Red-Figure Volute-Krater Pre-Visit Activity ABC Lesson 3

Total Page:16

File Type:pdf, Size:1020Kb

Red-Figure Volute-Krater Pre-Visit Activity ABC Lesson 3 Red-Figure Volute-Krater Pre-Visit Activity ABC Lesson 3 The Patera Painter South Italian (Apulia) Red-Figure Volute-Krater, ca.340-320 B.C.E Painted terra-cotta Teacher Resources: Patera Painter A southern Italian vase painter working around 350 B.C.E. whose real name is unknown. The artist painted mostly funeral scenes on large pots which were used for religious traditions in ancient Greece. The name “Patera Painter” comes from the long handled drinking bowls used in religious ceremonies called pateras, which are often seen in the artist’s paintings. Red-Figure A style of Greek vase painting that shows drawn red figures and a painted black background. Volute Krater A type of Greek vase used for mixing wine and water. The term “volute” describes the scrolled handles. In Ancient Greece, volute kraters were used to serve beverages at parties and as burial markers. For another example of the Patera Painter’s work click here. Red-Figure Volute-Krater Pre-Visit Activity ABC Lesson 3 Directions: When you look at art, it is fun to make up your own story about what is going on. Read the make-believe story about the scene on the ancient Greek vase below. Notice that the story has a beginning, middle, and end. Read the story a second time and highlight the descriptive words. The Patera Painter South Italian (Apulia) Detail of Red-Figure Volute-Krater, ca.340-320 B.C.E Painted terra-cotta There once was a pale young woman who sat in a wooden chair under a white structure. She held a special box in one hand and then gazed at her marvelous reflection in the mirror. Inside the mysterious box contained objects of her beloved mother. Two peaceful girls approach with fancy offerings for the pale young woman. They brought her jeweled mirrors, decorated plates, and juicy grapes. The girls wanted to see inside the mysterious box because they had heard of the special objects that belonged to the pale woman’s mother. The pale young woman could not decide what to do. Later, the two girls came back with more lavish gifts so that the pale young woman would show them the rare objects inside the old box. Together they opened the box with a loud creaking sound from the wood. Vibrant stones inside the box began to glow brightly and the three women were given everlasting wisdom. Red-Figure Volute-Krater Post-Visit Activity ABC Lesson 3 Directions: After making artwork the students can write a cinquain poem about their vase. The poem is another chance for students to practice using descriptive words and reflect on their artwork at the same time. Cinquain- a structured, five-line poem. It always follows this pattern: Line one- A one word title (noun) Line two- Two words that describe the title (adjectives) Line three- Three words that show the action of the title (verbs) Line four- Four words that express a feeling about the title (phrase) Line five- One word that is another word for the title (synonym) .
Recommended publications
  • The Underworld Krater from Altamura
    The Underworld Krater from Altamura The Underworld krater was found in 1847 in Altamura in 1 7 Persephone and Hades Herakles and Kerberos ITALY southeastern Italy. The ancient name of the town is unknown, Hades, ruler of the Underworld, was the brother of Zeus (king of the gods) and Poseidon (god of The most terrifying of Herakles’s twelve labors was to kidnap the guard dog of the Underworld. APULIA Naples but by the fourth century bc it was one of the largest fortified Altamura the sea). He abducted Persephone, daughter of the goddess Demeter, to be his wife and queen. For anyone who attempted to leave the realm of the dead without permission, Kerberos (Latin, Taranto (Taras) m settlements in the region. There is little information about Although Hades eventually agreed to release Persephone, he had tricked her into eating the seeds Cerberus) was a threatening opponent. The poet Hesiod (active about 700 BC) described the e d i t e r of a pomegranate, and so she was required to descend to the Underworld for part of each year. “bronze-voiced” dog as having fifty heads; later texts and depictions give it two or three. r a what else was deposited with the krater, but its scale suggests n e a n Here Persephone sits beside Hades in their palace. s e a that it came from the tomb of a prominent individual whose community had the resources to create and transport such a 2 9 substantial vessel. 2 The Children of Herakles and Megara 8 Woman Riding a Hippocamp Map of southern Italy marking key locations mentioned in this gallery The inhabitants of southeastern Italy—collectively known as The Herakleidai (children of Herakles) and their mother, Megara, are identified by the Greek The young woman riding a creature that is part horse, part fish is a puzzling presence in the Apulians—buried their dead with assemblages of pottery and other goods, and large vessels inscriptions above their heads.
