239:
442:
525:
537:(in the Death of Penthesilea), the starry robe of Dionysus, the sword implanted in the earth (in the Suicide of Ajax). On the rounded surface of the vase, this point is seen head on. All the other main lines of the composition either radiate around the thematic center or lead to it as the spokes of a wheel: the spears of the warriors, the curved backs of their hunching forms, the wind-filled sails of the ship and its curved bottom, the circle of dolphins. Other scenes are crowded with figures, such that attention is drawn toward the complex composition itself, or to individual men and women in a chariot or the magnificent horses arranged in groups. A variety of compositional devices are used to brilliant effect in the painting of Exekias, riveting the attention of the viewer, who then lingers to appreciate the finely executed forms and exquisite details.
546:
embroidered garments, which are impressively varied and spectacularly precise. This can be appreciated in the famous
Vatican amphora (344), on which Achilles and Ajax are both shown wearing richly ornamented cloaks, with almost every element clearly visible and identifiable despite the small scale. Incised designs include rosettes of various types, swastikas with squared or rounded arms, stars, and loops, arranged in panels divided by bands of many types of geometric decoration. Musculature is deftly executed, as are details of hands, feet, and armor, and hair is precisely drawn with a series of lines that run exactly parallel and end in curls; the facial expressions of the two heroes are likewise perfectly accomplished, so as to indicate, within the conventions of black figure, the intense concentration as shown by the gaze of both players.
485:, this vase-painting also showcases the talent of Exekias as an artist: the figures of both Achilles and Ajax are decorated with fine incised details, showing elaborate textile patterns and almost every hair in place. There is no extant literary source that is known to have circulated in the sixth century BC in Athens regarding a narrative involving Ajax and Achilles playing a board game. Exekias may have drawn his inspiration for this innovative composition from local oral bardic traditions regarding the Trojan War, which may have developed during his lifetime in the cultural context of sixth century Athens. Despite the ambiguity surrounding the origin of this mythological narrative, Exekias' new depiction of Ajax and Achilles playing a board game was popular and was copied over 150 times in the ensuing fifty years.
517:
481:. According to the words written next to the two players, Achilles proclaims he has thrown a four, while Ajax has a three. Although the two of them are pictured playing, they are clearly depicted as being on duty, accompanied by their body armor and holding their spears, suggesting that they might head back into battle at any moment. There are small details that Exekias adds to this piece that separate it from other depictions of this narrative. Achilles is shown with his helmet still resting on his head which represents he has more power than Ajax. Also, Ajax is shown with his heel slightly lifted, suggesting that he is nervous in the presence of Achilles. Apart from the selection of this very intimate, seemingly relaxed scene as a symbol for the
438:
perhaps, to sell
Dionysus into slavery. Instead, the god caused vines to grow from the mast, frightening the pirates so much that they jumped overboard and were changed into dolphins, here seen swimming around the ship. Exekias is the first Athenian vase painter to depict Dionysus sailing in the expanse of the interior of a cup. While many of Exekias' pieces display an image from a mythological story they are generally not the most famous moments. The "Eye-cup" that depicts Dionysus does not show the God fighting his kidnappers but instead shows him relaxing in his boat with his kidnappers turned into dolphins around him. Exekias could have chosen any moment, but this is the one he painted.
367:
333:
180:
31:
403:
388:
533:
compositions. The central tableau is sometimes framed by areas of black, so that it appears suddenly out of the darkness, so to speak. Characteristically, Exekias uses the shape of the vessel, with its curving surface, as a terrain to which the lines and forms of the painting conform. As the viewer contemplates the vase, attention is drawn to the central scene: the game board (in the depiction of
Achilles and Ajax Playing a Game), the face of
176:, the eminent historian of Greek art, described Exekias' style as follows: "The hallmark of his style is a near statuesque dignity which brings vase painting for the first time close to claiming a place as a major art." He was an innovative painter and potter, who experimented with new shapes and devised unusual painting techniques, such as the use of a coral-red slip, to enhance colour.
