Babesch Nieuw Nummer Leeg

BABESCH 89 (2014), 1-25. doi: 10.2143/BAB.89.0.3034667 New attributions to the Sappho-Diosphos Painters’ workshop A group of black-figure kyathoi reconsidered Delphine Madina Tonglet Abstract* This paper proposes to attribute, for the first time, three Attic kyathoi to the Sappho Painter and gathers together other vases that may belong to this late black-figure workshop (end of the 6th- beginning of the 5th century BC). It further confirms through the study of figured decoration and shape that an important part of Attic kyathoi manufactured in this workshop was a legacy left by Psiax, a hypothesis already suggested for a few pieces by C. Jubier-Galinier. A study of shape makes it possible to group vases which would not be comparable on stylistic grounds alone, and it reinforces previous stylistic comparisons of figured decorations. It also points out the importance of the potter’s work in the organization and understanding of Attic ceramic workshops. À la mémoire de mon ami Jérôme Andronikos INTRODUCTION** theless, it seems now possible to dissociate several Attic kyathoi from Nikosthenes’ workshop From the 19th century onwards, stylistic studies of and therefore, explain the important typological Attic figured vases have been the main approach difference between the distinctive Nikosthenic for understanding and defining Athenian work- profile and the rounded shapes of the later prod- shops. However, another methodology based on ucts.5 vases’ morphology and potter work has already The Sappho and Diosphos Painters were late shown its efficacy in the pioneering works of black-figure craftsmen, whose workshop flour- C.H.E. Haspels and then of H. Bloesch. Later, this ished at the end of the 6th century BC, at a time meth odology has been developed by D.C. Kurtz when the new red-figure technique was already on lekythoi, H.A.G. Brijder on Siana cups, J. Euwe dominant in the Kerameikos. They are usually on Nolan amphorae and E.A. Mackay on Exekias’ considered to be the disciples of Psiax. Their production.1 products share similar shapes - lekythoi, alabastra, This approach, based on the analysis of drawn mastoi, skyphoi and plates - as well as a preference profiles, combined with the classical stylistic and for the white-ground technique and other stylis- iconographic study, allows for the first time the tic and iconographic features.6 J.D. Beazley origi- attribution of kyathoi to the Sappho Painter and his nally defined the workshop as based on the coop- workshop. Though archaeological finds of Greek eration of two painters, the Sappho and Diosphos pottery workshops are lacking for the archaic Painters, as two distinct painting styles can be period, it has been shown that this combination recognized on lekythoi of very similar shapes. of stylistic, iconographic and morphologic stud- Therefore, Beazley inferred that these two painters ies enable us to detect craftsmen connections and were working for a common craftsman, identified to approach their organization in different work- as the Diosphos potter, the maker of the lekythoi shops (intended as physical places), where sev- of DL and of Little-Lion Classes.7 eral painters could work around one or several More recently, C. Jubier-Galinier has shown potters, or where craftsmen were processing the that a minute analysis of the lekythoi (the most sig- entire chaîne opératoire of their production.2 nificant shape of the workshop) and their profiles According to Kurtz, Psiax was among the best demonstrates the involvement of two potters’ and most influential painters of Attic kyathoi.3 hands, which coincide with the two painting This is often obscured by the ‘fame’ attributed to styles already identified by Beazley.8 For both Nikosthenes’ kyathoi production, primarily in M. classes of lekythoi, it is possible to observe coin- Eisman’s important work on Attic kyathoi.4 Never - ciding morphological features (articulation, pro- 1 portions, etc.), secondary decoration and figured technique is black-figure on white-ground with style. Jubier-Galinier concludes that the workshop details in added white and red paint. was composed of two main craftsmen who con- The central scene represents a woman sitting trolled the entire chaîne opératoire: the Sappho and and playing the lyre in front of a dancing woman Diosphos Potters-Painters. At the same time, sec- who holds krotala; while under the handle two ondary craftsmen, the so-called ‘companions’,9 doves are painted with unfolded wings. The nu - also manufactured and decorated lekythoi of the merous and careful incisions as well as the poly- same types (Little-Lion Class, Group Hound and chromy of the painting and the detailed ornamen- Hare).10 With the disappearance of the Sappho tation, recall Psiax’s style. However, as already