    [Show full text]
  • A Masterpiece of Ancient Greece
    Press Release A Masterpiece of Ancient Multimedia Greece: a World of Men, Feb. 01 - Sept. 01 2013 Gods, and Heroes DNP, Gotanda Building, Tokyo Louvre - DNP Museum Lab Tenth presentation in Tokyo The tenth Louvre - DNP Museum Lab presentation, which closes the second phase of this partnership between the Louvre and Dai Nippon Printing Co., Ltd (DNP), invites visitors to discover the art of ancient Greece, a civilization which had a significant impact on Western art and culture. They will be able to admire four works from the Louvre's Greek art collection, and in particular a ceramic masterpiece known as the Krater of Antaeus. This experimental exhibition features a series of original multimedia displays designed to enhance the observation and understanding of Greek artworks. Three of the displays designed for this presentation are scheduled for relocation in 2014 to the Louvre in Paris. They will be installed in three rooms of the Department of Greek, Etruscan and Roman Red-figure calyx krater Signed by the painter Euphronios, attributed to the Antiquities, one of which is currently home to the Venus de Milo. potter Euxitheos. Athens, c. 515–510 BC. Clay The first two phases of this project, conducted over a seven-year Paris, Musée du Louvre. G 103 period, have allowed the Louvre and DNP to explore new © Photo DNP / Philippe Fuzeau approaches to art using digital and imaging technologies; the results have convinced them of the interest of this joint venture, which they now intend to pursue along different lines. Location : Louvre – DNP Museum Lab Ground Floor, DNP - Gotanda 3-5-20 Nishi-Gotanda, Shinagawa-ku, Tokyo The "Krater of Antaeus", one of the Louvre's must-see masterpieces, Opening period : provides a perfect illustration of the beauty and quality of Greek Friday February 1 to Sunday September 1, ceramics.
    [Show full text]
  • A Mycenaean Ritual Vase from the Temple at Ayia Irini, Keos
    A MYCENAEAN RITUAL VASE FROM THE TEMPLE AT AYIA IRINI, KEOS (PLATE 18) D URING the 1963 excavations of the University of Cincinnatiat Ayia Irini, a number of fragments belonging to a curious and important Mycenaean vase were discovered in the Temple, mostly in Rooms IV and XI where they were found widely scattered in the post-Late Minoan IB earthquake strata.' Since it is impos- sible to date the vase stratigraphically, it is hoped that analysis of its shape and decoration may contribute something to our knowledge of the later history of the Temple in its Mycenaean period. Unfortunately, the vase is so fragmentary and its decoration so unstandardized that this is no simple task. It is the goal of this paper to look critically at the fragments and see what they suggest for the re- construction of the vase, its probable date and affinities, and its function in the Temple. Following two main lines of approach, we will first attempt a reconstruction of the shape and then analyze the pictorial decoration. Both are important in deter- mining date, possible provenience, and function. The fragments fall into three main groups: 1) those coming from the shoulder and upper part of an ovoid closed pot with narrow neck, now made up into two large fragments which do not join but which constitute about one-third the circumference (P1. 18 :a, b, c); 2) at least two fragments from the lower part of a tapering piriform shape (P1. 18 :d, d and e) ; 3) fragments of one or more hollow ring handles (P1.
    [Show full text]
  • Vases and Kalos-Names from an Agora Well
    VASES AND KALOS-NAMES FROM AN AGORA WELL A collection of graffiti on vases, found in a well in the Agora during the 1935 campaign,' has provided a fresh grouping of Attic kalos-inscriptions, and has added new names to the list. Our brief inspection of this material falls into three parts: we must consider the few figured pieces found in the well, the inscriptions as such, and the shapes of the vases, plain black-glazed and unglazed, on and in connection with which the inscriptions appear. The black-glazed table wares and substantial household furnishings with which the well was filled had only three figured companions. Of these the most interesting is illustrated in Figure 1. Preserved is more than half of one side of a double-disk, or bobbin.2 On it, Helios rising in his chariot drawn by winged white horses, is about to crest the sun-tipped waves. This theme, familiar from black-figured lekythoi, here finds its most elaborate expression. Our composition refines upon the solidity and power of the Brygos painter's Selene,3 to which it is most nearly related. The delicately curving wings of the horses, echoing the rim-circle, provide a second frame for the figlure of the god. Beneath the horses, all is tumult. Wave upon wave seems ready to engulf so dainty a team. But above, remote from confusions, stands the charioteer, confident and serene, his divine nature indicated by the great disk of the sun lightly poised upon his head. The contest between natural forces and the divine is a well-loved theme of Greek art; but it is rare to find, as liere, an element and not its personification.
