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Epilykos Kalos
EPILYKOS KALOS (PLATES 63 and 64) N TWO EARLIERPAPERS, the writerattempted to identifymembers of prominent Athenian families in the late 6th century using a combinationof kalos names and os- traka.1 In the second of these studies, it was observed that members of the same family occurredin the work of a single vase painter,2whether praised as kalos or named as partici- pant in a scene of athletics or revelry.3The converse,i.e. that the same individual may be namedon vases by painterswho, on the basis of stylistic affinities,should belong to the same workshop,seems also to be true.4The presentpaper tries to demonstrateboth these proposi- tions by linking membersof another importantfamily, the Philaidai, to a circle of painters on whose vases they appear. The starting point is Epilykos, who is named as kalos 19 times in the years ca. 515- 505, 14 of them on vases by a single painter, Skythes.5Of the other 5, 2 are cups by the Pedieus Painter, whom Beazley considered might in fact be Skythes late in the latter's career;61 is a cup linked to Skythes by Bloesch,7 through the potter work, and through details of draughtsmanship,by Beazley;8 1 is a cup placed by Beazley near the Carpenter Painter;9and the last is a plastic aryballos with janiform women's heads, which gives its name to Beazley's Epilykos Class.10 The close relationshipof Epilykos and Skythesis especiallystriking in view of Skythes' small oeuvre, so that the 14 vases praising Epilykos accountfor fully half his total output. -
Thesis Front Matter
NOTE TO USERS This reproduction is the best copy available. UNIVERSITY OF CALGARY The Prostitute and Her Headdress: the Mitra, Sakkos and Kekryphalos in Attic Red-figure Vase-painting ca. 550-450 BCE by Marina Fischer A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF GREEK AND ROMAN STUDIES CALGARY, ALBERTA APRIL, 2008 © Marina Fischer 2008 ISBN:ϵϳϴͲϬͲϰϵϰͲϯϴϮϲϰͲϲ Abstract This study documents the problematic headdress iconography of Attic Red-figure vase-painting ca. 550-450 BCE. The findings demonstrate that more prostitutes than wives, or any other female figures, are illustrated with the mitra (turban), sakkos (sack) and kekryphalos (hair-net). These headdresses were prostitutes’ common apparel as well as their frequent attributes and social markers. The study also shows that prostitutes were involved in manufacturing of textiles, producing the headdresses on the small sprang hand frames chosen for their practicality, convenience and low cost. In this enquiry, two hundred and thirty (230) fully catalogued and thoroughly analyzed images include twenty (20) such scenes, in addition to two hundred and ten (210) depicting prostitutes wearing the headdresses. This iconography is the primary evidence on which the study’s conclusions are based. ii Acknowledgements I would like to thank the University of Calgary Staff Tuition Support Program for their generous contributions, the Department of Greek and Roman Studies for their consideration and understanding of my demanding schedule, Geraldine Chimirri-Russell for inspiration, Dr. Mark Golden for support, and above all Dr. Lisa Hughes for her thoughtfulness, thoroughness and encouragement. -
Fragments of a Cup by the Triptolemos Painter Knauer, Elfriede R Greek, Roman and Byzantine Studies; Fall 1976; 17, 3; Proquest Pg
Fragments of a Cup by the Triptolemos Painter Knauer, Elfriede R Greek, Roman and Byzantine Studies; Fall 1976; 17, 3; ProQuest pg. 209 FOR ADOLF GREIFENHAGEN on his seventieth birthday TEJI.cX')(TJ TWV TOU S,SaCKaAOV f'eyaAWV SEt7TVWV Fragments of a Cup by the Triptolemos Painter Elfriede R. Knauer N THE SEQUENCE of cups by the Triptolemos Painter, Beazley has I placed a sherd in Bryn Mawr next to four fragments in Freiburg with the remark: "Belongs to the Freiburg frr. (no.62) ?"l This fine sherd has recently been published in the first CV-volume of that collection.2 The authors followed Beazley's lead and tried to establish what had become of the fragments in Freiburg, only to learn that they were lost.3 As Beazley had visited Freiburg in 1924 there was reason to expect a photographic record in the archive in Oxford. This was duly found and is here presented for the first time thanks to the generosity of those in charge of that treasure-house." The judicious analysis of the subject on the interior of the Bryn Mawr fragment (PLATE 3 fig. 2b) can be amended by looking at its back (PLATE 5 fig. 2 a b). The authors take the upright object at the left to be a staff. It is the leg of a stool which joins with one of 1 J. D. Beazley, Attic Red-figure Vase-painters 2 (Oxford 1963) [henceforth ARV] 365,63. S CVA U.S.A. 13, The Ella Riegel Memorial Museum, Bryn Mawr College, Attic Red-figured Vases, fasc.l, Ann Harnwell Ashmead and Kyle Meredith Phillips, Jr. -
The Amazons of Exekias and Eupolis: Demystifying Changes in Gender Roles Marisa Anne Infante Southern Methodist University, [email protected]
