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Early 'Tyrrhenian': Prometheus Painter, Timiades Painter, Goltyr Painter

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Early 'Tyrrhenian': Prometheus Painter, Timiades Painter, Goltyr Painter BaBesch 70 (1995) Early ‘Tyrrhenian': Prometheus Painter, Timiades Painter, Goltyr Painter Jeroen Kluiver 1 INTRODUCTION orative scheme as such as well as to a type of neck- amphora. If a vase is considered ‘Tyrrhenian' The term ‘Tyrrhenian' should be reserved for the because its decorative scheme is the same as that of Attic vases decorated – and probably also potted – many ‘Tyrrhenian' neck-amphorae (floral motif or by one of the eight ‘Tyrrhenian' artisans whose animals on the neck, figures in the main frieze, ani- work we can now recognize; it is irrelevant mals and base-rays below), then the name would whether these vases are neck-amphorae or other also apply to the O.L.L. Group and, for instance, forms, nor is the decorative scheme determinative. even some neck-amphorae by Lydos and the KX ‘Tyrrhenian', in short, is the name of a style held in Painter which share the scheme while being common by the Prometheus Painter, Timiades painted in different styles. Another example is the Painter, Goltyr Painter, Kyllenios Painter, Archippe Painter, who has more than once been Castellani Painter, Pointed-Nose Painter, Guglielmi considered a member of the ‘Tyrrhenian' Group Painter and Fallow Deer Painter1. proper2. Instead, that painter's vases, consisting It is useful to define the term rigorously because mostly of hydriae, as well as the O.L.L. Group, confusion results if more than one meaning is need each to be considered separately3. attached to it, as has sometimes been done in the Although this article concentrates on the work of past, referring not only to a style but also to a dec- three early ‘Tyrrhenian' painters, the features This is my third article in a series on the ‘Tyrrhenian' Group. The first, titled ‘The Tyrrhenian Group: its Origin and the Neck-Amphorae in The Netherlands and Belgium', comments on Carpenter 1984 and focuses on the Group's Athenian char- 1 The definition is based on the work of H. Thiersch, who rec- acter, including petrographic research done by H. Kars ognized the Group's Attic nature, and D. von Bothmer 1944, (BABesch 67 (1992), 73-109). In the second, ‘The Potter- who identified the eight hands. For the find-places see Kluiver Painters of Tyrrhenian Neck-Amphorae; a Close Look at the 1992. Add ‘Tyrrhenian' found in Ionia: column krater, Shape', I examine the shape, arguing that potter and painter Clazomenae (Prometheus Painter); volute krater, Phocaea were most likely one and the same man (BABesch 68 (1993), (Fallow Deer Painter); frr. of pyxis, Phocaea; all of which will 179-194). I wish to express my gratitude, above all, to be published by Y. Tuna-Nörling in the Proceedings of the Professor H.A.G. Brijder for his patient assistance and many International Conference on Athenian Potters and Painters, useful observations. Professor C.J. Ruijgh has kindly helped me 1-3.12.1994 (forthcoming). In addition, from the acropolis of to read the inscriptions and has provided the comment on them. Velia in Magna Graecia: L. Cicala, C.A. Fiammenghi, Dr Vincent Tosto improved my English – I profited greatly R. Maffettone and L. Vecchio, ‘Velia: Saggi di scavo from his competent advice. Dr Alain Pasquier generously sull'Acropoli', in Sibari e la Sibaritide, Atti del Trentaduesimo allowed me to study the ‘Tyrrhenian' pottery in the Louvre and Convegno di Studi sulla Magna Grecia (Taranto 1992), 750 pl. to publish my photographs. Similarly, I thank Dr Anna Maria LXI, most probably by the Castellani Painter. Also, from Esposito and Dr Francesco Nicosia, Florence, and Dr Patrizia Thasos: J.-J. Maffre, ‘Les importations de céramique attique à Aureli, Dr Albertina Corsini and Dr Anna Maria Moretti, Thasos pendant la première moitié du VIe siècle av. J.-C.', in Rome, for letting me study the ‘Tyrrhenians' in their care and Mnjmj D. Laharidj, 1990, 416, IV-34, fig. 35. See also J.Y. for allowing to publish my photographs. Antonie Jonges helped Perreault, in ‘Céramique et échanges: les importations Attiques me with my drawings. Michiel Bootsman advised me on how au proche-orient du VIe au milieu du Ve siècle avant J.