    [Show full text]
  • Greek Pottery Gallery Activity
    SMART KIDS Greek Pottery The ancient Greeks were Greek pottery comes in many excellent pot-makers. Clay different shapes and sizes. was easy to find, and when This is because the vessels it was fired in a kiln, or hot were used for different oven, it became very strong. purposes; some were used for They decorated pottery with transportation and storage, scenes from stories as well some were for mixing, eating, as everyday life. Historians or drinking. Below are some have been able to learn a of the most common shapes. great deal about what life See if you can find examples was like in ancient Greece by of each of them in the gallery. studying the scenes painted on these vessels. Greek, Attic, in the manner of the Berlin Painter. Panathenaic amphora, ca. 500–490 B.C. Ceramic. Bequest of Mrs. Allan Marquand (y1950-10). Photo: Bruce M. White Amphora Hydria The name of this three-handled The amphora was a large, two- vase comes from the Greek word handled, oval-shaped vase with for water. Hydriai were used for a narrow neck. It was used for drawing water and also as urns storage and transport. to hold the ashes of the dead. Krater Oinochoe The word krater means “mixing The Oinochoe was a small pitcher bowl.” This large, two-handled used for pouring wine from a krater vase with a broad body and wide into a drinking cup. The word mouth was used for mixing wine oinochoe means “wine-pourer.” with water. Kylix Lekythos This narrow-necked vase with The kylix was a drinking cup with one handle usually held olive a broad, relatively shallow body.
    [Show full text]
  • Serious Drinking: Vases of the Greek Symposium
    SERIOUS DRINKING: Vases of the Greek Symposium “Drink with me, play music with me, love with me, wear a crown with me, be mad with me when I am mad and wise when I am wise.” - Athenaeus The ancient Greek symposium (from the setting. In studying side A of this 4th century Greek symposion) was a highly choreographed, B.C. vase, one can readily observe a symposi- Serious Drinking: Vases of all-male drinking party that often drew ast’s idealized version of himself in the heroic the Greek Symposium has to a close with a riotous parade about the soldiers taking leave of their women. The been organized collaboratively shuttered streets of town. Wine, and the soldiers, like the drinkers, depart from female by Susan Rotroff, professor in temporary self-abandonment it offered, was society to participate in decidedly male action. the Department of Classics and the chief ingredient of these gatherings; yet The symposium is the peaceful inverse of the Department of Art History intoxication was not the party’s sum intent. battle; both define the society, one in fostering and Archaeology; Grizelda Certain rules were devised under the auspices community and the other in defending it. The McClelland, PhD candidate in of a designated leader, the symposiarch or ban- krater itself is emblematic of the symposium’s the Department of Classics and quet master, who regulated the socializing communal ideals. Its physical placement the Department of Art History of his guests. It was he who set the tenor of at the center of the room is analogous to its and Archaeology; and Emily the party, defining how much wine was to be function.
    [Show full text]
  • Download Circe and Odysseus in Ancient
    Circe and Odysseus in Ancient Art This resource offers a series of questions that will help students engage with four ancient artifacts that represent the goddess Circes interactions or influences upon Odysseus and his companions. All these artifacts were made several centuries after the Odyssey was composed, but they should not be approached as straightforward or mere illustrations of episodes from the Odyssey. Rather, all five works of art (four artifacts and the epic poem) represent different versions of the story of how Circe interacts with Odysseus and his men. This resource assumes that students already will have read Books 9 and 10 of the Odyssey. This handout is formatted as a guide that an instructor can use to facilitate a conversation during a class meeting. The questions are meant to be asked by the instructor while students actively look at images of each artifact, using the weblinks provided. After each question, examples of possible observations that students might offer are included in italics. The italicized answers also sometimes include extra information that the instructor can share. Artifact #1: A kylix (drinking cup) at the Museum of Fine Arts (Boston) Attributed to the Painter of the Boston Polyphemos Made in Athens (Attica, Greece) ca. 550-525 BCE https://collections.mfa.org/objects/153469/drinking-cup-kylix-depicting-scenes-from-the- odyssey;jsessionid=31E168DC9A32CBB824DCBBFFA1671DC1?ctx=bb1a3a19-ebc8-46ce-b9b1- 03dc137d5b86&idx=1 Accession number 99.518 1. We are going to look at both sides of this kylix, but we will begin with the first image on the website (“Side A” of the kylix, which does not include anyone holding a shield).
