Black-figure pottery

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 2267:

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. 662:

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. 1405: 2030:

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

2327: 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 1787:

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 881: 333: 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 1054: 1318: 2157: 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. 959: 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 2401:

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.

2449: 1812: 821: 2214: 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. 1877: 1443: 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. 2009: 2248: 2121: 450: 1424: 2288: 1335: 1462: 1941: 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". 2382: 1829: 734: 1492: 1134: 1586: 2042: 633: 356: 1547: 258: 145: 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. 918: 115: 2409: 2066: 1269: 1177: 575: 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. 1845:

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.

1779: 761: 1625: 974: 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, 2468:

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) 1858: 2619:

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.

2555: 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 1307:

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 2184:

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 2427:

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 789:

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

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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

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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 17: 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: 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: 18:Black-figure vase painting 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: 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:, 71:: 43:c. 4525:e 4518:t 4511:v 4245:) 4241:( 4100:e 4093:t 4086:v 3757:e 3750:t 3743:v 3634:. 3114:. 1326:( 1260:( 1200:. 67:( 52:. 20:)

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Index