
4959:
4954:
4924:
4869:
4864:
4829:
4804:
4799:
4749:
4744:
4739:
4639:
4629:
4609:
4548:
4375:
3788:
2921:
2719:
2510:
2501:
For a description of the research and reception prior to the 19th century, see
2252:
2150:
1788:
1767:
1740:
1728:
1546:
1298:
1272:
1189:
1146:
1118:
1013:. He, too, painted almost exclusively Siana cups. His favorite subject was the
781:
742:
701:
683:
Name vase by the Nessos Painter. The scene on the neck shows Heracles stabbing
603:
586:
501:
480:
257:
246:
144:
4501:
4076:
3177:
John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 73.
3096:
John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 64.
3014:
John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 61.
3005:
John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 60.
2996:
John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 57.
2951:
John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 21.
2933:
John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 20.
1983:
and Zeus are depicted especially frequently, but also Heracles and his twelve
917:
848:. The last significant representative of the first generation of painters was
5471:
5401:
5326:
5171:
5033:
4934:
4914:
4909:
4894:
4884:
4769:
4540:
4397:
4357:
4207:
3801:
3652:
Thomas Mannack: Griechische Vasenmalerei. Theiss, Stuttgart 2002, S. 129–133.
3643:
Thomas Mannack: Griechische Vasenmalerei. Theiss, Stuttgart 2002, S. 125–128.
2877:
John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 7.
2607:
2519:
Rapporto Volcente in the Annali dell’Instituto di Corrispondenza Archeologica
2167:/510 BC, now in the Berlin Collection of Classical Antiquities, Altes Museum.
1976:
1921:
1884:
1862:
1744:
1707:
1651:
1165:
1041:, a large group of painters who produced the same range of vessels, known as
944:
845:
554:
530:
114:
3733:
2408:
2065:
1268:
1176:
574:
5316:
5221:
4974:
4889:
4784:
4734:
4714:
4664:
4604:
4450:
4415:
4352:
3829:
3796:
2590:
2563:
1664:
and Athena, black-figure side of a belly amphora by the Andokides Painter,
1605:
1395:
1297:
and the Type A belly amphora mentioned above, and he possibly invented the
1238:
1230:
reclines on a ship which sprouts grapevines and is surrounded by dolphins,
1197:
948:
925:
790:
722:
517:
469:
411:
388:
148:
Scene from a black-figure amphora from Athens, 6th century BCE, now in the
41:
on an Attic black-figured amphora with a thick layer of transparent gloss,
2463:/530 BC, found in Italy, now in the Munich State Collection of Antiquities
2416:, front side of a pseudo-Chalcidian neck amphora by the Polyphemus Group,
1088:
is the first known Attic representation of the fight between Heracles and
549:
5452:
5226:
4659:
4177:
3940:
3837:
3778:
3051:
Now in the Munich State Collection of Antiquities, inventory number 2044.
2978:
Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 113.
2960:
Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 111.
2903:
Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 104.
2579:
2413:
2385:
Animals on the back side of a neck amphora by the Leipzig Amphora Group,
1778:
1528:
1507:
1347:
1208:
1006:
932:), Athena in arms with an inscription, 566/565 BC, British Museum, London
929:
760:
284:
The success of all this effort could only be judged after a complicated,
250:
198:
157:
1624:
541:
in the main frieze with Heracles, Eurytios, and other mythical figures.
5419:
5414:
4987:
4982:
4724:
4480:
3925:
3920:
2432:
2241:
2222:
1759:
1680:
1614:
1570:
1375:
1030:
973:
806:
802:
794:
768:
668:
622:
508:
493:
403:
368:
2505:; there are no significant differences in the research on both styles.
1690:/510 BC, from Vulci, now in the Munich State Collection of Antiquities
1671:/510 BC, from Vulci, now in the Munich State Collection of Antiquities
5409:
5276:
4814:
4669:
4490:
4045:
4035:
3945:
3915:
2533:
2522:
2311:
2180:
2146:
2031:
1997:
1636:
1540:
1536:
1387:
1371:
1076:
The last outstanding painter of the Pre-Classical Archaic Period was
1002:
997:
978:
951:
is also significant, being the source of the first totally preserved
903:
864:
is depicted. These vases were produced at about the same time as the
853:
538:
473:
384:
372:
337:
122:
88:
2834:
Now in the Berlin Collection of Classical Antiquities, Altes Museum.
5391:
5211:
4929:
4779:
3950:
3872:
2355:
2295:
2291:
2218:
1980:
1933:
1837:
1661:
1579:
1555:
1511:
1359:
1339:
1227:
1216:
1185:
1110:
907:
849:
825:
641:
637:
607:
567:
454:
428:, whose most famous work is an aryballos with a hunting scene, the
407:
399:
359:
298:
228:, found in Vulci, now in the Munich State Collection of Antiquities
214:
34:
1679:
Herakles and Athena, red-figure side of the above amphora, by the
1539:. The workshop tradition was continued by Nikosthenes’ successor,
5434:
5336:
5005:
4619:
3978:
3719:
Farnsworth, Marie. 1964. "Greek Pottery: A Mineralogical Study."
2698:
Oxford, U.K.: Oxford University Press, 1967, p. 40; Grant, Neil.
2611:
2489:
2375:
2315:
2133:
2095:
2091:
2053:
1929:
1917:
1821:
1732:
1551:
1363:
1290:
1257:
1212:
1181:
1138:
746:
705:
691:. C. 620/610 BC, now in the Athens National Archaeological Museum
688:
649:
614:, a column krater created around 560 BC as the major work of the
484:
392:
380:
181:
173:
169:
161:
2562:
Scientific research on Attic vase painting owes a great deal to
1719:
primarily decorated variations of the Nikosthenic amphoras. The
1589:
Olive harvest shown on a neck amphora by the Antimenes Painter,
606:
should also be mentioned, who around 560 BC liked to paint neck
5126:
3988:
3983:
3930:
2526:
2481:
2477:
2453:
2423:/540 BC, found in Reggio di Calabria, now in the Louvre, Paris.
2359:
2351:
2331:
2193:
2069:
1909:
1846:
1575:
1383:
1379:
1327:
1246:
1154:
1093:
1089:
1085:
1022:
911:
861:
857:
684:
645:
594:
582:
578:
437:
238:
189:
165:
149:
118:
38:
2525:, comparing them, for example, with vases found in Attica and
1857:
526:. A second artist's name, Milonidas, also appears on a pinax.
5424:
4904:
4789:
2485:
2276:
2237:
2141:
2137:
2035:
1913:
1610:
1532:
1519:
1077:
1062:
814:
810:
764:
738:
523:
376:
293:
262:
168:. Other important production sites are known to have been in
2647:
w:de:Liste der griechischen Töpfer und Vasenmaler/Konkordanz
832:
Other significant painters of the first generation were the
121:
wearing the aegis, Attic black-figured hydria by the potter
2554:
1518:
after its creator. These pieces were found particularly in
1058:
1014:
619:
289:
86:
1080:(560-540 BC), who signed two of his surviving pieces with
292:
at a temperature of about 800 °C, with the resultant
2686:
Barbara Ann Kipfer, ed. New York: Springer, 2000, p. 71.
2589:
Basic research on Corinthian pottery was accomplished by
1479:
272:/550 BC, found in Penteskouphia; now in the Louvre, Paris
3700:
The History of Greek Vases: Potters, Painters, Pictures.
947:, whose most well-known piece is the Hearst Hydria. The
398:
Mythological scenes are frequently depicted, especially
1731:
adopted around 520 BC the newly introduced form of the
3302:
Now in the British Museum London, inventory number B1.
2629:
List of Greek Vase Painters § Black Figure Period
1370:
a black dot painted in the center. Variations include
687:. The scene on the belly shows events associated with
2515:
Styl und Herkunft der bemalten griechischen Tongefäße
2369:, now in the Munich State Collections of Antiquities
1390:, the latter two being sons of the potter Nearchos.
1264:– "Exekias made it") on the foot of the Dionysus cup
1694:Other well-known vase painters of the time are the
1417:, now in the Munich State Collection of Antiquities
2570:for studying paintings, which had been refined by
1758:, whose black-figure scenes are attributed to the
1628:Ship on the inside of a cup of the Leagros Group.