Southern Methodist University SMU Scholar The Larrie and Bobbi Weil Undergraduate Research Central University Libraries Award Documents 2017 The Amazons of Exekias and Eupolis: Demystifying Changes in Gender Roles Marisa Anne Infante Southern Methodist University, [email protected] Follow this and additional works at: https://scholar.smu.edu/weil_ura Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Archaeology and Art History Commons, History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Infante, Marisa Anne, "The Amazons of Exekias and Eupolis: Demystifying Changes in Gender Roles" (2017). The Larrie and Bobbi Weil Undergraduate Research Award Documents. 8. https://scholar.smu.edu/weil_ura/8 This document is brought to you for free and open access by the Central University Libraries at SMU Scholar. It has been accepted for inclusion in The Larrie and Bobbi Weil Undergraduate Research Award Documents by an authorized administrator of SMU Scholar. For more information, please visit http://digitalrepository.smu.edu. The Amazons of Exekias and Eupolis: Demystifying Changes in Gender Roles Marisa Anne Infante ARHS 4310 December 14, 2016 2 Abstract In this paper, I will examine the changing gender roles of women as the Athenian government changes from a tyranny in the Archaic period to a democracy in the Classical period by comparing a Black-Figure Amphora, which depicts an image of Achilles Killing Penthesilea, by Exekias and a Red-Figure Column Krater, which depicts an image of an Amazon on Side A and an unidentified figure on Side B, by Eupolis. The creation of democracy was not the universal celebration that it is often praised to be in modern times. -
The Iconography of the Athenian Hero in Late Archaic Greek Vase-Painting
The Iconography of the Athenian Hero in Late Archaic Greek Vase-Painting Elizabeth Anne Bartlett Tucson, Arizona Bachelor of Art, Scripps College, 2006 Master of Art, University of Arizona, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia May 2015 ______________________________ ______________________________ ______________________________ ______________________________ –ABSTRACT– This study questions how Athenian vase-painters represented heroic figures during the late sixth and early fifth centuries B.C. – specifically from the death of Peisistratos in 528 B.C. to the return of Theseus' bones to Athens in 475/4 B.C. The study focuses on three specific Attic cult heroes with a strong presence both in the Greek world and on Athenian vases: Herakles, Theseus, and Ajax. Although individual studies have been published regarding various aspects of these three heroes, such as subject matter, cult worship, literary presence, and social history, the current one departs from them by categorizing, comparing, and contrasting the different portrayals of the three chosen heroes. Using Athenian vases as the primary form of evidence, the current study endeavors to uncover how individual iconography can – or cannot – identify the heroic figure. By using an iconographic approach of looking at attributes, dress, gestures, poses, and composition, a more complete picture of the image of the hero may be understood. Evidence of both the cult of, and importance of, the Athenian hero is stressed both in ancient texts and through archaeological evidence, thus supplemental material is taken into consideration. Illustrations of Greek heroes can be found on a variety of vase shapes of various techniques, and the accompanying catalogue includes almost 300 examples. -
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. -
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. -
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. -
Greek Vase Painting
STATE OF THE DISCIPLINE Greek Vase Painting JOHN H. OAKLEY Abstract degree of emphasis on various aspects such as inter- This article presents a synthesis of the developments in pretation of subject, collecting, typology, cataloguing, the field of Greek vase painting during the last 15 years. chronology, and attribution. Although scholarship I first place various types of publications and fields of continues today in all these areas, more emphasis is inquiry into a historical context and then consider the current state of research in the various subareas. I close being placed on context, trade, shape, the technical with comments on emerging practices and trends in the aspects of production, the history of collecting, and field and some of the major problems that need to be theoretical approaches in interpreting the images— addressed.* especially the so-called “genre” or “everyday life” im- ages—than previously. Each year, hundreds of publications on Greek vase introduction painting appear, almost all of which are collected and The study of Greek vase painting has long held an briefly summarized every two years in the Bulletin Ar- important position in the field of classical archaeology, chéologique: Céramique of the Revue des Études Grecques. with serious studies of Greek painted ceramics begin- This important scholarly resource was initiated in 1960 ning in earnest during the 18th century.1 The term by Henri Metzger and is now continued by a group of itself, Greek vase painting, is interpreted slightly differ- successors under the leadership of Maffre. The most ently by different scholars; some, for example, include recent issue is the joint product of six experts: Bellelli, painted vases from the Greek Bronze Age, while oth- Dupont, Fontannaz, Frère, Maffre, and Siebert.2 Since ers do not. -