    [Show full text]
  • Cosmological Narrative in the Synagogues of Late Roman-Byzantine Palestine
    COSMOLOGICAL NARRATIVE IN THE SYNAGOGUES OF LATE ROMAN-BYZANTINE PALESTINE Bradley Charles Erickson A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Religious Studies. Chapel Hill 2020 Approved by: Jodi Magness Zlatko Plese David Lambert Jennifer Gates-Foster Maurizio Forte © 2020 Bradley Charles Erickson ALL RIGHTS RESERVED ii ABSTRACT Bradley Charles Erickson: Cosmological Narrative in the Synagogues of Late Roman-Byzantine Palestine (Under the Direction of Jodi Magness) The night sky provided ancient peoples with a visible framework through which they could view and experience the divine. Ancient astronomers looked to the night sky for practical reasons, such as the construction of calendars by which time could evenly be divided, and for prognosis, such as the foretelling of future events based on the movements of the planets and stars. While scholars have written much about the Greco-Roman understanding of the night sky, few studies exist that examine Jewish cosmological thought in relation to the appearance of the Late Roman-Byzantine synagogue Helios-zodiac cycle. This dissertation surveys the ways that ancient Jews experienced the night sky, including literature of the Second Temple (sixth century BCE – 70 CE), rabbinic and mystical writings, and Helios-zodiac cycles in synagogues of ancient Palestine. I argue that Judaism joined an evolving Greco-Roman cosmology with ancient Jewish traditions as a means of producing knowledge of the earthly and heavenly realms. iii ACKNOWLEDGEMENTS I wish to express my sincere appreciation to my adviser, Dr.
    [Show full text]
  • Geometric & Archaic Greek
    GEOMETRIC & ARCHAIC GREEK GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Can be classified into the following categories: Geometric Period ca. 900-700 B.C.E. Orientalizing Period ca. 725-600 B.C.E. Archaic Period ca. 625-480 B.C.E. --- Greeks defeat Persians 480-479 BCE --- Early Classical Period ca. 480-450 B.C.E. High Classical Period ca. 450-400 B.C.E. Late Classical Period ca. 400-330 B.C.E. Hellenistic Period ca. 330-31 B.C.E. GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Mesopotamian = Worship Egyptian = Afterlife Greek = Humanism GEOMETRIC & ARCHAIC GREECE The Geometric Period The beginning of Greek art is found in painted pottery and small scale sculpture. Artists established different categories of shapes of ceramic vessels- most important was the amphora - two- handled vase used to carry wine and oil Around 800 BC, pottery began to move away from purely non-objective designs - ornamental figures. Dipylon Vase was a grave monument - bottom has holes through which liquid offerings filtered down to the dead below- done in remembrance rather than to appease the soul of the dead. Geometric Krater from the Dyplon Cemetery Athens, Greece, ca. 740 BC GEOMETRIC & ARCHAIC GREECE The Geometric Period The vase functions as a grave marker depicting the funeral procession of an obviously well respected individual. The magnitude of his funeral procession speaks to the wealth and position of the deceased family in the community. Contains no reference to an afterlife The nature of the ornamentation of these early works has led art historians to designate these as GEOMETRIC. (all empty spaces are filled with circles and M-shaped ornament.
    [Show full text]
  • HYDRIA-FRAGMENTS in CORINTH 309 Company of Orientals on a Solemn Occasion? Not in Life, Either in the Orient Or in Greece
    HYDRIA-FRAGMENTSIN CORINTH (PLATES 85-88) S OME years ago Miss Hazel Palmerkindly sent me photographsof certain Attic red-figured fragments found by the American School of Classical Studies in their excavations at Corinth. Among the fragments were three, from one vase, that seemed to me of exceptional interest. Mrs. Josephine Platner Ilarwood and Miss Palmer in- vited me to publish them, in advance of the official publication, and I am grateful to them for their generous action. A few months later Dr. J. L. Caskey, Director of the American School, sent me clearer photographs of the three pieces, and also photo- graphs of two other small fragments from the same vase: to him also I feel much indebted (P1. 85). In 1953 I was able to examine the originals at Corinth, though but hastily. They come from a hydria of exactly the same common type as those in Boston and London reproduced on Plate 86. In the Boston hydria (P1. 86, b)1 the base and foot are modern, so I give the picture only: the shape of the vase, and the position of the picture on it, will be plain from the London hydria (P1. 86, a).2 In the first fragment (A) one sees the upper part of a man-from the waist or near it-, facing to the right, the body almost frontal, but turned slightly in the same direction as the head, both arms bent at the elbow and the forearms raised. The man wears Oriental costume:-first, a garment of thick material ornamented with a bold pattern of black circles, each having the centre marked in brown; secondly, on the head, a kidaris (bashlik), the long flaps of which are preserved, while the rest is missing; the kidaris too may have been ornamented, at least the black remains just before the fragment ends look like part of a spot; thirdly, worn shawl-wise over both shoulders, a dark wrap with a thin light border.