1172:, ca. 550 BC, from Vulci, now in the Louvre, Paris
3060:Now in the Boulogne Museum, inventory number 558.
2305:/530 BC, found in Vulci, now in the Louvre, Paris
1145:The first important painter of this time was the
348:pottery painters, who were still painting in the
5469:
3728:The Red and the Black: Studies In Greek Pottery.
3607:Thomas Mannack: Griechische Vasenmalerei, S. 18.
3598:Thomas Mannack: Griechische Vasenmalerei, S. 17.
3069:Now in the Vatican Museums, inventory number 344
1832:Athena on a prize amphora with the inscription "
1429:Band cup by an unknown artist showing fighters,
4531:
4106:
3707:Studies of Greek Pottery In the Black Sea Area.
875:
797:, which along with the "prekomast cups" of the
3712:Cook, Robert Manuel, and Pierre Dupont. 1998.
1596:, from Vulci, now in the British Museum London
1455:/530 BC, from Greece, now in the Louvre, Paris
444:
4517:
4092:
3959:
3763:
3749:
2694:;Ashmolean Museum Department of Antiquities.
1800:
1650:The last important group of painters was the
1578:. The most important of the two painters was
828:: Sophilos megraphsen ("Sophilos painted me")
618:It shows several events from the life of the
2262:, now in the Getty Villa, Malibu, California
2019:, found in Boeotia, now in the Louvre, Paris
1226:Cup with a coral red background by Exekias.
1149:(560–525 BC), named after the famous potter
483:is well-known, his most famous work being a
464:, found in Corinth, now in the Louvre, Paris
261:Depiction of a pottery kiln on a Corinthian
2255:of Lerna on a hydria by the Eagle Painter,
4524:
4510:
4099:
4085:
3756:
3742:
2203:
2196:, as well as ancient Egyptian themes like
2124:"Bird-catcher bowl", Ionic cup, ca. 550 BC
561:, ca. 575/550 BC, now in the Louvre, Paris
2496:
2476:Alabastrons with cylindrical bodies from
2298:, Pontic amphora by the Silenus Painter,
2553:
2447:
2407:
2380:
2345:
2325:
2286:
2246:
2212:
2155:
2119:
2064:
2040:
2007:
1939:
1875:
1856:
1827:
1810:
1777:
1674:
1656:
1623:
1584:
1545:
1490:
1333:
1316:
1267:
1251:
1221:
1175:
1159:
1132:
1098:
1052:
972:
969:, Munich State Collection of Antiquities
957:
916:
879:
819:
759:
732:
678:
631:
573:
548:
448:
354:
331:
256:
208:
204:
143:
113:
29:
27:Style of painting on ancient Greek vases
2684:Encyclopedic Dictionary of Archaeology.
2586:investigated black-figure Attic vases.
1192:engaged in a board game, c.540-530 BC,
1124:
14:
5470:
2702:New York: Mallard Press, 1990, p. 18.
1883:, observes his subjects working, on a
1480:The last quarter of the 6th century BC
1436:, from Vulci, now in the Louvre, Paris
589:, ca. 560 BC; now in the Louvre, Paris
507:The first artist known by name is the
50:Munich State Collection of Antiquities
4505:
4080:
3737:
2362:, hydria by the Inscription Painter,
2341:
1944:Zeus with an eagle, cup tondo by the
418:
2558:The helm; Attic black-figure pottery
1550:Departing warriors shown on a belly
728:
644:in a chariot dragging the corpse of
457:on a skyphos by the Pholoe Painter,
2072:and the dragon on a belly amphora,
184:industry oriented on Greek models.
24:
5478:Ancient Greek vase-painting styles
5142:Painter of the Berlin Dancing Girl
4690:Class of Cabinet des Médailles 218
3692:
2358:during the funeral games for King
2225:on a hydria by the Eagle Painter,
2208:
1872:/530 BC, now in the British Museum
1275:prepares for his suicide; Exekias
813:scenes, such as komast performers
544:
25:
5499:
2718:On Corinthian vase paintings see
2105:
2079:/550 BC, now in the Louvre, Paris
1565:/530 BC, now in the Louvre, Paris
1502:/510 BC, now in the Louvre, Paris
1467:Kassel cup by an unknown artist,
896:Archaeological Museum of Florence
648:behind him, ca. 490 BC, found in
237:painters. In many cases, such as
2471:
2200:and Egyptian sport disciplines.
1645:Bibliothèque Nationale de France
1460:
1448:Droop cup by an unknown artist,
1441:
1422:
1403:
640:by the Diosphos Painter showing
487:with a picture of Heracles. The
136:. Found in Tuscania, now in the
3721:American Journal of Archaeology
3646:
3637:
3619:
3610:
3601:
3592:
3575:
3557:
3539:
3522:
3508:
3491:
3474:
3457:
3439:
3421:
3403:
3385:
3367:
3349:
3331:
3314:
3305:
3296:
3287:
3278:
3269:
3260:
3243:
3234:
3225:
3216:
3207:
3198:
3189:
3180:
3171:
3162:
3153:
3144:
3135:
3126:
3117:
3099:
3090:
3081:
3072:
3063:
3054:
3045:
3036:
3026:
3017:
3008:
2999:
2990:
2981:
2972:
2963:
2954:
2945:
2936:
2927:
2915:
2906:
2897:
2880:
2871:
2854:
2837:
2828:
2819:
2282:
805:and the somewhat less talented
636:Black-figure, white-background
453:Herakles with Pholos and other
308:
5377:Painter of the Vatican Mourner
3702:New York: Thames & Hudson.
2802:
2793:
2784:
2767:
2750:
2733:
2712:
2676:
2658:
2480:are rare, as are lekanis from
1773:
1696:Painter of the Vatican Mourner
1350:into graceful variants called
842:Painter of the Dresden Lekanis
553:Horseman on a late Corinthean
13:
1:
2652:
2457:
2417:
2386:
2363:
2299:
2279:accompanied by a white seal.
2271:the mythical Egyptian pharao
2256:
2226:
2172:
2161:
2073:
2013:
1949:
1920:, Etruscan necropolises, and
1891:
1881:Arcesilaus II, king of Cyrene
1866:
1684:
1665:
1629:
1590:
1559:
1496:
1468:
1449:
1430:
1411:
1314:foretaste of classical art".
1280:
1231:
1066:
986:
963:
888:
767:scene on a komast cup by the
750:
458:
266:
222:
130:
42:
3684:Resources in other libraries
1243:Staatliche Antikensammlungen
876:Pre-Classical Archaic period
402:and figures relating to the
87:
59:painting, also known as the
7:
4533:Ancient Greek vase painters
4438:List of Greek vase painters
4108:Ancient Greek vase painting
3709:Prague: Charles University.
2700:The Greeks: How They Lived.
2622:
2604:Sanctuary of Artemis Orthia
2456:, who rushes to the scene,
2012:Komos scene on a lekythos,
771:, ca. 570 BC, Louvre, Paris
674:
522:, who signed a flask and a
445:Early and Middle Corinthian
315:Ancient Greek vase painting
95:), is one of the styles of
10:
5504:
2500:
2396:, now in the Louvre, Paris
2321:
2232:, now in the Louvre, Paris
2109:
2082:
2022:
2003:
1955:, now in the Louvre, Paris
1900:
1852:
1840:, now in the Louvre, Paris
1804:
1801:Panathenaic prize amphoras
1474:, now in the Louvre, Paris
977:Boxers on a double-decker
914:or of the Dance on Crete.
652:, now in the Louvre, Paris
327:
312:
73:
72:
5443:
5400:
5077:
5055:
5032:
5014:
4996:
4973:
4590:
4557:
4539:
4471:Corpus vasorum antiquorum
4463:
4444:
4428:
4406:
4388:
4366:
4343:
4315:
4272:
4221:
4190:
4168:
4150:
4114:
4014:Corpus vasorum antiquorum
4001:
3901:
3850:
3828:
3810:
3787:
3771:
3765:Pottery of ancient Greece
3679:Resources in your library
2634:Pottery of Ancient Greece
2548:Corpus Vasorum Antiquorum
2060:
1394:invented a Little Master
1029:and in the garden of the
922:Panathenaic prize amphora
656:
319:Pottery of ancient Greece
4600:Painter of Acropolis 606
3726:Sparkes, Brian A. 1996.
