Athenian Red Figure Vases: the Classical Period: a Handbook Free Download

Total Page:16

File Type:pdf, Size:1020Kb

Athenian Red Figure Vases: the Classical Period: a Handbook Free Download ATHENIAN RED FIGURE VASES: THE CLASSICAL PERIOD: A HANDBOOK FREE DOWNLOAD John Boardman | 252 pages | 01 Dec 1989 | Thames & Hudson Ltd | 9780500202449 | English | London, United Kingdom Athenian red figure vases, the classical period: a handbook Performance Art Roselee Goldberg. Cancel Save settings. Although they display major advances against the black figure style, the figures still appear somewhat stilted and seldom overlap. Nonetheless, the advantages outnumbered the disadvantages. Some, e. His successors were not fully able to maintain his quality, leading to a rapid demise, terminating with the end of Campanian vase painting around BC. An important center for trade between Greece and the East, Corinth was the center for Orientalizing Period pottery. The last notable Lucanian vase painter was the Primato Painterstrongly influenced by the Apulian Lycourgos Painter. We use cookies to serve you certain types of adsincluding ads relevant to your interests on Book Depository and to work with approved third parties in the process of delivering ad content, including ads relevant to your interests, to measure the effectiveness of their ads, and to perform services on behalf of Book Depository. The first group is represented by Athenian Red Figure Vases: The Classical Period: A Handbook Kassandra Painter from Capuastill under Sicilian influence. By the mid-seventh century, influence from trade with the East the Orient brought inspiration to the Greek vase painters in the form of rosettes and animals. The Rich and Simple styles both existed until that time. New or modified vase shapes were frequently employed, including the Nolan amphora see Typology of Greek Vase Shapeslekythoias well as bowls Athenian Red Figure Vases: The Classical Period: A Handbook the askos and dinos types. Goodreads is the world's largest site for readers with over 50 million reviews. Online books Resources in your library Resources in other libraries. Induring building activity in Ermou Streetthe workshop of the Jena Painter was discovered. In the course of the 4th century, the Falerian production began to eclipse that of Vulci. The manner of presenting scenes also changed substantially. Athenian red figure vases, the classical period: a handbook. Archaic Period: From c. Library resources about Red-figure pottery. However, formatting rules can vary widely between applications and fields of interest or study. In the early phase, large vessels like chalice Athenian Red Figure Vases: The Classical Period: A Handbook and hydriai were painted, but smaller vessels like flasks, lekaneslekythoi and skyphoid pyxides are more typical. Like in all other areas, vase painting disappears from Sicily around BC. Starting with the studies by John D. Similar Items. The rarest type of vase, its manufacture started about the same time as Red-Figure, and also developed in Athens, a white slip was applied to the surface of the vase. Around BC, Paestan vase painting came to a halt. Scenes from the life of women are especially frequent. For example, the myths surrounding Theseus became very popular at this time. To do so, particular details, such as faces, fingers, arms, legs, knees, garment folds and so on, were compared. Mythological scenes are rare. The images provide evidence for the exploration of Greek cultural historyeveryday lifeiconographyand mythology. An important artist of that period is the Varrese Painter. Beginning about B. Detail in other colours, Including white or red, were applied at this point. Boardman - - Journal of Hellenic Studies Of those, 11, are ascribed to Apulian workshops, 4, to Campanian, 2, to Paestan, 1, to Lucanian and 1, to Sicilian ones. The true red-figure technique was introduced much later, near the end of the 5th century BC. Apart from the vase painters, some bowl painters also used the new style. Professor Boardman has written widely on the art and archaeology of Ancient Greece. Important contours were often drawn with a thicker slip, leading to a slightly protruding outline relief line ; less important lines and internal details were drawn with diluted glossy clay. The adoption of red-figure painting, imitating Athenian vases, occurred only after BC, half a century after the style had been developed. The artists using the ornate style tended to favour large vessels, like volute kratersamphoraeloutrophoroi and hydriai. In the 5th century, Attic fine pottery, now predominantly red-figure, maintained its dominance in the markets. The improvement of quality went along with Athenian Red Figure Vases: The Classical Period: A Handbook doubling of output during this period. Please log in to set a read status. In order for the faces to be seen in the theaters, actors wore exaggerated masks, not unlike the exterior of some of the wine cups. Cookies are used to provide, analyse and improve our services; provide chat tools; and show you relevant content on Athenian Red Figure Vases: The Classical Period: A Handbook. Paul Getty Museum, The Phantom Group produced until the early 3rd century BC. .