292:
workshop of the so-called Group E artists. "Group E" produced work that is not only considered closely related to the work of
Exekias, but also represents a conscious break from the pottery traditions of the first half of the sixth century BC. Group E has been credited with the development of new, elegant vessel shapes such as the "Type A
213:("Exekias made and painted me"), indicating that in these cases Exekias was responsible for both the potting of the vase and its painted decoration. Fragments of a third amphora (Taranto 179196) also show the use of both terms, when the inscriptions are restored. This leads to speculation regarding the meaning of the
258:, suggesting that Exekias maintained a clientele in his home city. The fact that two of his vases were found on the Acropolis, an important religious sanctuary, underscores his prestige as a vase painter. Exekias not only enjoyed a thriving market in Athens; many of his extant vases were also exported to
278:
tombs. Being admirers of Greeks and their arts and letters, the
Etruscans developed a taste for Greek vases, over 30,000 of which have been found in the region. The presence of Exekias' work in Etruria indicates that foreigners also admired his vases, and that he catered to markets both at home and
154:
technique, which involved the painting of scenes using a clay slip that fired to black, with details created through incision. Exekias is regarded by art historians as an artistic visionary whose masterful use of incision and psychologically sensitive compositions mark him as one of the greatest of
437:
against a background of coral-red slip, which coats the entire picture space. Here, Exekias uses the tondo as a working surface for the main scenario: Dionysus was the god of inspiration, and the painting depicts his initial journey to Athens by ship. Pirates had seized the ship and were planning,
291:
is "the soil from which the art of
Exekias springs, the tradition which on his way from fine craftsman to true artist he absorbs and transcends.” Based on the overarching stylistic similarities between the work of Group E and Exekias, Beazley hypothesized that Exekias first began his career in the
545:
Also characteristic of
Exekias is his expert use of line, both in terms of his finely drawn figures and also his carefully incised detail—to delineate hair, beards, unique facial features, aspects of armor and furniture, traits of plants and animals, and particularly the patterns on woven or
532:
In addition to the main tableau, in which figures interact physically and often with psychological import, there are often subordinate areas of interest on the vases of
Exekias. Border decoration, and particularly large, beautifully constructed spirals with palmettes, frame and enliven the
605:
Evelyn
Elizabeth Bell, “An Exekian Puzzle in Portland: Further Light on the Relationship between Exekias and Group E,” in Ancient Greek and Art Iconography, ed. Warren G. Moon (Madison: University of Wisconsin Press), 85. Regarding Exekias' relationship to the Lysippides painter see J.D.
197:. His signed pieces provide insight not only into the work of Exekias himself but also into the way ancient pottery workshops operated. Twelve of the fourteen vessels bearing his name refer to him not as their painter but as their potter, by adding the word
349:. Probably his most unusual work is represented by two series of funerary plaques found in Athens (Berlin Antikensammlung 1811, 1814). The plaques, showing the funerary ritual for a deceased man, were probably attached to the walls of a funerary monument.
217:
signatures and why, in some instances, Exekias signed only as potter on vases that he clearly painted as well. It has been suggested that he chose to sign as painter only the works he was particularly proud of. According to a different approach, Exekias'
468:
playing a board game, with both men identified by their names added in the genitive. Ajax and
Achilles sit across from each other, looking down at a block situated between them. The board game they are playing, which might be compared to a
344:
Exekias does not seem to have specialized in a specific vessel type. Among the vases made or decorated by him are neck amphorae, Type A and B amphorae, calyx kraters, column kraters, Type A cups, dinoi, hydriai, and at least one
296:". Exekias, however, is the only member of the Group who signed his products which suggests that Exekias may have been responsible for the development of such vessel shapes as the Type A cup, the Type A belly amphora and the
171:
The works of Exekias are distinguished by their innovative compositions, precise draughtsmanship, and subtle psychological characterization, all of which transcend the inherent challenges of the black-figure technique.
222:
signatures could be understood as functioning as a general workshop stamp, which would mean that Exekias may have simply been the master-potter who supervised the production of the vessel. Seven of the vessels signed
246:
While Exekias' work itself offers a glimpse of the culture of ancient pottery, the find spots of his vases also reveal information about the market in which Exekias positioned himself. Fragments of
464:
Another visual adaptation of the mythological past can be seen on the Vatican amphora 344, which is regarded by some art historians as Exekias' masterpiece. The Vatican amphora depicts Achilles and
500:
love name appears on the Vatican 344 amphora, the London B 210 amphora, the Berlin F 1720 amphora, and the Athenian calyx-krater which has traditionally been attributed to Exekias. The
417:
In his vase paintings, Exekias does not only reinterpret the mythological traditions of his time, but at times even sets new fashions. One of his most famous works is the so-called "
235:"—that is, to the painter Exekias. Beazley attributed one of the vases with the potter-only signature to the so-called Group E, to which Exekias is closely related.
238:
524:
441:
193:
Fourteen signed works by Exekias have survived, while many more have been attributed to him based on the stylistic connoisseurship method developed by
433:" category and is decorated on the exterior with two pairs of eyes, which may be an original Exekian motif. The interior shows a depiction of the god
644:(Oxford: Oxford University Press, 1989), 39-42. A total of 32 vases are attributed to Exekias as painter in the most recent study, E.A. Mackay,
1083:
1056:
780:
508:, (Stesias beautiful), is inscribed on the Louvre F 53 amphora, which Beazley attributed to the Group E phase of Exekias' artistic career.
