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Corpus Vasorum Antiquorum
CORPUS VASORUM ANTIQUORUM DEUTSCHLAND ANTIKENSAMMLUNG DER FRIEDRICH-ALEXANDER-UNIVERSITÄT ERLANGEN BAND 2 UNION ACADÉMIQUE INTERNATIONALE CORPUS VASORUM ANTIQUORUM DEUTSCHLAND ANTIKENSAMMLUNG DER FRIEDRICH-ALEXANDER-UNIVERSITÄT ERLANGEN BAND 2 BEARBEITETVON OLAF DRÄGER MÜNCHEN 2007 VERLAG C.H. BECK DEUTSCHLAND, BAND 84 ERLANGEN, BAND 2 Mit 59Tafeln, 14Textabbildungen und 12 Beilagen. Herausgegeben von der Kommission für das Corpus Vasorum Antiquorum bei der Bayerischen Akademie der Wissenschaften. Das Corpus Vasorum Antiquorum wird im Rahmen des Akademienprogramms von der Bundesrepublik Deutschland und vom Freistaat Bayern gefördert. Photographien: Georg Pöhlein Restaurierungen: Robert Schwab Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar ©Verlag C.H. BeckoHG München 2007 Gesamtherstellung: Kösel, Krugzell Gedruckt auf säurefreiem, alterungsbeständigem Papier (hergestellt aus chlorfrei gebleichtem Zellstoff) Printed in Germany ISBN 978 3 406 56481 9 www.beck.de INHALT Seite Tafel Vorwort...................................................................................... 7 Abkürzungen............................................................................ 9 Attisch schwarzfigurig ............................................................. 13 1-37 Attisch rotfigurig....................................................................... 91 38-44.45,1-3 -
Corpus Vasorum Antiquorum Malibu 2 (Bareiss) (25) CVA 2
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 25 The J. Paul Getty Museum, Malibu, Fascicule 2 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined closed shape, and lids from neck-amphorae ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 2 . [U.S.A. FASCICULE 25] 1990 \\\ LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA (Revised for fasc. 2) Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fasc. 23) Fasc. 1- by Andrew J. Clark. At head of title: Union académique internationale. Includes index. Contents: fasc. 1. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes.—fasc. 2. Molly and Walter Bareiss Collection: Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined open shape, and lids from neck-amphorae 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- . IL J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fasc. 23, etc. NK4640.C6U5 fasc. 23, etc. 738.3'82'o938o74 s 88-12781 [NK4624.B37] [738.3'82093807479493] ISBN 0-89236-134-4 (fasc. -
VII Signatures, Attribution and the Size and Organisation of Workshops
UvA-DARE (Digital Academic Repository) Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC) Stissi, V.V. Publication date 2002 Link to publication Citation for published version (APA): Stissi, V. V. (2002). Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 VII Signatures, attribution and the size and organisation of workshops 123 VII.1 Signatures, cooperation and specialisation The signatures tell us something about more than only the personal backgrounds of potters and painters, individually or as a group. -
The Five Later 'Tyrrhenian' Painters
BaBesch 71 (1996) The Five Later ‘Tyrrhenian’ Painters Jeroen Kluiver 1 INTRODUCTION 2.2 Oeuvre a. Amphorae In this article I deal with the five later ‘Tyrrhenian' artisans – Kyllenios Painter, Castellani Painter, Early period Pointed-Nose Painter, Guglielmi Painter and Fallow 104. GOTHA Z.V. 2477, fragmentary. ABV 101.80; Deer Painter – in the same way that I dealt with the Para 38 [D. von Bothmer] 105. DRESDEN Z.V. 1647 (Dr. 209). ABV 105.1 [D. three earlier ‘Tyrrhenian' painters in my previous von Bothmer] article (1995). 106. ST PETERSBURG 1402. ABV 105.3; Add2 28; For each painter I list the vases (divided into three Bothmer CVA, and in Moore 1972, 39: ‘Prometheus or four periods), describe the decorative schemes, Painter', Bothmer 1977, 264 ‘Timiades Painter' note the subjects and remark on style and other [author] characteristics. The inscriptions are treated in short notes; again Professor C.J. Ruijgh kindly com- Middle period 107. BERLIN F 1704. (Fig. 38) ABV 96.14, 683; Para mented on the meaningful ones, among which the 2 Guglielmi Painter's signature on Louvre E 831 36; Add 25 [D. von Bothmer] 108. BONN 37. ABV 99.58, 684; Para 38; Add2 26; (211). Each chapter contains a section on the Kluiver 1993, 193, fig. 10 [D. von Bothmer] painter's relative chronology. 