The Pottery from the North Slope of the Acropolis
THE POTTERY FROM THE NORTH SLOPE OF THE ACROPOLIS The pottery in question is the harvest of four seasons of excavation on the North Slope of the Acropolis.' Most of it is black-figured and red-figured ware. As the prehistoric pottery has already been described in solm-e detail by Mr. Broneer, nothing of earlier period than Geometric will be included here. At the end of the series the Hellenistic ware really closes the occupation of the site as far as anything of ceramic interest is concerned; the Roman is too scanty and too unimportant to merit inclusion.3 The custom of dropping r& zaXaua over the convenient edge of the Acropolis has been well established by centuries of precedent, to mention no other instances than the clearing of the citadel by the Athenians after the departure of the Persians4 and the further clearing of the hill by m-odern excavators.5 What wonder, then, that the newly- found pottery fragments are related to pieces discovered on the Acropolis during the last hundred years? Ten North Slope fragments join vases from the Acropolis and ' 1931-1934. Reports: Broneer, Hesperia, I, 1932, pp. 31ff.; IT, 1933, pp. 329 ff. First and foremost of all I must thank Dr. Broneer for the opporttunity of describing the fragments, for hiis generous and helpful attitude througlhout the couLrse of tlhis catalogtue, and for several usefuLl criticisms of the text; the authorities of the National Museum at Athens, and in especial Mrs. Semni KarouLsouiand Mr. Theophanides, for their hospitality and kindness during the process of matching the sherds with the fragments from the Acropolis, and for their permission to photograph certain hiitlherto unphotographed Acropolis pieces; the American Schlool of Classical Studies for providing the photographs for the article; Mr. -
Boys, Herms, and the Objectification of Desire on Athenian Sympotic Vases
Boys, Herms, and the Objectification of Desire on Athenian Sympotic Vases JORGE BRAVO University of Maryland, College Park [email protected] There is something faintly ludicrous, to our eyes, about the classical herm: a perfectly formed, virile head of a masculine figure in his prime, usually bearded, rests atop a square, slightly tapering shaft for a body, whose only other features are two square projections emerging where one would expect shoulders, and an erect, complete set of genital organs set at the appropriate height up the shaft1. Anyone who has taught about the herm to a class of undergraduates will hear the ring of truth in William Furley’s assessment of the modern perception of the statue type. What we usually go on to teach our students, however, is the serious importance of the herm for the ancient Greeks, 1 — Furley 1996, p. 13. I delivered parts of this paper on two public occasions: at the Annual Meeting of the Classical Association of the Atlantic States on October 11, 2014, and in the panel «Sexuality in Ancient Art», organized by the Lambda Classical Caucus, at the Annual Meeting of the Society for Classical Studies on January 8, 2016. My work benefitted from the questions and com- ments I received on both occasions, including from Michael Broder, Kate Topper, and Eva Stehle. I also wish to thank the two anonymous reviewers and the editors of EuGeStA for their helpful com- ments and corrections. The weaknesses that remain in what follows are my own. EuGeStA - n°7 - 2017 2 JORGE BRAVO whether as a cult statue of the god Hermes, or as reflected in the narrative of the mutilation of the herms in the course of the Peloponnesian War. -
Corpus Vasorum Antiquorum: the J. Paul Getty Museum, Malibu
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 32 The J. Paul Getty Museum, Malibu, Fascicule 7 This page intentionally left blank UNION ACADEMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J.PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic red-figured amphorae, loutrophoros, pelikai, stamnos, psykter, hydriai, oinochoai, lekythoi, lekanis (lid), fragments of undetermined closed shapes, and white-ground lekythoi RICHARD T. NEER THE J. PAUL GETTY MUSEUM FASCICULE 7 • [U.S.A. FASCICULE 32] 1997 LIBRARY OF CONGRESS CATALOGING—IN—PUBLICATION DATA Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fasc. 23- ) Vol. 1 by Andrew J. Clark. At head of title: Union academique internationale. Includes index. Contents: v. 1. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes. 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- . II. J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fasc. 23, etc. NK4640.C6.U5 fasc. 23, etc. 73 8.3'82*093 8074 s 88-12781 [NK4624.B37] [73 8.3'82*093 8074019493] ISBN 0-89236-134-4 © jpp7 The J. Paul Getty Museum, Malibu, California All rights reserved ISBN O-8923 6-294-4 Typesetting in Bembo VAL, printing, and binding by Stamperia Valdonega, Verona, Italy CONTENTS FOREWORD VII INTRODUCTION ix ABBREVIATIONS xiii III I ATTIC RED-FIGURED VASES III J ATTIC WHITE-GROUND VASES AMPHORAE Panathenaic amphorae (nos.