2443:
2350:Wrestling match between
2112:East Greek vase painting
1836:" (321/320 BC) found in
941:Painter of Akropolis 606
432:, and his disciple, the
241:and the Tleson Painter,
4835:Painter of Nicosia Olpe
2204:Italy including Etruria
1358:. They chiefly painted
1164:Foot race with weapons
557:by an associate of the
4855:Painter of Palermo 489
4810:Painter of Munich 1410
4655:Painter of Berlin 1686
4650:Painter of Berlin A 34
3698:Boardman, John. 2001.
2559:
2497:Research and reception
2464:
2424:
2397:
2370:
2334:
2330:Etruscan black-figure
2306:
2263:
2251:Heracles fighting the
2233:
2198:Egyptian hieroglyphics
2168:
2128:Toward the end of the
2125:
2080:
2049:
2025:Boeotian vase painting
2020:
1956:
1903:Laconian vase painting
1898:
1873:
1841:
1816:
1783:
1704:Painter of Munich 1410
1691:
1672:
1647:
1597:
1566:
1503:
1343:
1322:
1287:
1265:
1249:
1201:
1173:
1142:
1105:
1073:
993:
992:–550 BC, Louvre, Paris
981:, in the style of the
970:
933:
898:
829:
772:
757:
698:Painter of Berlin A 34
692:
653:
590:
562:
465:
430:Painter of Palermo 489
426:Shambling Bull Painter
363:
341:
273:
229:
153:
141:
53:
5065:Group of Rhodes 12264
4850:Oxford Palmette Class
3851:Ancient Greece proper
2665:Stuttgart 1996–2003,
2557:
2451:
2411:
2384:
2349:
2329:
2290:
2250:
2216:
2159:
2123:
2085:Euboean vase painting
2068:
2044:
2011:
1943:
1879:
1860:
1831:
1814:
1781:
1678:
1660:
1641:Cabinet des Médailles
1627:
1588:
1549:
1494:
1337:
1320:
1271:
1255:
1225:
1179:
1163:
1136:
1102:
1056:
976:
961:
920:
883:
823:
799:Oxford Palmette Class
763:
745:. Perseus pursued by
736:
682:
635:
585:on an amphora by the
577:
552:
452:
358:
335:
313:Further information:
260:
212:
205:Production techniques
147:
138:Cabinet des Médailles
117:
33:
5382:Villa Giulia Painter
4476:East Greek Bird Bowl
4056:Terracotta figurines
3665:Black-figure pottery
2584:Dietrich von Bothmer
1743:and the imaginative
1277:Suicide of Ajax Vase
1125:The years of mastery
340:in the Louvre, Paris
105:orientalizing period
65:black-figure ceramic
57:Black-figure pottery
5362:Triptolemos Painter
5282:Penthesilea Painter
5237:Kleophrades Painter
5217:Ilioupersis Painter
4645:Bellerophon Painter
3714:East Greek Pottery.
3705:Bouzek, Jan. 1990.
2682:"Black-figure." In
2412:Heracles kills the
1908:are the islands of
1807:Panathenaic amphora
1516:Nikosthenic amphora
1514:pottery, named the
1211:, and increasingly
953:Panathenaic amphora
719:Bellerophon Painter
667:come from Etruscan
616:Amphiaraos Painter.
350:orientalizing style
107:and the subsequent
101:antique Greek vases
5367:Underworld Painter
5312:Providence Painter
5302:Pistoxenos Painter
5287:Persephone Painter
5207:Hasselmann Painter
5192:Eucharides Painter
4795:Lysippides Painter
4760:Horse-bird Painter
4755:Heidelberg Painter
4730:Euphiletos Painter
4680:Cerameicus Painter
4675:Castellani Painter
4582:Polyphemos Painter
4222:Stylistic regions
4122:Three-phase firing
4061:Three-phase firing
3730:London: Routledge.
3716:London: Routledge.
2560:
2503:Red-figure pottery
2465:
2425:
2398:
2394:Reggio di Calabria
2392:/540 BC, found in
2371:
2342:Chalcidian pottery
2335:
2307:
2264:
2234:
2169:
2126:
2081:
2050:
2021:
1975:(575–550) and the
1957:
1899:
1889:Arcesilaos Painter
1874:
1842:
1817:
1794:Battle of Marathon
1784:
1760:Lysippides Painter
1737:Euphiletos Painter
1692:
1681:Lysippides Painter
1673:
1648:
1598:
1567:
1504:
1396:variety of skyphos
1352:Little-master cups
1344:
1338:Theseus kills the
1323:
1295:Little-master cups
1288:
1266:
1250:
1202:
1174:
1143:
1115:Castellani Painter
1106:
1074:
1065:, Attic wine jug,
1043:Little-master cups
1011:Heidelberg Painter
994:
983:Heidelberg Painter
971:
934:
899:
830:
778:Cerameicus Painter
773:
758:
693:
664:kalos inscriptions
654:
602:, was active. The
591:
563:
466:
419:Transitional style
364:
342:
286:three-phase firing
274:
230:
154:
142:
127:Euphiletos Painter
109:red-figure pottery
61:black-figure style
54:
5483:Archaic Greek art
5465:
5464:
5461:
5460:
5352:Tarquinia Painter
5347:Tarporley Painter
5342:Snub-nose Painter
5272:Oreithyia Painter
5177:Dokimasia Painter
5152:Bryn Mawr Painter
5132:Baltimore Painter
5107:Andokides painter
5073:
5072:
5024:Cavalcade Painter
4900:Princeton Painter
4845:Northampton Group
4840:Nikoxenos Painter
4820:Naucratis Painter
4775:Kassandra Painter
4765:Hypobibazon Class
4720:Edinburgh Painter
4635:Antimenes Painter
4625:Arkesilas Painter
4499:
4498:
4486:Kalos inscription
4456:Adolf Furtwangler
4424:
4423:
4384:
4383:
4243:Pseudo-Chalkidian
4191:Stylistic periods
4186:
4185:
4137:Black-glazed Ware
4074:
4073:
4024:Hellenistic glass
3997:
3996:
3868:Black-glazed Ware
3846:
3845:
3660:Library resources
2539:Adolf Furtwängler
2310:who lived at the
2046:Judgment of Paris
1973:Naucratis Painter
1961:Arkesilas Painter
1946:Naucratis Painter
1834:Archippos, archon
1764:Nikoxenos Painter
1756:Andokides Painter
1752:Bilingual Pottery
1721:Hypobibazon Class
1717:Class of C.M. 218
1700:Princeton Painter
1602:Antimenes Painter
1486:Andokides Painter
1137:Dionysus and two
1047:Merrythought cups
1035:Cassandra Painter
729:Early Attic vases
612:Amphiaraos Krater
559:Hippolyte Painter
498:Cavalcade Painter
336:Three Corinthian
125:(signed) and the
85:
16:(Redirected from
5495:
5398:
5397:
5357:Tithonos Painter
5332:Sisyphus Painter
5322:Shuvalov Painter
5297:Pisticci Painter
5257:Meleager Painter
5232:Kleophon Painter
5112:Antiphon Painter
5097:Altamura Painter
5087:Achilles Painter
5042:Acheloos Painter
5016:Gorgoneion Group
4971:
4970:
4965:Xenokles Painter
4950:Three Line Group
4940:Taleides Painter
4705:Diosphos Painter
4700:Daybreak Painter
4695:Columbus Painter
4615:Anagyrus Painter
4577:Mesogeia Painter
4572:Honolulu Painter
4567:Analatos Painter
4526:
4519:
4512:
4503:
4502:
4341:
4340:
4270:
4269:
4148:
4147:
4101:
4094:
4087:
4078:
4077:
4051:Tanagra figurine
3957:
3956:
3785:
3784:
3758:
3751:
3744:
3735:
3734:
3653:
3650:
3644:
3641:
3635:
3623:
3617:
3614:
3608:
3605:
3599:
3596:
3590:
3579:
3573:
3561:
3555:
3543:
3537:
3526:
3520:
3512:
3506:
3495:
3489:
3478:
3472:
3461:
3455:
3443:
3437:
3425:
3419:
3407:
3401:
3389:
3383:
3371:
3365:
3353:
3347:
3335:
3329:
3318:
3312:
3309:
3303:
3300:
3294:
3291:
3285:
3282:
3276:
3273:
3267:
3264:
3258:
3247:
3241:
3238:
3232:
3229:
3223:
3220:
3214:
3211:
3205:
3202:
3196:
3193:
3187:
3184:
3178:
3175:
3169:
3166:
3160:
3157:
3151:
3148:
3142:
3139:
3133:
3130:
3124:
3121:
3115:
3103:
3097:
3094:
3088:
3085:
3079:
3076:
3070:
3067:
3061:
3058:
3052:
3049:
3043:
3040:
3034:
3030:
3024:
3021:
3015:
3012:
3006:
3003:
2997:
2994:
2988:
2985:
2979:
2976:
2970:
2967:
2961:
2958:
2952:
2949:
2943:
2940:
2934:
2931:
2925:
2919:
2913:
2910:
2904:
2901:
2895:
2884:
2878:
2875:
2869:
2858:
2852:
2851:, Sp. 1099–1099.