Recommended publications
  • Corpus Vasorum Antiquorum Malibu 2 (Bareiss) (25) CVA 2
    CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 25 The J. Paul Getty Museum, Malibu, Fascicule 2 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined closed shape, and lids from neck-amphorae ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 2 . [U.S.A. FASCICULE 25] 1990 \\\ LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA (Revised for fasc. 2) Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fasc. 23) Fasc. 1- by Andrew J. Clark. At head of title: Union académique internationale. Includes index. Contents: fasc. 1. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes.—fasc. 2. Molly and Walter Bareiss Collection: Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined open shape, and lids from neck-amphorae 1. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . IL J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fasc. 23, etc. NK4640.C6U5 fasc. 23, etc. 738.3'82'o938o74 s 88-12781 [NK4624.B37] [738.3'82093807479493] ISBN 0-89236-134-4 (fasc.
    [Show full text]
  • Cambridge University Press 978-1-107-16236-5 — the Frame in Classical Art Edited by Verity Platt , Michael Squire Index More Information
    Cambridge University Press 978-1-107-16236-5 — The Frame in Classical Art Edited by Verity Platt , Michael Squire Index More Information Index Achilles, 129–35, 144, 146–8, 176, anachronism, 39, 92, 95, 196–206, 213, 229, 429 280–1, 381, 458, 592 Adonis, 361–3 Anastasios, 552–5 Adorno, Theodor, 199n22 Anavyssos kouros (Kroisos), 287–9, 309n74 aediculae, 7, 23, 68–70, 243–4, 354, 375–8, 381, Anemurium, Church of the Holy Apostles, 479 571–5 Aelian, Tactica, 519–20 angels, 487–8, 494–6, 548–9 Aeschylus, 470 aniconism, 207n48, 285n30, 470–2, 485, 488, aesthetics, 4, 8–9, 38–59, 97, 118, 192–201, 497–9 278, 315, 485, 545 animals (as motifs), 13–14, 135, 194n14, deconstructionist, 41, 46–59, 595 see also 258–60, 264–5, 294–5, 399, 434, 518, Derrida, Jacques 580, 592 Kantian, 39–52 see also Kant, Immanuel: birds, 16, 108–12, 210, 212n69, 221–9, 235, Critique of Judgment 247, 519, 552, 579–80, 596 post-Enlightenment, 38–9, 41, 44, 48–59, lions, 18, 33, 77, 130, 194, 258, 367, 412–13, 97, 189–201, 271–4 see also 567 anachronism; art; galleries/museums in Roman wall-painting, 109, 112, 210, (modern); history of art, modern; 221–9, 238, 247 picture-galleries (pinacothecae) Antaeus, 143–4 Ajax, 129–35, 176, 458–9 Antenor, 310–13 Akragas, Temple of Zeus, 432 anthropomorphism, 27, 91–2, 285–7, 396–401 akroteria, 23, 411, 432–3 Antia Julia Polla (portrait statue), 339–46 Alabanda, Temple of Apollo, 433 Antioch, House of the Buffet Supper, 552–3 Alberti, Leon Battista, 23n44, 69, 99, 113, Aphrodite/Venus, 319, 322–3, 329, 333–4, 272n3, 593–4 349–50,
    [Show full text]
  • The Recovery of Helen
    THE RECOVERYOF HELEN JrT is my purposehere to examineaspects of the iconographyof the Recoveryof Helen on the night that Troy fell. The attempt seems the more worth while now that a canonical pattern of interpretation is likely to be established by Kunze's short but authoritative study and by the detailed, well-illustrated treatment in the recent book by Mme. Lilly B. Ghali-Kahil.1 The main episodes of the Recovery, established by the end of -the sixth century B.C., are credited to the Cyclic Epic poets Arktinos and Lesches, the lyricists Ibykos and his older contemporary Stesichoros. The first three alone are concerned with the iconography of the Recovery as it appears during the sixth and fifth centuries B.C.2 The earliest extant reference to an episode of the Recovery is found at Andro- mache 627-631, Euripides' play staged about 425 B.C.3 The old lord Peleus speaks, insulting Menelaos: EAXW&E Tpotav.. OvKOKKravEg EKT,E 7VcvKLyvvatKa XEtptav~'~ XacW,8AaBV, aAAX,g eTet&Eg pacrrov, EK/ctXOv ti'oo 4n I E8E!, IT/ O8OTlV atKaAXOVKva, 71rTOIV -7TE4VK&J KVmpt8og, d' KaaKUtrTE 01. When you took Troy, you failed to put your wife to death, though you had her in your power- on the contrary, when you looked at her breast, you threw away your sword and accepted her kiss, caressing the traitorous bitch, you miserable wretch, born slave to lust. E. Kunze, Archaische Schildbander (Olympische Forschungen, II, 1950), pp. 163-167; Lilly B. Ghali-Kahil, Les enlevements et le retour d'Helene, Paris, 1955, particularly pp.