Painter, the workshop became dominated by the noted by Iozzo, the kyathos is not painted by Psiax Diosphos and Haimon Potters-Painters, until the himself,14 the drawing of the faces and hair being former disappeared and the latter took over the much different from his usual style, with simpler workshop.11 The study of the shape of other vases and thicker incisions. such as the kyathoi further confirms this frame- On the basis of stylistic and morphological anal - work and points to several connections between yses, it is possible to associate this vase with two potters and painters within the Athenian Kera - other kyathoi: an unpublished kyathos in Munich meikos. (Cat. 2, pl. 1) and the fragments of another vase (Cat. 3, pl. 1), recently found among unpublished 1. NEW ATTRIBUTIONS TO THE SAPPHO PAINTER (plate fragments of the Castellani Collection. 1, table 1)*** The kyathos in Munich (Cat. 2, tbl. 1) is not well known, since only one image is available in Eis - An Attic kyathos in the Vatican Museums, recently man’s dissertation.15 It shares several elements published by M. Iozzo, inspired the present study with the Vatican kyathos: the white-ground tech- (Cat. 1, pl. 1).12 While close to productions from nique, the style, the big eyes decoration of circles, Psiax’s circle, the vase combines morphological the conical foot and a similar size. Yet, the gen- features from both Psiax’s kyathoi (Cat. 4-5, pl. 2) eral profile of the bowl is only slightly different. and from later examples of the shape which seem The wall is broadly open and oblique, slightly to enter in the productions of the Sappho-Dios - flaring at the rim. The profile bulges delicately phos Painters’ workshop. towards the base and the bottom narrows Although the handle and several fragments of towards the foot. The lower part does not have the wall are missing, the profile of the Vatican the ‘bottleneck’ shape of Cat. 1. The foot spreads kyathos (Cat. 1, tbl. 1,) is well preserved.13 The wall directly from the bowl. It is composed of a of the upper part is concave, while a delicate bulge slightly concave conical part and a thick vertical swells the lower part. The convex bottom narrows section. The handle is lost. to a ‘bottleneck’ shape with a clear articulation The secondary decoration on the lower part and separating the bowl from the foot. The conical the foot is similar to that of the Vatican ky athos. The foot is made of a flaring ring (with a slight con- reserved bottom under the foot shows a central vex undulation) and a thick vertical section. black dot surrounded by a thick black ring. The secondary decoration is standard for a ky - The figured decoration follows the standard athos: the lower part of the bowl is black glazed scheme: two handle figures, two big eyes (with and highlighted by two reserved lines where the the same circles as on Cat. 1) and a central scene. wall is bulging. The upper spreading part of the Unlike the previous vase, no vegetal branches foot is black, while its vertical edge is reserved. decorate the background of the scene. Underneath the foot, the resting surface and the At the front, Theseus attacks a kneeling Mino - bottom of the bowl are reserved but the oblique taur, holding a sword in his right hand. Three par- section between them is painted black. On the allel blood spatters drop from the sword. The beast bottom, a black dot within a circle appears, in - tries to defend itself, brandishing a stone with the scribed within a larger black circle (same under- left hand. In an attempted escape, its legs are foot type as pl. 2, c). turned to the right. The hero wears a short chiton, The figured decoration follows a standardized an animal skin, and his hair is tied in a krobylos. scheme: two figures flanking the handle, large The Munich kyathos features an element rarely male eyes (with an external white circle, a black found on Attic black-figure kyathoi:16 an inscrip- circle and a central red dot for the pupil) and a tion. Indeed, hπαςκα. λ. ς is painted with black frontal scene. Between the eyes, some dotted glaze along the rim, on the frontal side of the branches adorn the background of the scene. The bowl. Behind Theseus’ head, above the large eye, 2 we can read: h πας. Then, above the Minotaur’s The three kyathoi within the production of the head we can easily guess the word κα. λ. ς, though Sappho Painter (plate 1, table. 1) the alpha, lambda and sigma are slightly erased.17 Two black-skinned sphinxes surround the han- There is no doubt that the three kyathoi described dle. Their shoulders are decorated with red dots, above are painted by the same hand and, in the while a row of small white dots runs down the following paragraphs, I propose to attribute them median band of the wings.

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