2841:
2835:
2832:
2826:
2823:
2817:
2806:
2800:
2797:
2791:
2790:Mannack, S. 101.
2788:
2782:
2771:
2765:
2754:
2748:
2737:
2731:
2716:
2710:
2680:
2674:
2662:
2608:Brian B. Shefton
2602:out in Sparta's
2572:Bernard Berenson
2568:Giovanni Morelli
2462:
2459:
2422:
2419:
2391:
2388:
2368:
2365:
2304:
2301:
2261:
2258:
2231:
2228:
2177:
2174:
2166:
2163:
2078:
2075:
2018:
2015:
1954:
1951:
1926:krater lakonikos
1896:
1893:
1871:
1868:
1725:Three Line Group
1689:
1686:
1670:
1667:
1634:
1631:
1595:
1592:
1564:
1561:
1501:
1498:
1473:
1470:
1464:
1454:
1451:
1445:
1435:
1432:
1426:
1416:
1413:
1407:
1285:
1282:
1236:
1233:
1071:
1068:
1019:Erymanthian boar
991:
988:
968:
965:
906:and the painter
893:
890:
838:Anagyrus Painter
755:
752:
521:
463:
460:
434:Columbus Painter
346:Proto-Corinthian
271:
268:
227:
224:
213:Hercules drives
135:
132:
94:
92:
80:
78:
77:
47:
44:
21:
5503:
5502:
5498:
5497:
5496:
5494:
5493:
5492:
5488:Ancient Corinth
5468:
5467:
5466:
5457:
5439:
5396:
5387:Wedding Painter
5372:Varrese Painter
5252:Meidias Painter
5247:Marsyas Painter
5197:Foundry Painter
5187:Eretria Painter
5157:Chrysis Painter
5069:
5051:
5028:
5010:
4992:
4969:
4945:Theseus Painter
4920:Rycroft Painter
4880:Piraeus Painter
4875:Phrynos Painter
4860:Panther Painter
4710:Dodwell Painter
4685:Chimera Painter
4586:
4553:
4535:
4530:
4500:
4495:
4459:
4440:
4420:
4402:
4380:
4362:
4339:
4311:
4307:Caeretan hydria
4268:
4217:
4182:
4164:
4146:
4142:West Slope Ware
4110:
4105:
4075:
4070:
4019:Disjecta membra
3993:
3955:
3897:
3888:West Slope Ware
3842:
3824:
3806:
3783:
3767:
3762:
3723:68 (3): 221–28.
3695:
3693:Further reading
3690:
3689:
3688:
3668:
3667:
3663:
3656:
3651:
3647:
3642:
3638:
3624:
3620:
3615:
3611:
3606:
3602:
3597:
3593:
3580:
3576:
3562:
3558:
3544:
3540:
3527:
3523:
3513:
3509:
3496:
3492:
3479:
3475:
3462:
3458:
3444:
3440:
3426:
3422:
3408:
3404:
3390:
3386:
3372:
3368:
3354:
3350:
3336:
3332:
3319:
3315:
3310:
3306:
3301:
3297:
3292:
3288:
3283:
3279:
3274:
3270:
3265:
3261:
3248:
3244:
3239:
3235:
3230:
3226:
3221:
3217:
3212:
3208:
3203:
3199:
3194:
3190:
3185:
3181:
3176:
3172:
3167:
3163:
3158:
3154:
3149:
3145:
3140:
3136:
3131:
3127:
3122:
3118:
3104:
3100:
3095:
3091:
3086:
3082:
3077:
3073:
3068:
3064:
3059:
3055:
3050:
3046:
3041:
3037:
3031:
3027:
3022:
3018:
3013:
3009:
3004:
3000:
2995:
2991:
2986:
2982:
2977:
2973:
2968:
2964:
2959:
2955:
2950:
2946:
2941:
2937:
2932:
2928:
2920:
2916:
2911:
2907:
2902:
2898:
2885:
2881:
2876:
2872:
2859:
2855:
2842:
2838:
2833:
2829:
2824:
2820:
2807:
2803:
2799:today in Basel.
2798:
2794:
2789:
2785:
2772:
2768:
2755:
2751:
2738:
2734:
2717:
2713:
2681:
2677:
2663:
2659:
2655:
2625:
2595:Darrell A. Amyx
2564:John D. Beazley
2506:
2499:
2474:
2460:
2446:
2420:
2389:
2366:
2344:
2324:
2302:
2285:
2259:
2229:
2211:
2209:Caeretan Hydria
2206:
2175:
2164:
2130:Wild Goat style
2114:
2108:
2087:
2076:
2063:
2027:
2016:
2006:
1987:as well as the
1967:(575–565), the
1965:Boreads Painter
1963:(565–555), the
1952:
1905:
1894:
1869:
1855:
1809:
1803:
1776:
1712:Rycroft Painter
1687:
1668:
1632:
1593:
1562:
1524:Six's technique
1499:
1482:
1475:
1471:
1465:
1456:
1452:
1446:
1437:
1433:
1427:
1418:
1414:
1408:
1304:suicide of Ajax
1283:
1262:ΕΧΣΕΚΙΑΣ ΕΠΟΕΣΕ
1234:
1194:Vatican Museums
1127:
1069:
989:
966:
891:
878:
872:) to be found.