    [Show full text]
  • The Fabric of the City: Imaging Textile Production in Classical Athens
    HESPERIA JJ (2OO8) THE FABRIC OF THE CITY Pages 283-334 Imaging Textile Production in Classical Athens ABSTRACT Scenes of textile production on Athenian vases are often interpreted as confirming the oppression of women, who many argue were confined to "women's quarters" and exploited as free labor. However, reexamination - of the iconography together with a reconsideration of gender roles and - the archaeology of Greek houses dating to the 5th and 4th centuries B.C. suggests that these images idealize female contributions to the household in a positive way. The scenes utilize the dual metaphor of weaving and marriage to express the hartnonia of oikos and polis, a theme particularly significant under the evolving Athenian democracy. The past 30 years have witnessed significant change in the study of ancient Athenian iconography.1Of particularimportance has been the increased attention given to so-called genre scenes or "scenes of everyday life" in Athenian vase painting, a response to the dominating focus of earlier scholarship on mythological subject matter. This trend began in the late 1970s, and escalated in the 1980s with a series of publications primarily by French authors, most notably the groundbreaking volume La cite des imagesin 1984 (translatedinto English in 1989). Severalscholars have ques- tioned the efficacy of the image and the apparentreality of genre iconog- raphy.2All too often, the tendency has been to treat scenes on Athenian vases as mere illustrations,but recent iconographic studies have assertedthe opposite:that images are constructionsin which each element is consciously or unconsciously chosen as part of a larger system of signs and symbols.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Athenian little-master cups Heesen, P. Publication date 2009 Link to publication Citation for published version (APA): Heesen, P. (2009). Athenian little-master cups. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:25 Sep 2021 9. EPITIMOS, EPITIMOS PAINTER, LYDOS, NIKOSTHENES, BMN PAINTER, ANAKLES, ANAKLES PAINTER (nos. 235-60; pls. 67-75) Introduction881 Three lip-cups show an epoiesen-signature of Epitimos (235-37, pls. 67-68). They were decorated by one painter, who was also responsible for unsigned lip-cups (238-41, pls. 69-70c) and a pyxis.882 J.D. Beazley named him the Epitimos Painter.883 The attribution of the lip-cups signed by Epitimos and the identity of the Epitimos Painter have been widely discussed.
    [Show full text]
  • Masters, Pupils and Multiple Images in Greek Red-Figure Vase Painting
    MASTERS, PUPILS AND MULTIPLE IMAGES IN GREEK RED-FIGURE VASE PAINTING DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of the Ohio State University By Sue Allen Hoyt, B.A., M.A. ***** The Ohio State University 2006 Dissertation Committee: Approved by Professor Mark D. Fullerton, Adviser Professor Timothy J. McNiven __________________________ Adviser Professor Howard Crane History of Art Graduate Program Text copyright by Sue Allen Hoyt 2006 ABSTRACT Little is known about Athenian vase-painting workshops of the 6th through 4th centuries BC. Almost no references exist in ancient literature, and there are few archaeological remains besides the vases themselves. I examined the technical details of vase-painting “copies”–images of uncommon scenes on vases by painted different painters– and compared the steps in the painting process, (especially the preliminary sketches), to see if these could supply any information about workshop practices. The research revealed that there are differences in sketches executed by different painters, and that there were often obvious differences in the care exercised in the different steps of the painting process. When the different steps consistently exhibit different levels of skill in execution, this suggests that workshops were organized so that workers with few skills performed the tasks that demanded the least; more-skilled workers painted the less-important borders etc., and the most-advanced painted the figures. On a few vases the sketch lines were more skillfully executed than the paintings that overlay them. Further, in the case of the Marsyas Painter and the Painter of Athens 1472, more than one pair of vases with replicated rare scenes ii exists.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Athenian little-master cups Heesen, P. Publication date 2009 Link to publication Citation for published version (APA): Heesen, P. (2009). Athenian little-master cups. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:23 Sep 2021 3. PHRYNOS, PHRYNOS PAINTER, TORGIANO PAINTER, c. 560/40 BC (nos. 93-105; figs. 35-39; pls. 28-31) Introduction Three lip-cups bear epoiesen-signatures of Phrynos (95-96, 104).364 Beazley was familiar with 95 and 96 (pl. 28c-e), which he attributed to the Phrynos Painter, although in the case of the latter he remarked, ‘there is not enough to compare’. In addition, he assigned to this painter a fragment of a Gordion cup (93, pl.