    [Show full text]
  • Campanian Red-Figure Bell Krater 350–325 Bce Attributed to the Cumae ‘A’ Painter Southern Italy Terra-Cotta, Gloss 8–3814; L2009.1001.025
    Campanian red-figure bell krater 350–325 bce attributed to the Cumae ‘A’ Painter Southern Italy terra-cotta, gloss 8–3814; L2009.1001.025 On this krater, a nude youth with a spear is depicted seated on a drapery-covered rock. He converses with a woman who holds a wreath phiale, and a libation dish used to pour wine or other liquid offerings to gods. Education Program 2 Scenes from Myths and Daily Life: Ancient Mediterranean Pottery from the Collections of the Phoebe A. Hearst Museum of Anthropology Ancient Mediterranean painted pottery, a Mediterranean and Black Seas. Greek arts remarkable craft from classical antiquity, flourished from 700 to 300 bce. During continues to captivate viewers thousands this time, two of the main ceramic centers of years later. Pottery is more commonly in Greece, Corinth and Athens, exported the excavated and preserved than any other early art distinctive and highly sought-after painted form. Scenes depicted on Greek and Etruscan pottery throughout the Mediterranean region. vases reveal many of the cultural practices and The Etruscans inhabited north-central Italy, a daily lives of these ancient peoples. Ceramic region in classical times referred to as Etruria. vessels explore a wide variety of subject matter They developed a taste for Greek painted pottery, including myths, gods and demons, warriors at which they imported from Corinth around battle, animals, social gatherings, athletics, 630 to 540 bce. By the second and the roles of men and women in quarter of the sixth century, the society. Etruscans purchased an increasing Clay, which was plentiful in many number of vessels from Athens.
    [Show full text]
  • Object List (Draft)
    OBJECT LIST Colors of Clay: Special Techniques in Athenian Vases at the Getty Villa (June 8 - September 4, 2006) 1. Signed by Andokides 4. Signed by Nikosthenes Attributed to Psiax Storage Jar with Courtesans, Dogs, and Tripods Storage Jar with Apollo, Artemis, Leto, Ares, and Neck-Amphora of Nicosthenic Type, 525 B.C.– Dionysos and His Followers 520 B.C. Bilingual Amphora of Type A, 515 B.C.–510 B.C. Object: H: 32 cm (12 5/8 in.) Object (approx.): H: 61.2 x Diam.: 35 cm Musée du Louvre. Paris, France, F114 (24 1/8 x 13 3/4 in.) Cat. 15 Museo Arqueológico Nacional. Madrid, Spain, 11.008 5. Attributed to the Kleophrades Painter Cat. 1 Mixing Vessel with the Adventures of Herakles Attic Red-Figure Volute Krater, about 480 B.C. 2. Attributed to the Amasis Painter Object (body, top of volutes): 56.7 to 56.9 x Storage Jar with a Wine-Making Scene and 37.4 cm (22 5/16 to 22 3/8 x 14 3/4 in.) Dionysos The J. Paul Getty Museum at the Getty Villa. Black-Figured Amphora of Type B, about Malibu, California 540 B.C. Cat. 13 Object: H: 44 x Diam. (foot): 17 cm (17 5/16 x 6 11/16 in.) 6. Attributed to the Phiale Painter Antikenmuseum Basel und Sammlung Ludwig. Mixing Vessel with the Infancy of Dionysos Basel, Switzerland, Kä420 White-Ground Calyx-Krater, 440 B.C.–435 B.C. Cat. 43 Object: H: 32.8 cm (12 15/16 in.) Vatican Museums. Vatican City, 16586 3.
    [Show full text]