834:Panther Painter
756:, Louvre, Paris
753:
731:
715:Piraeus Painter
677:
659:
547:
545:Late Corinthian
535:Eurytios Krater
529:The Corinthian
515:
489:Dodwell Painter
461:
447:
421:
410:never. But the
330:
321:
311:
269:
225:
207:
133:
45:
28:
23:
22:
15:
12:
11:
5:
5501:
5491:
5490:
5485:
5480:
5463:
5462:
5459:
5458:
5456:
5455:
5449:
5447:
5441:
5440:
5438:
5437:
5432:
5427:
5422:
5417:
5412:
5406:
5404:
5395:
5394:
5389:
5384:
5379:
5374:
5369:
5364:
5359:
5354:
5349:
5344:
5339:
5334:
5329:
5324:
5319:
5314:
5309:
5304:
5299:
5294:
5292:Phiale Painter
5289:
5284:
5279:
5274:
5269:
5264:
5262:Niobid Painter
5259:
5254:
5249:
5244:
5239:
5234:
5229:
5224:
5219:
5214:
5209:
5204:
5202:Harrow Painter
5199:
5194:
5189:
5184:
5179:
5174:
5169:
5167:Darius Painter
5164:
5162:Codrus Painter
5159:
5154:
5149:
5147:Brygos Painter
5144:
5139:
5137:Berlin Painter
5134:
5129:
5124:
5119:
5114:
5109:
5104:
5102:Amykos Painter
5099:
5094:
5089:
5083:
5081:
5075:
5074:
5071:
5070:
5068:
5067:
5061:
5059:
5057:Little Masters
5053:
5052:
5050:
5049:
5047:Chiusi Painter
5044:
5038:
5036:
5030:
5029:
5027:
5026:
5020:
5018:
5012:
5011:
5009:
5008:
5002:
5000:
4994:
4993:
4991:
4990:
4985:
4979:
4977:
4968:
4967:
4962:
4960:Tydeus Painter
4957:
4955:Tityos Painter
4952:
4947:
4942:
4937:
4932:
4927:
4925:Sappho Painter
4922:
4917:
4912:
4907:
4902:
4897:
4892:
4887:
4882:
4877:
4872:
4870:Pholoe Painter
4867:
4865:Perizoma Group
4862:
4857:
4852:
4847:
4842:
4837:
4832:
4830:Nessos Painter
4827:
4822:
4817:
4812:
4807:
4805:Mastos Painter
4802:
4800:Madrid Painter
4797:
4792:
4787:
4782:
4777:
4772:
4767:
4762:
4757:
4752:
4750:Haimon Painter
4747:
4745:Gorgon Painter
4742:
4740:Goltyr Painter
4737:
4732:
4727:
4722:
4717:
4712:
4707:
4702:
4697:
4692:
4687:
4682:
4677:
4672:
4667:
4662:
4657:
4652:
4647:
4642:
4640:Beldam Painter
4637:
4632:
4630:Athena Painter
4627:
4622:
4617:
4612:
4610:Amasis Painter
4607:
4602:
4596:
4594:
4588:
4587:
4585:
4584:
4579:
4574:
4569:
4563:
4561:
4555:
4554:
4552:
4551:
4549:Dipylon Master
4545:
4543:
4537:
4536:
4529:
4528:
4521:
4514:
4506:
4497:
4496:
4494:
4493:
4488:
4483:
4478:
4473:
4467:
4465:
4464:Special topics
4461:
4460:
4458:
4453:
4448:
4446:
4442:
4441:
4436:
4434:
4433:
4432:
4426:
4425:
4422:
4421:
4419:
4418:
4412:
4410:
4404:
4403:
4401:
4400:
4394:
4392:
4386:
4385:
4382:
4381:
4379:
4378:
4376:Centuripe ware
4372:
4370:
4364:
4363:
4361:
4360:
4355:
4349:
4347:
4338:
4337:
4332:
4327:
4321:
4319:
4313:
4312:
4310:
4309:
4304:
4299:
4294:
4289:
4284:
4278:
4276:
4267:
4266:
4261:
4256:
4251:
4246:
4236:
4231:
4225:
4223:
4219:
4218:
4216:
4215:
4210:
4205:
4203:Protogeometric
4200:
4194:
4192:
4188:
4187:
4184:
4183:
4181:
4180:
4174:
4172:
4166:
4165:
4163:
4162:
4156:
4154:
4145:
4144:
4139:
4134:
4129:
4124:
4118:
4116:
4112:
4111:
4104:
4103:
4096:
4089:
4081:
4072:
4071:
4069:
4068:
4063:
4058:
4053:
4048:
4043:
4038:
4033:
4026:
4021:
4016:
4011:
4005:
4003:
4002:Special topics
3999:
3998:
3995:
3994:
3992:
3991:
3986:
3981:
3976:
3971:
3965:
3963:
3961:Little Masters
3954:
3953:
3948:
3943:
3938:
3933:
3928:
3923:
3918:
3913:
3907:
3905:
3899:
3898:
3896:
3895:
3890:
3885:
3880:
3875:
3870:
3865:
3860:
3854:
3852:
3848:
3847:
3844:
3843:
3841:
3840:
3834:
3832:
3826:
3825:
3823:
3822:
3816:
3814:
3808:
3807:
3805:
3804:
3799:
3793:
3791:
3782:
3781:
3775:
3773:
3769:
3768:
3761:
3760:
3753:
3746:
3738:
3732:
3731:
3724:
3717:
3710:
3703:
3694:
3691:
3687:
3686:
3681:
3676:
3670:
3669:
3658:
3657:
3655:
3654:
3645:
3636:
3618:
3609:
3600:
3591:
3574:
3556:
3538:
3521:
3507:
3490:
3473:
3456:
3438:
3420:
3402:
3384:
3382:, Sp. 276–281.
3366:
3348:
3330:
3313:
3304:
3295:
3286:
3277:
3268:
3259:
3242:
3233:
3224:
3215:
3206:
3197:
3188:
3179:
3170:
3161:
3152:
3143:
3134:
3125:
3116:
3098:
3089:
3080:
3071:
3062:
3053:
3044:
3035:
3025:
3016:
3007:
2998:
2989:
2980:
2971:
2962:
2953:
2944:
2935:
2926:
2922:Thomas Mannack
2914:
2905:
2896:
2894:, Sp. 274–281.
2879:
2870:
2868:, Sp. 939–940.
2853:
2836:
2827:
2825:Now in Athens.
2818:
2816:, Sp. 594–594.
2801:
2792:
2783:
2781:, Sp. 370–371.
2766:
2764:, Sp. 726–727.
2749:
2732:
2720:Thomas Mannack
2711:
2675:
2673:, Sp. 274–281.
2656:
2654:
2651:
2650:
2649:
2643:
2636:
2631:
2624:
2621:
2543:Meisterschalen
2511:Edward Dodwell
2498:
2495:
2473:
2470:
2445:
2442:
2343:
2340:
2323:
2320:
2284:
2281:
2210:
2207:
2205:
2202:
2151:Bactrian camel
2107:
2106:Eastern Greece
2104:
2062:
2059:
2005:
2002:
1854:
1851:
1805:Main article:
1802:
1799:
1789:Haimon Painter
1775:
1772:
1768:Athena Painter
1741:Madrid Painter
1729:Perizoma Group
1481:
1478:
1477:
1476:
1466:
1459:
1457:
1447:
1440:
1438:
1428:
1421:
1419:
1409:
1402:
1356:Little Masters
1147:Amasis Painter
1126:
1123:
1119:Goltyr Painter
1039:Little Masters
930:Burgon amphora
877:
874:
782:Gorgon Painter
743:Gorgon Painter
730:
727:
702:Nessos Painter
676:
673:
658:
655:
604:Tydeus Painter
587:Tydeus Painter
546:
543:
496:Group and the
481:Pholoe Painter
446:
443:
420:
417:
329:
326:
310:
307:
247:Amasis Painter
206:
203:
134: 540 BCE
46: 540 BCE
26:
9:
6:
4:
3:
2:
5500:
5489:
5486:
5484:
5481:
5479:
5476:
5475:
5473:
5454:
5451:
5450:
5448:
5446:
5442:
5436:
5433:
5431:
5428:
5426:
5423:
5421:
5418:
5416:
5413:
5411:
5408:
5407:
5405:
5403:
5402:Pioneer Group
5399:
5393:
5390:
5388:
5385:
5383:
5380:
5378:
5375:
5373:
5370:
5368:
5365:
5363:
5360:
5358:
5355:
5353:
5350:
5348:
5345:
5343:
5340:
5338:
5335:
5333:
5330:
5328:
5327:Siren Painter
5325:
5323:
5320:
5318:
5315:
5313:
5310:
5308:
5305:
5303:
5300:
5298:
5295:
5293:
5290:
5288:
5285:
5283:
5280:
5278:
5275:
5273:
5270:
5268:
5265:
5263:
5260:
5258:
5255:
5253:
5250:
5248:
5245:
5243:
5240:
5238:
5235:
5233:
5230:
5228:
5225:
5223:
5220:
5218:
5215:
5213:
5210:
5208:
5205:
5203:
5200:
5198:
5195:
5193:
5190:
5188:
5185:
5183:
5180:
5178:
5175:
5173:
5172:Dinos Painter
5170:
5168:
5165:
5163:
5160:
5158:
5155:
5153:
5150:
5148:
5145:
5143:
5140:
5138:
5135:
5133:
5130:
5128:
5125:
5123:
5120:
5118:
5115:
5113:
5110:
5108:
5105:
5103:
5100:
5098:
5095:
5093:
5090:
5088:
5085:
5084:
5082:
5080:
5076:
5066:
5063:
5062:
5060:
5058:
5054:
5048:
5045:
5043:
5040:
5039:
5037:
5035:
5034:Leagros Group
5031:
5025:
5022:
5021:
5019:
5017:
5013:
5007:
5004:
5003:
5001:
4999:
4995:
4989:
4986:
4984:
4981:
4980:
4978:
4976:
4972:
4966:
4963:
4961:
4958:
4956:
4953:
4951:
4948:
4946:
4943:
4941:
4938:
4936:
4935:Swing Painter
4933:
4931:
4928:
4926:
4923:
4921:
4918:
4916:
4915:Rider Painter
4913:
4911:
4910:Ptoon Painter
4908:
4906:
4903:
4901:
4898:
4896:
4895:Priam Painter
4893:
4891:
4888:
4886:
4885:Polos Painter
4883:
4881:
4878:
4876:
4873:
4871:
4868:
4866:
4863:
4861:
4858:
4856:
4853:
4851:
4848:
4846:
4843:
4841:
4838:
4836:
4833:
4831:
4828:
4826:
4823:
4821:
4818:
4816:
4813:
4811:
4808:
4806:
4803:
4801:
4798:
4796:
4793:
4791:
4788:
4786:
4783:
4781:
4778:
4776:
4773:
4771:
4770:Kabiria Group
4768:
4766:
4763:
4761:
4758:
4756:
4753:
4751:
4748:
4746:
4743:
4741:
4738:
4736:
4733:
4731:
4728:
4726:
4723:
4721:
4718:
4716:
4713:
4711:
4708:
4706:
4703:
4701:
4698:
4696:
4693:
4691:
4688:
4686:
4683:
4681:
4678:
4676:
4673:
4671:
4668:
4666:
4663:
4661:
4658:
4656:
4653:
4651:
4648:
4646:
4643:
4641:
4638:
4636:
4633:
4631:
4628:
4626:
4623:
4621:
4618:
4616:
4613:
4611:
4608:
4606:
4603:
4601:
4598:
4597:
4595:
4593:
4589:
4583:
4580:
4578:
4575:
4573:
4570:
4568:
4565:
4564:
4562:
4560:
4559:Orientalizing
4556:
4550:
4547:
4546:
4544:
4542:
4538:
4534:
4527:
4522:
4520:
4515:
4513:
4508:
4507:
4504:
4492:
4489:
4487:
4484:
4482:
4479:
4477:
4474:
4472:
4469:
4468:
4466:
4462:
4457:
4454:
4452:
4449:
4447:
4443:
4439:
4435:
4431:
4430:
4427:
4417:
4414:
4413:
4411:
4409:
4405:
4399:
4398:Kabiria Group
4396:
4395:
4393:
4391:
4387:
4377:
4374:
4373:
4371:
4369:
4365:
4359:
4358:Gnathia vases
4356:
4354:
4351:
4350:
4348:
4346:
4342:
4336:
4333:
4331:
4328:
4326:
4323:
4322:
4320:
4318:
4317:South Italian
4314:
4308:
4305:
4303:
4300:
4298:
4295:
4293:
4290:
4288:
4285:
4283:
4280:
4279:
4277:
4275:
4271:
4265:
4262:
4260:
4257:
4255:
4252:
4250:
4247:
4244:
4240:
4237:
4235:
4232:
4230:
4227:
4226:
4224:
4220:
4214:
4213:Orientalizing
4211:
4209:
4206:
4204:
4201:
4199:
4198:Sub-Mycenaean
4196:
4195:
4193:
4189:
4179:
4176:
4175:
4173:
4171:
4167:
4161:
4158:
4157:
4155:
4153:
4149:
4143:
4140:
4138:
4135:
4133:
4130:
4128:
4125:
4123:
4120:
4119:
4117:
4113:
4109:
4102:
4097:
4095:
4090:
4088:
4083:
4082:
4079:
4067:
4064:
4062:
4059:
4057:
4054:
4052:
4049:
4047:
4044:
4042:
4039:
4037:
4034:
4032:
4031:
4027:
4025:
4022:
4020:
4017:
4015:
4012:
4010:
4007:
4006:
4004:
4000:
3990:
3987:
3985:
3982:
3980:
3977:
3975:
3972:
3970:
3967:
3966:
3964:
3962:
3958:
3952:
3949:
3947:
3944:
3942:
3939:
3937:
3934:
3932:
3929:
3927:
3924:
3922:
3919:
3917:
3914:
3912:
3909:
3908:
3906:
3904:
3900:
3894:
3891:
3889:
3886:
3884:
3883:South Italian
3881:
3879:
3876:
3874:
3871:
3869:
3866:
3864:
3861:
3859:
3856:
3855:
3853:
3849:
3839:
3836:
3835:
3833:
3831:
3827:
3821:
3820:Sub-Mycenaean
3818:
3817:
3815:
3813:
3809:
3803:
3802:Vasiliki ware
3800:
3798:
3795:
3794:
3792:
3790:
3786:
3780:
3777:
3776:
3774:
3770:
3766:
3759:
3754:
3752:
3747:
3745:
3740:
3739:
3736:
3729:
3725:
3722:
3718:
3715:
3711:
3708:
3704:
3701:
3697:
3696:
3685:
3682:
3680:
3677:
3675:
3672:
3671:
3666:
3661:
3649:
3640:
3633:
3632:3-88609-371-9
3629:
3622:
3613:
3604:
3595:
3588:
3587:3-476-01481-9
3584:
3578:
3571:
3570:3-476-01481-9
3567:
3560:
3553:
3552:3-476-01480-0
3549:
3542:
3535:
3534:3-476-01472-X
3531:
3525:
3517:
3516:Magna Graecia
3511:
3504:
3503:3-476-01481-9
3500:
3494:
3487:
3486:3-476-01480-0
3483:
3477:
3470:
3469:3-476-01472-X
3466:
3460:
3453:
3452:3-476-01481-9
3449:
3442:
3435:
3434:3-476-01481-9
3431:
3424:
3417:
3416:3-476-01481-9
3413:
3406:
3399:
3398:3-476-01481-9
3395:
3388:
3381:
3380:3-476-01481-9
3377:
3370:
3363:
3362:3-476-01481-9
3359:
3352:
3345:
3344:3-476-01481-9
3341:
3334:
3327:
3326:3-476-01476-2
3323:
3317:
3308:
3299:
3290:
3281:
3272:
3263:
3256:
3255:3-476-01480-0
3252:
3246:
3237:
3228:
3219:
3210:
3201:
3192:
3183:
3174:
3165:
3156:
3147:
3138:
3129:
3120:
3113:
3112:3-8053-2033-7
3109:
3102:
3093:
3084:
3075:
3066:
3057:
3048:
3039:
3029:
3020:
3011:
3002:
2993:
2984:
2975:
2966:
2957:
2948:
2939:
2930:
2923:
2918:
2909:
2900:
2893:
2892:3-476-01470-3
2889:
2883:
2874:
2867:
2866:3-476-01472-X
2863:
2857:
2850:
2849:3-476-01472-X
2846:
2840:
2831:
2822:
2815:
2814:3-476-01482-7
2811:
2805:
2796:
2787:
2780:
2779:3-476-01476-2
2776:
2770:
2763:
2762:3-476-01473-8
2759:
2753:
2746:
2745:3-476-01476-2
2742:
2736:
2729:
2728:3-476-01476-2
2725:
2721:
2715:
2709:
2708:0-7924-5383-2
2705:
2701:
2697:
2693:
2692:0-306-46158-7
2689:
2685:
2679:
2672:
2671:3-476-01470-3
2668:
2661:
2657:
2648:
2644:
2641:
2637:
2635:
2632:
2630:
2627:
2626:
2620:
2616:
2613:
2609:
2605:
2599:
2596:
2592:
2587:
2585:
2581:
2577:
2576:John Boardman
2573:
2569:
2565:
2556:
2552:
2550:
2549:
2544:
2540:
2535:
2530:
2528:
2524:
2520:
2516:
2512:
2504:
2494:
2491:
2487:
2483:
2479:
2472:Other regions
2469:
2455:
2450:
2441:
2439:
2434:
2429:
2415:
2410:
2406:
2402:
2395:
2383:
2379:
2377:
2367: 550 BC
2361:
2357:
2353:
2348:
2339:
2333:
2328:
2319:
2317:
2313:
2297:
2293:
2289:
2280:
2278:
2274:
2268:
2260: 525 BC
2254:
2249:
2245:
2243:
2239:
2230: 525 BC
2224:
2220:
2215:
2201:
2199:
2195:
2189:
2185:
2182:
2158:
2154:
2152:
2148:
2143:
2139:
2135:
2131:
2122:
2118:
2113:
2103:
2099:
2097:
2093:
2086:
2071:
2067:
2058:
2055:
2047:
2043:
2039:
2037:
2033:
2026:
2017: 550 BC
2010:
2001:
1999:
1995:
1994:Arcesilaus II
1990:
1986:
1982:
1978:
1977:Rider Painter
1974:
1970:
1966:
1962:
1953: 560 BC
1947:
1942:
1938:
1935:
1931:
1927:
1923:
1919:
1916:, as well as
1915:
1911:
1904:
1890:
1886:
1882:
1878:
1864:
1863:Rider Painter
1859:
1850:
1848:
1839:
1835:
1830:
1826:
1823:
1813:
1808:
1798:
1795:
1790:
1780:
1771:
1769:
1765:
1761:
1757:
1753:
1748:
1746:
1745:Priam Painter
1742:
1738:
1734:
1730:
1726:
1722:
1718:
1713:
1709:
1708:Swing Painter
1705:
1701:
1697:
1682:
1677:
1663:
1659:
1655:
1653:
1652:Leagros Group
1646:
1642:
1639:, now in the
1638:
1633: 520 BC
1626:
1622:
1620:
1616:
1612:
1607:
1603:
1594: 520 BC
1587:
1583:
1581:
1577:
1572:
1557:
1553:
1548:
1544:
1542:
1538:
1534:
1530:
1525:
1521:
1517:
1513:
1509:
1493:
1489:
1487:
1472: 540 BC
1463:
1458:
1444:
1439:
1434: 540 BC
1425:
1420:
1415: 540 BC
1406:
1401:
1400:
1399:
1397:
1393:
1389:
1385:
1381:
1377:
1373:
1367:
1365:
1361:
1357:
1353:
1349:
1341:
1336:
1332:
1329:
1319:
1315:
1312:
1311:John Boardman
1308:
1305:
1300:
1296:
1292:
1278:
1274:
1270:
1263:
1259:
1256:Signature of
1254:
1248:
1244:
1240:
1235: 530 BC
1229:
1224:
1220:
1218:
1214:
1210:
1206:
1199:
1195:
1191:
1187:
1183:
1178:
1171:
1167:
1166:Hoplitodromos
1162:
1158:
1156:
1152:
1148:
1140:
1135:
1131:
1122:
1120:
1116:
1112:
1101:
1097:
1095:
1091:
1087:
1083:
1079:
1070: 560 BC
1064:
1060:
1057:Heracles and
1055:
1051:
1048:
1044:
1040:
1036:
1032:
1028:
1024:
1020:
1016:
1012:
1008:
1004:
999:
984:
980:
975:
967: 560 BC
960:
956:
954:
950:
946:
945:Ptoon Painter
942:
938:
931:
927:
923:
919:
915:
913:
909:
905:
897:
892: 570 BC
886:
885:François vase
882:
873:
871:
870:lebes gamikos
867:
866:François vase
863:
859:
855:
851:
847:
846:Polos Painter
843:
839:
835:
827:
824:Signature of
822:
818:
816:
812:
808:
804:
800:
796:
792:
786:
783:
779:
776:Corinth. The
770:
766:
762:
754: 580 BC
748:
744:
740:
737:Name vase (a
735:
726:
724:
720:
716:
711:
707:
703:
699:
690:
686:
681:
672:
670:
665:
651:
647:
643:
639:
634:
630:
626:
624:
621:
617:
613:
609:
605:
601:
596:
588:
584:
580:
576:
572:
569:
560:
556:
551:
542:
540:
536:
532:
527:
525:
519:
514:
511:vase painter
510:
505:
503:
499:
495:
490:
486:
482:
477:
475:
471:
462: 580 BC
456:
451:
442:
439:
435:
431:
427:
416:
413:
409:
405:
401:
396:
394:
390:
386:
382:
378:
374:
370:
361:
357:
353:
351:
347:
339:
334:
325:
320:
316:
306:
302:
300:
295:
291:
287:
282:
280:
264:
259:
255:
252:
248:
244:
240:
234:
226: 540 BC
220:
219:Bucci Painter
216:
211:
202:
200:
196:
191:
185:
183:
179:
175:
171:
167:
163:
159:
151:
146:
139:
128:
124:
120:
116:
112:
110:
106:
102:
98:
93:
91:
83:
76:
70:
69:Ancient Greek
66:
62:
58:
51:
48:, now in the
40:
36:
32:
19:
5317:Reed Painter
5222:Jena Painter
5122:Aristophanes
4975:Comast Group
4890:Pontic Group
4785:Lion Painter
4735:Gela Painter
4715:Duel Painter
4665:Burgon Group
4592:Black-figure
4591:
4451:John Beazley
4416:Pontic Group
4353:Canosa vases
4152:Black-figure
4151:
4132:White-ground
4028:
4009:Conservation
3893:White ground
3863:Black-figure
3862:
3797:Kamares ware
3727:
3720:
3713:
3706:
3699:
3674:Online books
3664:
3648:
3639:
3621:
3612:
3603:
3594:
3577:
3559:
3541:
3524:
3515:
3510:
3493:
3476:
3459:
3441:
3423:
3405:
3387:
3369:
3351:
3333:
3316:
3307:
3298:
3289:
3280:
3271:
3262:
3245:
3236:
3227:
3218:
3209:
3200:
3191:
3182:
3173:
3164:
3155:
3146:
3137:
3128:
3119:
3101:
3092:
3083:
3074:
3065:
3056:
3047:
3038:
3028:
3019:
3010:
3001:
2992:
2983:
2974:
2965:
2956:
2947:
2938:
2929:
2917:
2908:
2899:
2882:
2873:
2856:
2839:
2830:
2821:
2804:
2795:
2786:
2769:
2752:
2735:
2714:
2699:
2695:
2683:
2678:
2660:
2617:
2600:
2591:Humfry Payne
2588:
2561:
2546:
2542:
2531:
2518:
2514:
2507:
2475:
2466:
2430:
2426:
2403:
2399:
2372:
2336:
2308:
2283:Pontic vases
2269:
2265:
2235:
2190:
2186:
2170:
2127:
2115:
2100:
2088:
2051:
2028:
1969:Hunt Painter
1958:
1925:
1906:
1843:
1833:
1818:
1785:
1749:
1693:
1649:
1606:white ground
1599:
1580:The Affecter
1568:
1505:
1483:
1368:
1348:Gordion cups
1345:
1324:
1309:
1289:
1261:
1239:Dionysus cup
1203:
1198:Vatican City
1144:
1128:
1107:
1081:
1075:
1045:. So-called
995:
949:Burgon Group
935:
926:Burgon Group
900:
869:
831:
791:Komast Group
787:
774:
723:Lion Painter
694:
669:necropolises
660:
627:
592:
564:
528:
506:
478:
470:Duel Painter
467:
422:
412:Theban Cycle
397:
389:inscriptions
365:
343:
322:
309:Developments
303:
283:
275:
235:
231:
186:
164:, and later
155:
140:, BNF, Paris
90:melanómorpha
89:
64:
60:
56:
55:
18:Black-figure
5453:Pan Painter
5227:Kerch style
5117:Apollodoros
4660:BMN Painter
4287:Klazomenian
3941:Nikosthenes
3838:Frying pans
3779:Minyan ware
2580:Erika Simon
2414:Nemean Lion
1774:Late Period
1529:BMN Painter
1508:Nikosthenes
1376:Kassel cups
1209:Nemean Lion
1180:Amphora by
516: [
294:oxidization
251:Nikosthenes
199:iconography
158:silhouettes
75:μελανόμορφα
5472:Categories
5445:Mannerists
5420:Euthymides
5415:Euphronios
5307:Polygnotos
5079:Red-figure
4988:KY Painter
4983:KX Painter
4725:Elbows Out
4481:Hadra vase
4274:East Greek
4264:Thessalian
4239:Chalkidian
4170:Red-figure
4115:Techniques
4066:Vase types
3974:Hermogenes
3936:Hypereides
3926:Euthymides
3921:Euphronios
3878:Red-figure
2653:References
2461: 540
2433:Polyphemus
2421: 560
2390: 560
2303: 540
2242:alabastron
2223:Eurystheus
2217:Heracles,
2176: 550
2165: 515
2110:See also:
2083:See also:
2077: 560
2023:See also:
1901:See also:
1895: 565
1870: 550
1688: 520
1669: 520
1615:Euphronius
1571:Elbows Out
1563: 540
1500: 520
1453: 550
1392:Hermogenes
1372:Droop cups
1284: 530
1031:Hesperides
990: 575
807:KY Painter
803:KX Painter
795:komast cup
769:KY Painter
623:Amphiaraos
509:polychrome
494:Gorgoneion
404:Trojan War
270: 575
5410:Epiktetos
5277:Pamphaios
4815:N Painter
4670:C Painter
4541:Geometric
4491:Name vase
4429:Painters
4335:Campanian
4302:Wild Goat
4208:Geometric
4127:Bilingual
4046:Symposium
4036:Name vase
3969:Ergoteles
3946:Pamphaios
3916:Ergotimos
3858:Bilingual
3812:Mycenaean
2645:See also
2638:See also
2534:Otto Jahn
2523:Tarquinia
2312:Black Sea
2181:Naukratis
2032:kantharos
1998:Marseille
1637:Cerveteri
1541:Pamphaios
1537:Epiktetos
1388:Ergoteles
1360:band cups
1003:C Painter
998:Siana cup
979:Siana cup
904:Ergotimos
854:Patroclus
741:) by the
629:Corinth.