    [Show full text]
  • Corpus Vasorum Antiquorum, Fascicule 10
    UNION ACADÉMIQUE INTERNATIONALE CORPUS UASORUM ANTIQUORUM THE J. PAUL GETTY MUSEUM • MALIBU Athenian Red-Figure Column- and Volute-Kraters DESPOINA TSIAFAKIS THE J. PAUL GETTY MUSEUM FASCICULE 10 • [U.S.A. FASCICULE 40] 2019 CORPUS UASORUM ANTIQUORUM UNITED STATES OF AMERICA • FASCICULE 40 The J. Paul Getty Museum, Malibu, Fascicule 10 UNION ACADÉMIQUE INTERNATIONALE CORPUS UASORUM ANTIQUORUM THE J. PAUL GETTY MUSEUM • MALIBU Athenian Red-Figure Column- and Volute-Kraters DESPOINA TSIAFAKIS THE J. PAUL GETTY MUSEUM FASCICULE 10 • [U.S.A. FASCICULE 40] 2019 The free online edition of this catalogue is available at http://www.getty.edu/publications The J. Paul Getty Museum’s prior CVA fascicules 1–9 are /cva10. Also available are free PDF, EPUB, and MOBI downloads of the book, CSU and available for free download in our Uirtual Library at JSON downloads of the object data, and JPG downloads of the catalogue images. www.getty.edu/publications/virtuallibrary. © 2019 J. Paul Getty Trust Also from Getty Publications: ✦ Ancient Lamps in the J. Paul Getty Museum Jean Bussière and Birgitta Lindros Wohl This work is licensed under a Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/. ✦ Ancient Terracottas from South Italy and Sicily in the J. Paul Getty Museum Published by the J. Paul Getty Museum, Los Angeles Maria Lucia Ferruzza Getty Publications 1200 Getty Center Drive, Suite 500 ✦ Roman Mosaics in the J. Paul Getty Museum Los Angeles, California 90040-1682 Alexis Belis www.getty.edu/publications Greg Albers, Project Manager Rachel Barth, Project Editor Laura diZerega, Editorial and Digital Assistant Sharon Herson, Manuscript Editor Michelle Woo Deemer, Production David Saunders, Curatorial Liaison Toby Schreiber, Profile Drawings Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Library of Congress Cataloging-in-Publication Data Corpus vasorum antiquorum.
    [Show full text]
  • GREEK VASES Molly and Walter Bareiss Collection
    GREEK VASES Molly and Walter Bareiss Collection The J. Paul Getty Museum Malibu, California Cover: School boy with a lyre facing a "Walter Bareiss as a Collector," by © 1983 The J. Paul Getty Museum bearded man (his instructor?), tondo Dietrich von Bothmer (pp. 1-4) is 17985 Pacific Coast Highway of a Type B cup signed by the painter based, by permission, on The Malibu, California Douris; see No. 34, pp. 48-50. Metropolitan Museum of Art Bulletin, (For information about other Getty December 1969, pp. 425-428. Museum publications, please write the Photography by Penelope Potter, Bookstore, The J. Paul Getty Museum, except No. 30 and detail of No. 25 P.O. Box 2112, Santa Monica, supplied by The Metropolitan California 90406.) Museum of Art, New York. Design by Patrick Dooley. Typography by Typographic Service Company, Los Angeles. Printed by Jeffries Banknote Company, Los Angeles ISBN no. 0-89236-065-8 TABLE OF CONTENTS iv PREFACE v ACKNOWLEDGMENTS 1 WALTER BAREISS AS A COLLECTOR 5 THE WORLD OF GREEK VASES 10 FORTY-SEVEN MASTERPIECES FROM THE BAREISS COLLECTION 67 CHECKLIST 88 GREEK VASE SHAPES PREFACE This museum is indeed fortunate to be able to present to the people of Southern California a selection of Greek vases from the remarkable collection of Molly and Walter Bareiss. All of us who enjoy the adventure of history, the search for beauty, and the evidence of scholarship will be grateful for the opportunity to see these 259 examples of some of the finest Attic black-figure and red-figure vases and fragments. Dietrich von Bothmer has described eloquently in his introduction the significance of the Bareiss Collection, which is undoubtedly the most important collection of its kind still privately owned.
