The History of Greek Vases: Potters, Painters and Pictures Free

FREE THE HISTORY OF GREEK VASES: POTTERS, PAINTERS AND PICTURES PDF John Boardman | 320 pages | 21 Jan 2008 | Thames & Hudson Ltd | 9780500285930 | English | London, United Kingdom Pottery of ancient Greece - Wikipedia Ancient Greek potterydue to its relative durability, comprises a large part of the archaeological record of ancient Greeceand since there is so much of it overpainted vases are recorded in the Corpus vasorum antiquorum[1] it has exerted a disproportionately large influence on our understanding of Greek society. The shards of pots discarded or buried in the 1st millennium BC are still the best guide available to understand the customary life and mind of the ancient Greeks. There were several vessels produced locally for everyday and kitchen use, yet finer pottery from regions such as Attica was imported by other civilizations throughout the Mediterraneansuch as the Etruscans in Italy. Throughout these places, various types and shapes of vases were used. Some were highly decorative and meant for elite consumption and domestic beautification as much as serving a storage or other function, such as the krater with its usual use in diluting wine. Earlier Greek styles of pottery, called "Aegean" rather than Painters and Pictures Greek", [ citation needed ] include Minoan Painters and Picturesvery sophisticated by its final stages, Cycladic potteryMinyan ware and then Mycenaean pottery in the Bronze Agefollowed by the cultural disruption of the Greek Dark Age. As the culture recovered Sub-Mycenaean pottery Painters and Pictures blended into the Protogeometric stylewhich begins Ancient Greek pottery proper. The rise of vase painting saw increasing decoration. Geometric art in Greek pottery was contiguous with the late Dark Age and early Archaic Greecewhich saw the rise of the Orientalizing period. The pottery produced in Archaic and Classical Greece included at first black-figure potteryyet other styles emerged such as red-figure pottery and the white ground technique. Styles such as West Slope Ware were characteristic of the subsequent Hellenistic periodwhich saw vase painting's decline. Interest in Greek art lagged behind the revival of classical scholarship during the Renaissance and revived in the academic circle round Nicholas Poussin in Rome in the s. Though modest collections of vases recovered from ancient tombs in Italy were made in the 15th and 16th centuries these were regarded as Etruscan. It is possible that Lorenzo de Medici bought several Attic vases directly from Greece ; [3] however the connection between them and the The History of Greek Vases: Potters excavated in central Italy was not made until much later. Much of the early study of Greek vases took the form of production of albums of the images they depict, however neither D'Hancarville's nor Tischbein 's folios record the shapes or attempt to supply Painters and Pictures date and are therefore unreliable as an archaeological record. Serious attempts at scholary study made steady progress over the 19th century starting with the founding of the Instituto di Corrispondenza in Rome in later the German Archaeological Institutefollowed by Eduard Gerhard 's pioneering study Auserlesene Griechische Vasenbilder tothe establishment of the journal Archaeologische Zeitung in and the Ecole d'Athens Finally it was Otto Jahn 's catalogue Vasensammlung of the Pinakothek, Munich, that set the standard for the scientific description of Greek pottery, recording the shapes and inscriptions with a previously unseen fastidousness. Jahn's study was the standard textbook on the history and chronology of Greek pottery for many years, yet in common with Gerhard he dated the introduction of the red figure technique to a century later than was in fact the case. Where the 19th century was a period of Greek discovery and the laying out of first principles, the 20th century has been one of consolidation and intellectual industry. Efforts to record and The History of Greek Vases: Potters the totality of public collections of vases began with the creation of the Corpus vasorum antiquorum under Edmond Pottier and the Beazley archive of John Beazley. Beazley and others following him have also studied fragments of Greek pottery in institutional collections, and have attributed many painted pieces to individual artists. Scholars have called these fragments disjecta membra Latin for "scattered parts" and in a number of instances have been able to identify fragments now in different collections that belong to the same vase. The names we use for Greek vase shapes are often a matter The History of Greek Vases: Potters convention rather than historical fact, a few do illustrate their own use or are labeled with their original names, others are the result of early archaeologists attempt to reconcile the physical object with a known name from Greek literature — not always