205:(ἓγραψεν), which translates as "painted " (literally: "drew "). On two amphorae, Berlin 1720 and Vatican 344, both terms are used in the
805:
300:. Apart from the specialization in certain vessel shapes, the Group E artists also shared a common range of subjects: the birth of
943:
1249:
2047:
1616:
1701:
516:
2042:
1076:
2004:
2057:
2052:
2037:
1936:
1319:
863:
391:
173:
1069:
1681:
1092:
1030:
Bell, “An Exekian Puzzle in Portland: Further Light on the Relationship between Exekias and Group E,” 82.
560:
227:" however, carry too little decoration to afford comparison. Only two of the remaining vases signed with
366:
1676:
375:
1866:
555:
139:
1666:
1159:
892:
406:
332:
1826:
1557:
1394:
784:
769:
Robin Osborne, “Why did Athenian Pots Appeal to the Etruscans?” World Archaeology 33 (2001): 277.
638:
Paralipomena: Additions to Attic Black Figure Vase Painters and to Attic Red Figure Vase Painters
288:
1414:
1369:
1214:
1209:
127:
1801:
1741:
1624:
1409:
275:
1941:
1651:
1151:
1118:
465:
422:
337:
151:
8:
1921:
1841:
1796:
1776:
1204:
346:
999:, ed. Tom Rasmussen and Nigel Spivey, (Cambridge: Cambridge University Press, 1991), 82.
1989:
1926:
1871:
1861:
1846:
1766:
1751:
1638:
1384:
1354:
1314:
1289:
1239:
1234:
1141:
1021:, 117, 315, 328. For the calyx-krater see Broneer, “A Calyx-Krater by Exekias,” 477-78.
995:
John Boardman, “The Sixth-Century Potters and Painters of Athens and their Public,” in
255:
160:
1911:
1906:
1901:
1831:
1736:
1711:
1691:
1583:
1459:
1404:
1399:
1379:
1334:
1324:
1279:
1194:
1184:
939:
799:
756:
Beth Cohen, “The Literate Potter: A Tradition of Incised Signatures on Attic Vases,”
489:
156:
1916:
1891:
1881:
1856:
1816:
1791:
1671:
1656:
1646:
1601:
1575:
1524:
1509:
1499:
1264:
1259:
1254:
1174:
1136:
1131:
1126:
201:(ἐποίησεν) to his name. This may be translated as "Exekias made ", in contrast to
1946:
1931:
1811:
1806:
1756:
1746:
1716:
1504:
1479:
1439:
1434:
1419:
1269:
1244:
739:
6 (1937): 469-86; Mary B. Moore, “Athena and Herakles on Exekias’ Calyx-Krater,”
454:
206:
1851:
1821:
1761:
1726:
1721:
1706:
1696:
1661:
1606:
1519:
1514:
1484:
1429:
1424:
1389:
1364:
1359:
1309:
1304:
1299:
1199:
1189:
1169:
1108:
450:
179:
55:
1061:
2031:
1961:
1886:
1731:
1593:
1494:
1474:
1469:
1454:
1444:
1329:
1100:
247:
297:
30:
1876:
1781:
1534:
1449:
1344:
1294:
1274:
1224:
1164:
900:
896:
871:
867:
864:"Exekias, Attic black figure amphora with Ajax and Achilles playing a game"
737:
Hesperia: The Journal of the American School of Classical Studies at Athens
458:
418:
409:
394:
371:
194:
492:
name used on vases attributed to or signed by Exekias as a painter is the
2012:
1786:
1219:
534:
520:
Terracotta neck-amphora with lid (ca. 540 BC); Metropolitan Museum of Art
392:
Exekias, Attic black figure amphora with Ajax and Achilles playing a game
317:
147:
849:
John Boardman,"Painted Funerary Plaques and Some Remarks on Prothesis,"
1979:
1974:
1547:
1542:
1284:
482:
470:
1969:
1836:
1374:
1229:
642:
Beazley Addenda: Additional References to ABV, ARV, and Paralipomena
1951:
1771:
1489:
1339:
636:(New York: Hacker Art Books, 1978), 143-49. See also J.D. Beazley,
474:
446:
434:
324:, are among the themes most often pictured on vases by this group.
313:
309:
43:
35:
936:
Greek art and archaeology : a new history, c. 2500-c. 150 BCE
528:
Death of Penthesileia, by the Athenian Black-Figure Master Exekias
1994:
1896:
1179:
430:
305:
293:
271:
259:
51:
1686:
426:
379:
321:
301:
251:
143:
47:
242:
Attic black-figure neck amphora found in Vulci; British Museum
1984:
1464:
1349:
640:(Oxford: Clarendon Press, 1971), 59-62; Thomas H. Carpenter,
267:
263:
184:
661:(Berkeley: University of California Press, 1951; 1986), 58.