539:symposium
513:Timonidas
474:aryballos
385:oenochoes
373:aryballos
369:alabastra
338:aryballoi
195:mythology
178:Etruscans
123:Pamphaios
82:romanized
5430:Phintias
5392:YZ Group
5267:Onesimos
5212:Hermonax
4930:Sophilos
4825:Nearchos
4780:Kleitias
4605:Affecter
4445:Scholars
4408:Etruscan
4390:Boeotian
4368:Sicilian
4325:Lucanian
4259:Laconian
4249:Cycladic
3951:Sophilos
3873:Bucchero
3830:Cycladic
2623:See also
2356:Atalanta
2296:Polyxena
2292:Diomedes
2219:Cerberus
2147:Scythian
1981:Poseidon
1934:perioeci
1838:Benghazi
1822:roosters
1766:and the
1706:and the
1662:Heracles
1619:Phintias
1556:Affecter
1512:bucchero
1364:lip cups
1340:Minotaur
1228:Dionysus
1217:Minotaur
1215:and the
1186:Achilles
1117:and the
1111:Polyxena
1082:ho Lydos
943:and the
937:Nearchos
908:Kleitias
850:Sophilos
844:and the
826:Sophilos
817:scenes.
780:and the
721:and the
675:Pioneers
642:Achilles
638:lekythos
608:amphoras
568:lekythos
455:centaurs
408:Dionysus
400:Heracles
360:Oenochoe
299:sintered
249:or even
245:and the
215:Cerberus
97:painting
35:Heracles
5435:Smikros
5337:Skythes
5006:Exekias
4998:Group E
4620:Anakles
4345:Apulian
4330:Paestan
4292:Rhodian
4254:Euboean
3979:Phrynos
3903:Potters
2612:Taranto
2490:Elaious
2376:Rhegion
2322:Etruria
2316:kyathos
2273:Busiris
2149:with a
2134:Ephesus
2096:Chalcis
2092:Eretria
2054:skyphos
2036:pyxides
2004:Boeotia
1930:lakaina
1918:Taranto
1887:by the
1853:Laconia
1733:stamnos
1635:, from
1554:by the
1552:amphora
1291:Exekias
1286:/525 BC
1258:Exekias
1213:Theseus
1205:Group E
1182:Exekias
1170:Group E
1139:maenads
1027:Busiris
1025:, with
1021:, with
924:of the
747:gorgons
706:harpies
689:Perseus
650:Eretria
485:skyphos
393:Etruria
381:kraters
377:pyxides
328:Corinth
182:ceramic
174:Boeotia
170:Laconia
162:Corinth
152:, Paris
111:style.
84::
5242:Makron
5182:Douris
5127:Asteas
4297:Samian
4229:Argive
3989:Tleson
3984:Sokles
3931:Gryton
3911:Amasis
3789:Minoan
3772:Aegean
3662:about
3630:
3585:
3568:
3550:
3532:
3519:either
3501:
3484:
3467:
3450:
3432:
3414:
3396:
3378:
3360:
3342:
3324:
3253:
3110:
2890:
2864:
2847:
2812:
2777:
2760:
2743:
2726:
2706:
2690:
2669:
2527:Aegina
2482:Thasos
2478:Andros
2454:Hermes
2360:Pelias
2352:Peleus
2332:hydria
2194:Typhon
2070:Cadmus
2061:Euboea
1989:Theban
1985:labors
1971:, the
1922:Cyrene
1910:Rhodes
1847:Archon
1739:, the
1727:. The
1702:, the
1698:, The
1643:de la
1576:lydion
1384:Tleson
1380:Sokles
1328:murals
1247:Munich
1155:satyrs
1151:Amasis
1104:Museum
1094:Cycnus
1090:Geryon
1086:hydria
1033:. The
1023:Nereus
912:Athena
862:Thetis
858:Peleus
840:, the
836:, the
717:, the
710:Sirens
685:Nessos
657:Attica
646:Hector
600:Chares
595:gorgon
583:Ismene
579:Tydeus
438:kotyle
243:Amasis
239:Tleson
190:Attica
166:Athens
150:Louvre
119:Athena
39:Geryon
5425:Oltos
5092:Aison
4905:Psiax
4790:Lydos
4282:Ionic
4234:Attic
4178:Kerch
4160:Six's
2486:Chios
2444:Other
2277:Cetus
2253:Hydra
2238:Caere
2142:Chios
2138:Milet
1914:Samos
1611:Psiax
1533:Oltos
1520:Caere
1299:calyx
1078:Lydos
1063:Lydos
1007:tondo
928:(the
815:komos
811:komos
765:Komos
739:dinos
524:pinax
520:]
263:pinax
4041:Slip
4030:LIMC
3628:ISBN
3583:ISBN
3566:ISBN
3548:ISBN
3530:ISBN
3499:ISBN
3482:ISBN
3465:ISBN
3448:ISBN
3430:ISBN
3412:ISBN
3394:ISBN
3376:ISBN
3358:ISBN
3340:ISBN
3322:ISBN
3251:ISBN
3108:ISBN
3033:120.
2888:ISBN
2862:ISBN
2845:ISBN
2810:ISBN
2775:ISBN
2758:ISBN
2741:ISBN
2724:ISBN
2704:ISBN
2688:ISBN
2667:ISBN
2582:and
2354:and
2294:and
2221:and
1912:and
1617:and
1600:The
1535:and
1386:and
1374:and
1362:and
1273:Ajax
1190:Ajax
1188:and
1059:Ares
1015:hero
996:The
860:and
708:and
620:hero
581:and
555:olpe
531:olpe
502:Ajax
479:The
468:The
317:and
290:kiln
279:slip
197:and
37:and
2438:Vix
1885:cup
375:),
99:on
63:or
5474::
2578:,
2458:c.
2418:c.
2387:c.
2364:c.
2300:c.
2257:c.
2227:c.
2173:c.
2162:c.
2140:,
2136:,
2098:.
2074:c.
2014:c.
1950:c.
1948:,
1892:c.
1867:c.
1865:,
1747:.
1685:c.
1683:,
1666:c.
1630:c.
1591:c.
1560:c.
1558:,
1543:.
1497:c.
1469:c.
1450:c.
1431:c.
1412:c.
1382:,
1281:c.
1279:,
1245:,
1241::
1237:.
1232:c.
1196:,
1184:,
1121:.
1067:c.
987:c.
985:,
964:c.
955:.
894:,
889:c.
887:,
751:c.
749:,
725:.
671:.
625:.
518:de
459:c.
383:,
379:,
371:,
267:c.
265:,
223:c.
221:,
172:,
131:c.
129:,
79:,
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43:c.
4525:e
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4511:v
4245:)
4241:(
4100:e
4093:t
4086:v
3757:e
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3743:v
3634:.
3114:.
1326:(
1260:(
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