successfully. To understand the relationship between form and function Greek pottery may be divided in four broad categories, given here with common types: [2] [7] [8]. Some vase shapes were especially associated with rituals, others with athletics and the gymnasium. Some have a purely ritual function, for example white ground lekythoi contained the oil used as funerary offerings and appear to have been The History of Greek Vases: Potters solely with that object in mind. Many examples have a concealed second cup inside them to give the The History of Greek Vases: Potters of being full of oil, as such they would have served no other useful gain. Some vessels were designed as grave markers. There was an international market for Greek pottery since the 8th century BC, which Athens and Corinth dominated down to the end of the 4th century BC. Only the existence of a second hand market could account for the number of panathenaics found in Etruscan tombs. The History of Greek Vases: Potters Italian wares came to dominate the export trade in the Western Mediterranean as Athens declined in political importance during the Hellenistic period. The process of making a pot and firing it is fairly simple. The first thing a potter needs is clay. Attica's high-iron clay gave its pots an orange color. When clay is first dug out of the ground it is full of rocks and shells and other useless items that need to be removed. To do this the potter mixes the clay with water and lets all the impurities sink to the bottom. This is called levigation or elutriation. This process can be done many times. The more times this is done, the smoother clay becomes. The clay is then The History of Greek Vases: Potters by the potter and placed on a wheel. Once the clay is on the wheel the potter can shape it into any of the many shapes shown below, or anything else The History of Greek Vases: Potters desires. Wheel made pottery dates back to roughly BC where before the coil method of building the walls of the pot was employed. Most Greek vases were wheel-made, though as with the Rhyton mould-made pieces so-called "plastic" pieces are also found and decorative elements either hand formed or by mould were added to thrown pots. More complex pieces were made in parts then assembled when it was leather hard by means of joining with a slip, where the potter returned to the wheel for the final shaping, or turning. Sometimes, a young man helped turn the wheel. After the pot is made then the potter paints it with an ultra fine grained clay slip; the paint was applied Painters and Pictures the areas intended to become black after firing, according to the two different styles, i. A series of analytical studies have shown that the striking black gloss with a metallic sheen, so characteristic of Greek pottery, emerged from the colloidal fraction of an illitic clay with very low calcium oxide content. This clay slip was Painters and Pictures in iron oxides and hydroxides, differentiating from that used for the body of the vase in terms of the calcium content, the exact mineral composition and the particle size. The fine clay suspension used for the paint was either produced by using several deflocculating additives to clay potash, urea, dregs of wine, bone ashes, seaweed ashes etc or by collecting it in situ from illitic clay beds following rain periods. Recent studies have shown that some trace elements in the Painters and Pictures glaze i. Zn in particular can be characteristic of the clay beds used in antiquity. In general, different teams of scholars suggest different approaches concerning the production of the clay slip used in antiquity. Greek pottery, unlike today's pottery, was only fired once, with a very sophisticating process. This was done in a process known as three-phase firing involving alternating oxidizing -reducing conditions. Then the vent was closed and green wood introduced, creating carbon monoxide which turns the red hematite to black magnetite Fe 3 O 4 ; at this stage the temperature decreases due to incomplete combustion. While the description of a single firing with three stages may seem economical and efficient, some scholars claim that it is equally possible that each of these stages was confined to separate firings [21] in which the pottery is subjected to multiple firings, of different atmosphere. In any case, the faithful reproduction of the process involving The History of Greek Vases: Potters experimental work that led to the creation of a modern production unit in Athens since[22] has shown that the ancient vases may have been subjected to multiple three-stage firings following repainting or as an attempt to correct color failures [23] The technique which is mostly known as the "iron reduction technique" was decoded with the contribution of scholars, ceramists and scientists since the mid 18th century onwards to the end of the 20th century, i.

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