478:
39:
938:. New York, NY: Thames & Hudson. pp. 140–144.
610:, ed. Donna Kurtz (Oxford: Clarendon Press, 1989), 9.
231:
can be attributed to the same hand as those signed "
429:(Antikensammlung 2044). The kylix falls into the "
109:High-quality vases for export and home consumption
2029:
1091:
698:Tradition and Originality: A Study of Exekias,
189:(“Exekias made ”), ca. 545–540 BC, Louvre F 53
163:are thought to have been students of Exekias.
150:and 530 BC. Exekias worked mainly in the
1077:
1019:Tradition and Originality: A Study of Exekias
832:
830:
828:
745:Tradition and Originality: A Study of Exekias
646:Tradition and Originality: A Study of Exekias
735:Oscar Broneer, “A Calyx-Krater by Exekias,”
254:attributed to Exekias were excavated on the
1084:
1070:
851:The Annual of the British School at Athens
825:
674:(London: Thames and Hudson, 2001) 128-30.
621:Athenian Black Figure Vases: A Handbook,
523:
515:
440:
331:
237:
178:
893:"Exekias, Dionysos Kylix, c. 530 B.C.E"
885:
709:R.M. Cook, “‘Epoiesen on Greek Vases,”
594:Athenian Black Figure Vases: A Handbook
54:, dated ca. 540–530 BC, located in the
2030:
960:The Development of Attic Black Figure,
856:
804:: CS1 maint: archived copy as title (
758:The Metropolitan Museum of Art Journal
685:The Development of Attic Black Figure,
596:(London: Thames and Hudson, 1974), 52.
1065:
659:The Development of Attic Black-Figure
608:Greek Vases: Lectures by J.D. Beazley
407:Exekias, Dionysos Kylix, c. 530 B.C.E
933:
724:Athenian Black-Figure Vase-Painters,
320:, and Herakles and the three-bodied
971:
13:
1702:Painter of the Berlin Dancing Girl
1250:Class of Cabinet des Médailles 218
453:engaged in a game, c. 540–530 BC,
14:
2069:
1050:
336:Suicide of Ajax, by the Athenian
820:Attic Black-Figure Vase-Painters
634:Attic Black-Figure Vase-Painters
401:
386:
365:
327:
29:
1033:
1024:
1011:
1002:
989:
980:
974:Archaic and Classical Greek Art
965:
952:
927:
914:
843:
812:
772:
763:
750:
741:American Journal of Archaeology
729:
716:
703:
581:American Journal of Archaeology
1937:Painter of the Vatican Mourner
690:
677:
664:
651:
626:
613:
599:
586:
573:
511:
183:Exekias' signature as potter:
1:
922:Athenian Black Figures Vases,
566:
166:
155:all Attic vase painters. The
140:Greek vase painter and potter
16:Ancient Athenian vase painter
1041:Athenian Black Figure Vases,
274:, where they were buried in
7:
2048:Ancient Greek vase painters
1093:Ancient Greek vase painters
838:Athenian Black Figure Vases
778:Beazley Archives, accessed
711:Journal of Hellenic Studies
561:Ancient Greek vase painters
549:
477:variant, was played with a
211:Exēkías égrapse kapoíēsé me
117:Black-figure style, Group E
10:
2074:
743:90 (1986): 35-39; Mackay,
672:The History of Greek Vases
579:John Boardman, "Exekias,"
376:Staatliche Antikensammlung
282:
185:
131:
2003:
1960:
1637:
1615:
1592:
1574:
1556:
1533:
1150:
1117:
1099:
934:Neer, Richard T. (2012).
657:J.D. Beazley, “Exekias,”
556:Pottery of Ancient Greece
400:
385:
364:
359:
352:
287:In the words of Beazley,
266:, found at sites such as
113:
103:
95:
87:
79:
63:
28:
21:
2043:6th-century BC Athenians
1160:Painter of Acropolis 606
1057:Achilles and Penthesilea
1008:Boardman, “Exekias,” 18.
1395:Painter of Nicosia Olpe
986:Boardman, "Exekias," 21
540:
233:... égrapse kapoíēsé me
1415:Painter of Palermo 489
1370:Painter of Munich 1410
1215:Painter of Berlin 1686
1210:Painter of Berlin A 34
997:Looking at Greek Vases
529:
521:
461:
341:
243:
190:
2058:6th-century BC births
2053:Ancient Greek potters
2038:6th-century BC deaths
1625:Group of Rhodes 12264
1410:Oxford Palmette Class
527:
519:
444:
335:
241:
182:
1942:Villa Giulia Painter
648:(Oxford: BAR, 2010).