-C. Les to make better photographs and kindly printed my negatives. données archéologiques', BCH CX, 1986, I, 149, 151, 172, Pieter Heesen provided photocopies of publications and illus- where amphorae from Tell Soukas and Bassit are identified as trations from all over the world and discovered some obscure ‘Tyrrhenian'. amphorae. Professor Gerard J.M. Bartelink, Dr Rolf Blatter, Dr 2 Carpenter 1983, 1984; Krauskopf 1980. For the Archippe Herbert Cahn, Roald Docter, Aafke Langedijk and Dr Yasemin Painter see D. von Bothmer, Six Hydriai, AK 12, 26-29; A. Tuna-Nörling also supplied me with photographs or informa- Bernhard-Walcher, Zwei tyrrhenische Hydrien in Wien, tion. This research would not have been possible without the Forschungen und Funde, Festschrift Bernhard Neutsch cooperation of the staffs, to whom my thanks, of some 40 (Insbruck 1980) 69-76; Shapiro 1989a, 74 n. 75: ‘the hydriae European museums, universities and private collections. of the Archippe Group are close to, but not part of, the larger Further, I gratefully acknowledge the financial support of the “Tyrrhenian” Group'. Allard Pierson Foundation, Amsterdam; the Netherlands 3 Some stylistic traits of the O.L.L. vases are noted in Bothmer Organization for Scientific Research (NWO), the Hague; the 1977b. For differences in shape between the ‘Tyrrhenians' and Consiglio Nazionale delle Ricerche, Rome; and the Dutch the amphorae of the O.L.L. Group see Kluiver 1993, 182 fig. 6; Institute at Rome. and for bibliographical references see Kluiver 1992, n. 4. 55 described in Chapter 2 apply to the work of all connected open and closed buds, tongues, myrtle or the Group's painters. This survey defines the ivy on the outside of the rim9. Red lines often sur- Group's characteristics with regard to, among round the rim, inside and out, as well as both other things, the standard decorative scheme and edges. its variations as well as the ornaments and fig- The neck usually has floral patterns, although ani- ures4. It is based on more than 250 neck- mals, composite creatures and figure scenes are not amphorae and occasional amphorae of other type, unknown. many of which have not yet been adequately pub- lished. The decoration is discussed according to Floral patterns its place on the vase, going from the rim down to As a rule, the same floral is seen on both sides of the foot. the neck, either a palmette-lotus festoon or a pal- The starting point for an understanding of the mette-lotus cross. In some instances there is a fes- ‘Tyrrhenian' Group remains, of course, the study toon on one side, a cross on the other10. by H. Thiersch, whose discussion of the Group's A festoon, as illustrated in Fig. 1, may be placed common traits is still valid. Below, we focus, above, below or between dilute black lines11. It instead, on the stylistic traits of the three individ- consists of three to eight elements (four to six ual painters, as discussed in Chapters 3-5, respec- being commonest), connected by a single long tively. In each of these chapters, I first list the stem. Each element is composed of a palmette, painter's vases, with the neck-amphorae divided lotus and small horizontal bar between them which, into larger and smaller, followed by any other as if a ring, binds two stem loops (there may also forms the painter may have decorated. The larger be two ‘rings', one above the other). Fig. 2 shows amphorae are arranged according to the painter's the curve of the stem, which may start and end in a early, middle and late periods; within each period, distinctive manner12. The lotus and the palmette are however, the order is the same as that found in usually of unequal height; and therefore the rings ABV and Para5. Then, I describe the painter's dec- are usually at different horizontal levels. The out- orative schemes, favourite subject matter and styl- istic traits in both painting and drawing. It serves little purpose to examine the compositions of the 4 My following article will deal with the remaining five scenes because they hardly differ from painter to painters. painter; evidently they were either influenced by 5 In my lists, details are reported only about the vases not common models or copied from each other6. In found in ABV or Para. 6 Mayer-Emmerling, 162. addition, the inscriptions found on the vases of the 7 For an iconographical study see S. Mayer-Emmerling, Prometheus Painter and the Timiades Painter are Erzählende Darstellungen auf “tyrrhenischen” Vasen (diss. listed in Sections 3.6 and 4.6. Professor C.J. Frankfurt 1982). Ruijgh kindly helped me to read them, and the 8 Pointed-Nose Painter: Berlin F 1712 (ABV 96.12; Add2 25); Fallow Deer Painter: Brussels, Theodor 168 (Kluiver 1992, no. explanation and comment are his; the ‘Notes' 10, figs. 38-47, 66). comprise my marks. 9 BUDS Fallow Deer Painter: New York market (Royal The comment at the end of each chapter on a Athena Galleries, One Thousand Years of Ancient Greek Vases painter mainly contains my arguments regarding from Greece, Etruria & Southern Italy, 8 no. 27); Pointed- Nose Painter: London market (ex Hirschmann G 40, Bloesch the relative chronology as presented in the list of [ed.], Griechische Vasen der Sammlung Hirschmann [Zurich each oeuvre. Chapter 6 concludes the article by 1982], no. 13, 34-37, 96); and Leipzig T 3323, ABV 96.9; Add2 attempting to identify the direct precursors of the 25); Guglielmi Painter: Munich 1433 (ABV 95, 98.37; Para ‘Tyrrhenian' Group and to date the careers of the 36, 37; Add2 26); Paris, Niarchos collection (ABV 102.103, three painters under consideration.
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