109. FRANKFORT, UNIVERSITY 136, fragmentary. Two extra sections are inserted, one explaining Para 39; Add2 27; CVA 4, pls. 11-13 [D. von why I delete the four dinoi attributed to the Bothmer] Kyllenios Painter (2.8), the other (3.8) explaining why the amphorae which I call broad-shouldered This is the fourth article in my series on the ‘Tyrrhenian' in my second article (1993) are not included in the Group. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Athenian little-master cups Heesen, P. Publication date 2009 Link to publication Citation for published version (APA): Heesen, P. (2009). Athenian little-master cups. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 2. XENOKLES, XENOKLES PAINTER, MULE PAINTER, PAINTER OF THE DEEPDENE CUP, POTTER AND PAINTER OF LONDON B 425 (nos. 50-92; pls. 13-27) Introduction Of the 41 cups and fragments with Xenokles’ epoiesen-signatures, 27 were known to J.D. Beazley, who assigned them to the potter Xenokles and recognized the hand of the so-called Xenokles Painter on most of them.254 Since then, another nine lip-cups and five band-cups can be added.255 Moreover, two unsigned lip-cups attributed to the Mule Painter can also be considered products of the potter Xenokles. -
Archaeology and Economy in the Ancient World, Bd. 8
Social Network Analysis and Connoisseurship in the Study of Athenian Potters’ Communities Eleni Hasaki – Diane Harris Cline Introduction This article presents a Social Network Analysis (SNA) of the collaborations between Athenian potters and painters of the 7th–5th centuries BC as established by Sir John D. Beazley in the first half of the 20th century AD. In his foundational connoisseurship studies, Beazley identified more than 1.000 potters and painters for over 20.000 black-figured and red-figured vases. His attributions, often critiqued for the opacity of his methodology, have remained largely unchallenged and yet are still central to stylistic analysis of these pots. Our project, entitled Social Networks of Athenian Potters, is the first to apply Social Network Analysis to visualize, quantify, and evaluate these associations and interconnections, moving beyond linear lists of painters and potters and encouraging scholars to obtain a synoptic view of the Athenian Kerameikos. The visualizations of the SNA reframe artisans into their roles as facilitators, bridges, and innovators. Beazley, Connoisseurship, and the Athenian Ceramic Industry The connoisseurship of Attic vase painting of the Archaic and Classical periods is synonymous with the career of Sir John Davidson Beazley, Lincoln Professor of Classical Archaeology at Oxford University. His pioneering research on Athenian vase-painters needs no lengthy introduction.1 Over a series of articles in the first decades of the 20th century and often incorporating other scholars’ attribution studies, he accomplished the Herculean task of attributing several thousands of Athenian pots decorated in black and red figure techniques to over 1.000 hands that he identified. -
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. -
Honorary Shares of Sacrificial Meat in Attic Vase Painting
HESPERIA 78 (2OO9) HONORARY SHARES OF Pages 1-40 SACRIFICIALMEAT IN ATTIC VASE PAINTING Visual Signs of Distinction and Civic Identity ABSTRACT A group of Attic black- and red-figurevases from the late 6th and Sth cen- turies B.C.is decoratedwith scenes that prominently feature legs of meat in iconographiccontexts other than sacrificialbutchering. These leg joints are interpretedas honoraryshares of sacrificialmeat awardedto select individuals at the festivals of the polis; the honoraryshares included more meat than the shares distributedto the general public. Because leg joints were awardedas honoraryshares to the priests who officiated at sacrifices,they came to rep- resent honoraryshares in general. By extension, the leg joints that appearin painted scenes symbolize meritoriousparticipation in city festivals, and thus can be viewed as expressionsof civic identity. In ancient Greece, animal sacrificewas a practicethat honored the gods and brought people together through the sharing of meat.1 It was widespread at the level of the state, which