445:Amphora by Exekias,
146:between roughly 545
1922:Triptolemos Painter
1842:Penthesilea Painter
1797:Kleophrades Painter
1777:Ilioupersis Painter
1205:Bellerophon Painter
347:Panathenaic amphora
1927:Underworld Painter
1872:Providence Painter
1862:Pistoxenos Painter
1847:Persephone Painter
1767:Hasselmann Painter
1752:Eucharides Painter
1355:Lysippides Painter
1320:Horse-bird Painter
1315:Heidelberg Painter
1290:Euphiletos Painter
1240:Cerameicus Painter
1235:Castellani Painter
1142:Polyphemos Painter
713:91 (1971): 137-38.
530:
522:
462:
342:
256:Athenian Acropolis
244:
191:
161:Lysippides Painter
142:who was active in
2025:
2024:
2021:
2020:
1912:Tarquinia Painter
1907:Tarporley Painter
1902:Snub-nose Painter
1832:Oreithyia Painter
1737:Dokimasia Painter
1712:Bryn Mawr Painter
1692:Baltimore Painter
1667:Andokides painter
1633:
1632:
1584:Cavalcade Painter
1460:Princeton Painter
1405:Northampton Group
1400:Nikoxenos Painter
1380:Naucratis Painter
1335:Kassandra Painter
1325:Hypobibazon Class
1280:Edinburgh Painter
1195:Antimenes Painter
1185:Arkesilas Painter
945:978-0-500-28877-1
853:50 (1955): 51-66.
726:136, no. 49; 143.
415:
414:
225:Exēkias epoíēsen,
157:Andokides painter
138:) was an ancient
121:
120:
2065:
1958:
1957:
1917:Tithonos Painter
1892:Sisyphus Painter
1882:Shuvalov Painter
1857:Pisticci Painter
1817:Meleager Painter
1792:Kleophon Painter
1672:Antiphon Painter
1657:Altamura Painter
1647:Achilles Painter
1602:Acheloos Painter
1576:Gorgoneion Group
1531:
1530:
1525:Xenokles Painter
1510:Three Line Group
1500:Taleides Painter
1265:Diosphos Painter
1260:Daybreak Painter
1255:Columbus Painter
1175:Anagyrus Painter
1137:Mesogeia Painter
1132:Honolulu Painter
1127:Analatos Painter
1086:
1079:
1072:
1063:
1062:
1044:
1037:
1031:
1028:
1022:
1015:
1009:
1006:
1000:
993:
987:
984:
978:
977:
972:Osborne, Robin.
969:
963:
956:
950:
949:
931:
925:
918:
912:
911:
909:
907:
889:
883:
882:
880:
878:
860:
854:
847:
841:
834:
823:
816:
810:
809:
803:
795:
793:
792:
783:. Archived from
776:
770:
767:
761:
754:
748:
733:
727:
720:
714:
707:
701:
694:
688:
681:
675:
668:
662:
655:
649:
630:
624:
617:
611:
603:
597:
590:
584:
577:
405:
404:
390:
389:
369:
357:
356:
188:
187:
133:
106:
33:
19:
18:
2073:
2072:
2068:
2067:
2066:
2064:
2063:
2062:
2028:
2027:
2026:
2017:
1999:
1956:
1947:Wedding Painter
1932:Varrese Painter
1812:Meidias Painter
1807:Marsyas Painter
1757:Foundry Painter
1747:Eretria Painter
1717:Chrysis Painter
1629:
1611:
1588:
1570:
1552:
1529:
1505:Theseus Painter
1480:Rycroft Painter
1440:Piraeus Painter
1435:Phrynos Painter
1420:Panther Painter
1270:Dodwell Painter
1245:Chimera Painter
1146:
1113:
1095:
1090:
1053:
1048:
1047:
1038:
1034:
1029:
1025:
1016:
1012:
1007:
1003:
994:
990:
985:
981:
970:
966:
957:
953:
946:
932:
928:
919:
915:
905:
903:
891:
890:
886:
876:
874:
862:
861:
857:
848:
844:
835:
826:
817:
813:
797:
796:
790:
788:
781:"Archived copy"
779:
777:
773:
768:
764:
755:
751:
734:
730:
721:
717:
708:
704:
695:
691:
682:
678:
670:John Boardman,
669:
665:
656:
652:
631:
627:
618:
614:
604:
600:
592:John Boardman,
591:
587:
578:
574:
569:
552:
543:
514:
496:love name. The
455:Vatican Museums
402:
387:
360:External videos
355:
340:Master, Exekias
330:
285:
207:iambic trimeter
186:ΕΧΣΕΚΙΑΣΕΠΟΙΕΣΕ
169:
104:
75:
74:Probably Athens
72:
70:
69:
59:
42:, with his son
24:
17:
12:
11:
5:
2071:
2061:
2060:
2055:
2050:
2045:
2040:
2023:
2022:
2019:
2018:
2016:
2015:
2009:
2007:
2001:
2000:
1998:
1997:
1992:
1987:
1982:
1977:
1972:
1966:
1964:
1955:
1954:
1949:
1944:
1939:
1934:
1929:
1924:
1919:
1914:
1909:
1904:
1899:
1894:
1889:
1884:
1879:
1874:
1869:
1864:
1859:
1854:
1852:Phiale Painter
1849:
1844:
1839:
1834:
1829:
1824:
1822:Niobid Painter
1819:
1814:
1809:
1804:
1799:
1794:
1789:
1784:
1779:
1774:
1769:
1764:
1762:Harrow Painter
1759:
1754:
1749:
1744:
1739:
1734:
1729:
1727:Darius Painter
1724:
1722:Codrus Painter
1719:
1714:
1709:
1707:Brygos Painter
1704:
1699:
1697:Berlin Painter
1694:
1689:
1684:
1679:
1674:
1669:
1664:
1662:Amykos Painter
1659:
1654:
1649:
1643:
1641:
1635:
1634:
1631:
1630:
1628:
1627:
1621:
1619:
1617:Little Masters
1613:
1612:
1610:
1609:
1607:Chiusi Painter
1604:
1598:
1596:
1590:
1589:
1587:
1586:
1580:
1578:
1572:
1571:
1569:
1568:
1562:
1560:
1554:
1553:
1551:
1550:
1545:
1539:
1537:
1528:
1527:
1522:
1520:Tydeus Painter
1517:
1515:Tityos Painter
1512:
1507:
1502:
1497:
1492:
1487:
1485:Sappho Painter
1482:
1477:
1472:
1467:
1462:
1457:
1452:
1447:
1442:
1437:
1432:
1430:Pholoe Painter
1427:
1425:Perizoma Group
1422:
1417:
1412:
1407:
1402:
1397:
1392:
1390:Nessos Painter
1387:
1382:
1377:
1372:
1367:
1365:Mastos Painter
1362:
1360:Madrid Painter
1357:
1352:
1347:
1342:
1337:
1332:
1327:
1322:
1317:
1312:
1310:Haimon Painter
1307:
1305:Gorgon Painter
1302:
1300:Goltyr Painter
1297:
1292:
1287:
1282:
1277:
1272:
1267:
1262:
1257:
1252:
1247:
1242:
1237:
1232:
1227:
1222:
1217:
1212:
1207:
1202:
1200:Beldam Painter
1197:
1192:
1190:Athena Painter
1187:
1182:
1177:
1172:
1170:Amasis Painter
1167:
1162:
1156:
1154:
1148:
1147:
1145:
1144:
1139:
1134:
1129:
1123:
1121:
1115:
1114:
1112:
1111:
1109:Dipylon Master
1105:
1103:
1097:
1096:
1089:
1088:
1081:
1074:
1066:
1060:
1059:
1052:
1051:External links
1049:
1046:
1045:
1032:
1023:
1010:
1001:
988:
979:
964:
951:
944:
926:
913:
884:
855:
842:
824:
811:
771:
762:
760:26 (1991): 57.
749:
728:
715:
702:
689:
676:
663:
650:
632:J.D. Beazley,
625:
612:
598:
585:
583:82 (1978): 13.