    [Show full text]
  • THE Depiction of Old AGE in GREEK VASE PAINTING
    SYMBOLAE PHILOLOGORUM POSNANIENSIUM GRAECAE ET LATINAE XXIV/2 • 2014 pp. 153–177. ISBN 978-83-7654-364-2. ISSN 0302-7384 dOI: 10.14746/sppgl.2014.XXIV.2.10 VArIA dOROTA GORZELANY Muzeum Narodowe ul. Pijarska 6, 31-015 Kraków Polska – Poland AN UNWELCOME ASPECT OF LIFE: THE dEPICTION OF OLd AGE IN GREEK VASE PAINTING abstraCt. Gorzelany dorota, An Unwelcome Aspect of Life: the depiction of Old Age in Greek Vase Painting. The article contains an analysis of selected depictions of the elderly in vase painting in terms of their iconogra- phy and the types of scenes in which they appear, including references to the written sources. Keywords: Greek vase painting, red figure style, black figure style, iconography, Greek society, old man, old woman, mythology, Greek literature, classical Greece. The clock ticks the time licks weighing moments a man’s going. Moczulski 2012: 143 The iconography of Greek vase painting is dominated by images of young people: young athletes, young warriors, young symposiasts, young women. This picture, while seemingly selective, corresponded to the structure and activity of the society of the Athenian polis. Given the high mortality rate of children (it is believed that approximately a third of children aged 3–5 years died1) and the threat of diseases and wars, it should be assumed that people over sixty consti- tuted a mere 5–10% of the population.2 Therefore, the division of tasks in Greek society relied principally on young and middle-aged men (cf. Arist. Rhet. II 14). Women spent their lives as modest wives in the home, where they were to take 1 Cf.
    [Show full text]
  • Athenian Black Figure Vases
    Greek art part i Teaching the Greek Art module in the OCR Classical Civilisation A Level prescription. • Introduction • Vase painting Created by Dr Nicky Devlin for Kings’ College London Summer School on Teaching Classical Civilisation, July 2019. OCR Specification: https://www.ocr.org.uk/Images/315133-specification-accredited-a- level-classical-civilisation-h408.pdf 1 introduction • What are students’ other interests? • History – English – Politics • Art • Outside interests? • Getting them to look • - describe • - evaluate OCR Specification: https://www.ocr.org.uk/Images/315133-specification- accredited-a-level-classical-civilisation-h408.pdf 2 3 • Shapes and uses – storage, mixing, carrying, pouring, cosmetic, sporting • Materials – effects of different types: clay, added colours; advantages/limitations • Techniques – black-figure, added colour, incision; red-figure, different brush sizes, dilution of slip • Subject matter – Achilles, Athena, Dionysus, Trojan War 4 5 Greek vases a summary (i) 6 Greek vases a summary (2) 7 examples • Sophilos’ dinos • handle of Francois vase • amasis painter dionysos and maenads • Exekias Achilles and Ajax playing dice • Kleophrades painter sack of troy • euthymides three men carousing 8 Sophilos • ‘Wedding of Peleus and Thetis’ • Earliest Attic vase by a known painter • 580-70BC • Dinos • 71cm high • four friezes showing wild and mythical beasts • ‘wedding’ frieze on shoulder shows procession of gods etc. to house of Peleus • Same principles of repetition and reflection • Same black figure technique
    [Show full text]
  • Studies on the Iconography of Divine and Heroic
    STUDIES ON THE ICONOGRAPHY OF DIVINE AND HEROIC CHILDREN IN ATTIC RED-FIGURE VASE-PAINTING OF THE FIFTH CENTURY BC (Volume One) THESIS SUBMITTED P02 THE DEGREE OP PhD by LESLEY ANNE BEAUMONT Ff3 University College London (ION DL) P02 MUM 4. A)STR ACT The thesis is an examination of the iconography of children in Attic red-figure vase-painting, concentrat.ng mainly on the representation of mythological children, but considering also the applications of the study to red-figure scenes of everyday life. The aims are two-fold: firstly to analyse iconographiq types employed for the depiction of children by vase-painters, and secondly to use such a study to establish a foundation for the objective analysis of age representation of children in vase-painting. The catalogue of vases comprises one hundred and ninety six entries. Discussion of this material is split into two sections; one dealing with the birth and childhood of the gods, and the other with that of the heroes. The first section is divided into two chapters, one on the most commonly represented infant god, Dionysos, and a second devoted to the remainder of the gods who appear as children. The second section comprises a chapter each on Attic and non-Attic heroes, and a further chapter considers representations of mythological female children. The thesis concludes that divine and heroic children are represented o vases throughout the red-figure period, finding their phase of greatest popularity between about 490-40 BC. It iS shown that most of the iconographic types employed for children are interchangeable for a variety of mythological, and often also mortal, offspring.
    [Show full text]