organized large sacrifices during important festivals and distributed meat to the people, as well as in private life. As an integral part of private and public life in ancient Athens, animal sacrifice inspired Attic vase painters, who often depicted various aspects of the sacrificialprocess, such as the procession to the altar,the butchering of the animal, the burning of the part offered to the gods on the altar, and the feasting during which the animal was consumed. Visual representations of sacrifice have received much scholarly attention during the past few decades, particularlywith reference to Athens.2 Drawing on earlierscholarship on the visual representationof sacrifice, this article focuses on a related topic. -
Archaeology and Economy in the Ancient World, Bd. 8
Productivity of Athenian Vase-painters and Workshops Philip Sapirstein Introduction This paper examines the organization of the ancient Athenian pottery industry from a statistical perspective. My foundational research published in 2013 established a previously unrecognized pattern among vases attributed to Attic painters active between 600–400 BC by J.D. Beazley and later scholars.1 A regularity in the numbers of extant vases for each year a painter was active, defined as theannual attribution rate (henceforth AR), is a new tool for studying the economics of ancient painting. The current paper aims to clarify the relationship of the AR, which is based on tallies of firmly attributed works, to the actual lifetime productivity of an ancient artisan, and what this reveals about the total number of painters simultaneously active in the Kerameikos. The conclusions apply the AR concept to whole workshops rather than individual painters. Attribution Rates The inspiration for the AR is the 1959 economic study by R.M. Cook, who posited that Attic vase-painters worked at consistent rates which could be used to estimate total employment in the Kerameikos.2 If one artisan had decorated 3–4 vases per year out of the total of perhaps 40.000 pots that were known at Cook’s time, then about 70 painters must have been active, at least on average, over the 200 years of production. Because Beazley had also designated a large number of individual hands – about 500 from the 5th century BC – Cook thought the population should be higher by the Classical era, perhaps 100–125 painters. -
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. -
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. -
Corpvsvasokvmi Antiqvorvm
VNION ACADEMIQVE INTERNATIONALE CORPVSVASOKVMI ANTIQVORVM RUSSIA POCCH5I THE STATE HERMITAGE MUSEUM FOCY4APCTBEHHMH 3PMHTA)I( ST. PETERSBURG CAHKT-HETEPBYPF ATTIC BLACK-FIGURE DRINKING-CUPS, PART II by ANNA PETRAKOVA <<L'ERMA>> di BRETSCHNEIDER - ROMA RUSSIA - FASCICULE xv THE STATE HERMITAGE MUSEUM - FASCICULE VIII National Committee Corpus Vasorum Antiquorum Russia Chairpersons Professor MIKHAIL PIOTROVSKY, Director of The State Hermitage Museum, St. Petersburg Member of the Russian Academy of Sciences and the Russian Academy of Arts Dr IRINA DANILOVA, Pushkin State Museum of Fine Arts, Moscow Committee Members Professor GEORGY VILINBAKHOV, Deputy Director of The State Hermitage Museum, St. Petersburg ANNA TROFIMOVA, Head of the Department of Greek and Roman Antiquities, The State Hermitage Museum, St. Petersburg Professor EDUARD FROLOV, Head of the Department of Ancient Greece and Rome, St. Petersburg State University IRINA ANTONOVA, Director, Pushkin State Museum of Fine Arts, Moscow Member of the Russian Academy of Education Professor GEORGY KNABE, Institute of the Humanities, Russian State University of the Humanities, Moscow Dr OLGA TUGUSHEVA, Curator, Department of the Art and Archaeology of the Ancient World, Pushkin State Museum of Fine Arts, Moscow ELENA ANANICH, Curator, Department of Greek and Roman Antiquities, The State Hermitage Museum, St. Petersburg Corpus Vasorum Antiquorum. Russia. - Roma: <<L'ERMA>> di BRETSCHNEIDER. - 32 cm. - In testa al front.: Union Academique Internationale. - Tit. parallelo in russo 15: The State Hermitage Museum, St. Peterbsurg. 8. Attic Black Figure Drinking Cups, Part 2. / by Anna Petrakova. - Roma: <<L'ERIVIA>> di BRETSCHNEIDER, 2009. - 70 p., 67 p. di tav. : ill. 32 cm. ((Tavole segnate: Russia da 668 a 734. ISBN 978-88-8265556-3 CDD21.