571:
570:
568:
565:
564:
563:
558:
551:
548:
542:
539:
513:
510:
413:
412:
398:
397:
383:
382:
362:
361:
354:
351:
329:
326:
284:
281:
168:
165:
119:
118:
115:
111:
110:
107:
101:
100:
97:
96:Known for
93:
92:
89:
85:
84:
81:
77:
76:
73:
67:
65:
61:
60:
56:British Museum
34:
26:
25:
22:
15:
9:
6:
4:
3:
2:
2070:
2059:
2056:
2054:
2051:
2049:
2046:
2044:
2041:
2039:
2036:
2035:
2033:
2014:
2011:
2010:
2008:
2006:
2002:
1996:
1993:
1991:
1988:
1986:
1983:
1981:
1978:
1976:
1973:
1971:
1968:
1967:
1965:
1963:
1962:Pioneer Group
1959:
1953:
1950:
1948:
1945:
1943:
1940:
1938:
1935:
1933:
1930:
1928:
1925:
1923:
1920:
1918:
1915:
1913:
1910:
1908:
1905:
1903:
1900:
1898:
1895:
1893:
1890:
1888:
1887:Siren Painter
1885:
1883:
1880:
1878:
1875:
1873:
1870:
1868:
1865:
1863:
1860:
1858:
1855:
1853:
1850:
1848:
1845:
1843:
1840:
1838:
1835:
1833:
1830:
1828:
1825:
1823:
1820:
1818:
1815:
1813:
1810:
1808:
1805:
1803:
1800:
1798:
1795:
1793:
1790:
1788:
1785:
1783:
1780:
1778:
1775:
1773:
1770:
1768:
1765:
1763:
1760:
1758:
1755:
1753:
1750:
1748:
1745:
1743:
1740:
1738:
1735:
1733:
1732:Dinos Painter
1730:
1728:
1725:
1723:
1720:
1718:
1715:
1713:
1710:
1708:
1705:
1703:
1700:
1698:
1695:
1693:
1690:
1688:
1685:
1683:
1680:
1678:
1675:
1673:
1670:
1668:
1665:
1663:
1660:
1658:
1655:
1653:
1650:
1648:
1645:
1644:
1642:
1640:
1636:
1626:
1623:
1622:
1620:
1618:
1614:
1608:
1605:
1603:
1600:
1599:
1597:
1595:
1594:Leagros Group
1591:
1585:
1582:
1581:
1579:
1577:
1573:
1567:
1564:
1563:
1561:
1559:
1555:
1549:
1546:
1544:
1541:
1540:
1538:
1536:
1532:
1526:
1523:
1521:
1518:
1516:
1513:
1511:
1508:
1506:
1503:
1501:
1498:
1496:
1495:Swing Painter
1493:
1491:
1488:
1486:
1483:
1481:
1478:
1476:
1475:Rider Painter
1473:
1471:
1470:Ptoon Painter
1468:
1466:
1463:
1461:
1458:
1456:
1455:Priam Painter
1453:
1451:
1448:
1446:
1445:Polos Painter
1443:
1441:
1438:
1436:
1433:
1431:
1428:
1426:
1423:
1421:
1418:
1416:
1413:
1411:
1408:
1406:
1403:
1401:
1398:
1396:
1393:
1391:
1388:
1386:
1383:
1381:
1378:
1376:
1373:
1371:
1368:
1366:
1363:
1361:
1358:
1356:
1353:
1351:
1348:
1346:
1343:
1341:
1338:
1336:
1333:
1331:
1330:Kabiria Group
1328:
1326:
1323:
1321:
1318:
1316:
1313:
1311:
1308:
1306:
1303:
1301:
1298:
1296:
1293:
1291:
1288:
1286:
1283:
1281:
1278:
1276:
1273:
1271:
1268:
1266:
1263:
1261:
1258:
1256:
1253:
1251:
1248:
1246:
1243:
1241:
1238:
1236:
1233:
1231:
1228:
1226:
1223:
1221:
1218:
1216:
1213:
1211:
1208:
1206:
1203:
1201:
1198:
1196:
1193:
1191:
1188:
1186:
1183:
1181:
1178:
1176:
1173:
1171:
1168:
1166:
1163:
1161:
1158:
1157:
1155:
1153:
1149:
1143:
1140:
1138:
1135:
1133:
1130:
1128:
1125:
1124:
1122:
1120:
1119:Orientalizing
1116:
1110:
1107:
1106:
1104:
1102:
1098:
1094:
1087:
1082:
1080:
1075:
1073:
1068:
1067:
1064:
1058:
1055:
1054:
1042:
1036:
1027:
1020:
1014:
1005:
998:
992:
983:
975:
968:
961:
955:
947:
941:
937:
930:
923:
917:
902:
898:
894:
888:
873:
869:
865:
859:
852:
846:
839:
833:
831:
829:
821:
815:
807:
801:
787:on 2010-06-07
786:
782:
775:
766:
759:
753:
746:
742:
738:
732:
725:
719:
712:
706:
699:
693:
686:
680:
673:
667:
660:
654:
647:
643:
639:
635:
629:
622:
616:
609:
602:
595:
589:
582:
576:
572:
562:
559:
557:
554:
553:
547:
538:
536:
526:
518:
509:
507:
506:Stēsías kalós
503:
499:
495:
491:
486:
484:
480:
476:
472:
467:
460:
456:
452:
448:
443:
439:
436:
432:
428:
424:
420:
411:
408:
399:
396:
393:
384:
381:
377:
373:
368:
363:
358:
350:
348:
339:
334:
328:Vessel shapes
325:
323:
319:
316:fighting the
315:
311:
308:fighting the
307:
303:
299:
295:
290:
280:
277:
273:
269:
265:
261:
257:
253:
249:
248:column krater
240:
236:
234:
230:
226:
221:
216:
212:
209:inscription,
208:
204:
200:
196:
181:
177:
175:
174:John Boardman
164:
162:
158:
153:
149:
145:
141:
137:
129:
128:Ancient Greek
125:
116:
112:
108:
102:
99:Vase painting
98:
94:
90:
86:
82:
78:
71:before 550 BC
66:
62:
57:
53:
50:black-figure
49:
45:
41:
38:, the god of
37:
32:
27:
20:
1877:Reed Painter
1782:Jena Painter
1682:Aristophanes
1565:
1535:Comast Group
1450:Pontic Group
1345:Lion Painter
1295:Gela Painter
1275:Duel Painter
1225:Burgon Group
1152:Black-figure
1040:
1039:Boardman, ''
1035:
1026:
1018:
1013:
1004:
996:
991:
982:
973:
967:
959:
954:
935:
929:
921:
916:
906:February 20,
904:. Retrieved
901:Khan Academy
897:Smarthistory
887:
877:December 17,
875:. Retrieved
872:Khan Academy
868:Smarthistory
858:
850:
845:
837:
819:
814:
789:. Retrieved
785:the original
774:
765:
757:
752:
744:
740:
736:
731:
723:
718:
710:
705:
697:
692:
684:
679:
671:
666:
658:
653:
645:
641:
637:
633:
628:
620:
615:
607:
601:
593:
588:
580:
575:
544:
531:
505:
501:
497:
493:
487:
463:
459:Vatican City
419:Dionysus Cup
416:
410:Smarthistory
395:Smarthistory
372:Dionysos cup
343:
338:Black-Figure
298:calyx krater
286:
245:
232:
228:
224:
219:
214:
210:
202:
198:
195:John Beazley
192:
170:
152:black-figure
135:
123:
122:
105:Notable work
83:About 525 BC
2013:Pan Painter
1787:Kerch style
1677:Apollodoros
1220:BMN Painter
535:Penthesilea
512:Composition
504:love name,
318:Nemean Lion
88:Nationality
2032:Categories
2005:Mannerists
1980:Euthymides
1975:Euphronios
1867:Polygnotos
1639:Red-figure
1548:KY Painter
1543:KX Painter
1285:Elbows Out
920:Boardman,
836:Boardman,
791:2009-12-14
747:, 47, 309.
619:Boardman,
567:References
498:Onētorídēs
494:Onētorídēs
483:Trojan War
471:backgammon
167:Background
1970:Epiktetos
1837:Pamphaios
1375:N Painter
1230:C Painter
1101:Geometric
958:Beazley,
818:Beazley,
722:Beazley,
683:Beazley,
488:The only
1990:Phintias
1952:YZ Group
1827:Onesimos
1772:Hermonax
1490:Sophilos
1385:Nearchos
1340:Kleitias
1165:Affecter
1017:Mackay,
840:, 56-57.
800:cite web
700:135-136.
696:Mackay,
606:Beazley,
550:See also
475:checkers
447:Achilles
435:Dionysos
314:Herakles
310:Minotaur
279:abroad.
276:Etruscan
229:epoíēsen
220:epoíēsen
215:epoíēsen
203:égrapsen
199:epoíēsen
159:and the
114:Movement
44:Oenopion
36:Dionysos
1995:Smikros
1897:Skythes
1566:Exekias
1558:Group E
1180:Anakles
502:Stēsías
490:"kalós"
431:eye-cup
425:now in
306:Theseus
294:amphora
289:Group E
283:Group E
272:Orvieto
260:Etruria
136:Exēkías
132:Ἐξηκίας
124:Exekias
68:Exekias
58:(B 210)
52:amphora
23:Exekias
1802:Makron
1742:Douris
1687:Asteas
942:
822:, 133.
687:59-60.
427:Munich
380:Munich
353:Themes
322:Geryon
302:Athena
252:hydria
250:and a
144:Athens
1985:Oltos
1652:Aison
1465:Psiax
1350:Lydos
423:kylix
421:", a
268:Vulci
264:Italy
91:Greek
48:Attic
940:ISBN
908:2013
879:2012
806:link
541:Line
466:Ajax
451:Ajax
449:and
370:The
270:and
80:Died
64:Born
40:wine
1043:57.
962:60.
924:57.
899:at
870:at
623:57.
479:die
473:or
2034::
895:.
866:.
827:^
802:}}
798:{{
457:,
378:,
374:,
312:,
304:,
262:,
148:BC
134:,
130::
46:,
1085:e
1078:t
1071:v
976:.
948:.
910:.
881:.
808:)
794:.
223:"
126:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
