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The Five Later 'Tyrrhenian' Painters

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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. The first, titled ‘The Tyrrhenian Group: its Origin and the Neck-Amphorae in The Netherlands and Belgium' com- Castellani Painter's list. Chapter 7 concludes with ments on Carpenter 1984 and includes petrographic research my dating of these five ‘Tyrrhenian' artisans. The done by H. Kars: BABesch 67 (1992) 73-109. In the second, two appendices are a List of Subjects and a ‘The Potter-Painters of the Tyrrhenian Group: A Close Look at Concordance with ABV and Para. the Shape' in BABesch 68 (1993) 179-194, I examine the shape, arguing that potter and painter were the same man. The third, titled ‘Early Tyrrhenian: the Prometheus Painter, Timiades Painter, Goltyr Painter' in BABesch 70 (1995) 55- 2 KYLLENIOS PAINTER 103, lists and discusses the work of those painters. This article would never have been written without the patient and stimu- lating criticism of Professor H.A.G. Brijder, to whom I am 2.1 Introduction grateful. I owe warm thanks to Vincent Tosto who improved my English. C.J. Ruijgh kindly helped me to read the inscrip- The Kyllenios Painter's name derives from the tions and commented on them. Antonie Jonges made some inscription on Berlin F 1704 (107): ‘I am Hermes astonishingly useful observations. Michiel Bootsman taught me from Kyllenios'1. The artistic quality of this work to obtain better photographic results and printed my negatives. I am also especially indebted to the following people who is rather low, and even the best scenes are never kindly provided me with information, photographs or permitted innovative. Some elements of the decorative me to publish vases: P. Aureli (Rome), G.J.M. Bartelink scheme and of the style of painting and incising (Nijmegen), R. Blatter (Bolligen), D. von Bothmer (New York), recall the Prometheus Painter and, to a lesser H.A. Cahn (Basle), A. Corsini (Rome), A.M. Esposito (Florence), J.B. Grossman (Malibu), P. Heesen (Amsterdam), Ken'ichi degree, the Timiades Painter. Bothmer 1944, 165, Hirano (Tokyo), M. Jentoft-Nilsen (Malibu), G. Jurriaans-Helle notes: ‘characteristic are his stiff warriors', which (Amsterdam), K. Knoll (Dresden), M.B. Moore (New York), is only one of the painter's many distinctive stylis- F. Nicosia (Florence), A. Pasquier (Paris), B.B. Rasmussen tic traits, as we shall see below. (Copenhagen), K. Schauenburg (Kiel), M. Sguaitamatti † (Zurich), V. Slehoferova (Basle), Y. Tuna-Nörling (Heidelberg) and In my estimation, the Kyllenios Painter's oeuvre M. Vickers (Oxford). Further, I gratefully acknowledge the finan- comprises 18 amphorae, five of which are attrib- cial support of the Allard Pierson Foundation, Amsterdam; the uted by me. Excluded are four amphorae previ- Netherlands Organization for Scientific Research (NWO), the ously assigned to the Kyllenios Painter as well as Hague; and in Rome: the Dutch Institute and the Consiglio the dinoi and the stand attributed to him by D. v. Nazionale delle Ricerche. The photographs of the Kyllenios Painter's amphora 112, now in a Swiss private collection (Figs. 5-6) Bothmer, H.A. Cahn and J. Frel (see Section are by D. Widmer (Basle); all other photographs are by the author. 2.8). 1 For the inscriptions see Section 2.6. 1 110. PARIS, LOUVRE C 10506, fragmentary. Para 39; 2.3 Decorative scheme in Add2 27, ‘Louvre C 10505' is incorrect [D. von Bothmer] The neck decoration is uniform: a palmette-lotus 111. PARIS, LOUVRE C 10703, fragmentary. Para 41 festoon on each side, very often with a line above [D. von Bothmer] and below (Figs. 5-6)2. The lines bordering the 112. SWITZERLAND, PRIVATE COLLECTION. bottom of the shoulder frieze always run somewhat (Figs. 5-6, 37) H. 39.0; two-reeded handles. Neck: above the point of the body's greatest diameter. palmette-lotus festoons (A, 5; B, 5); IA, Achilleus There is hardly any variation below: always three ambushes Troilos, nonsense inscriptions; IB, Four 3 horsemen to r.; below, 3 animal friezes; lines: 2-2- animal friezes . 2-2; rays. Cat. H.A. Cahn, Schweizerische Kunst- Very typical are the many lines between the friezes: und Antiquitätenmesse 1993, Zürich-Oerlikon, 17- groups of two or three being more common than 25 April 1993, 4 [author] single lines (Figs. 1-4)4. If there is only one group 113. PARIS, LOUVRE C 12069 (Boîte A), ca. 8 frr. of three lines it is always under the main frieze. possibly from one neck-amphora. a. 10.0 x 9.5: The diced bands on two amphorae attributed to the parts of friezes I (female foot, lower leg of warrior) Kyllenios Painter are not the earliest occurrences of and II (panther, ram; lines: 2); b. 5 x 6: IA this feature in the ‘Tyrrhenian' Group5. The num- (tongues, Athena, Herakles' head, female head); ber of base-rays is between 15 and 27, averaging c. parts of IA (horses, standing woman, chariot, 6 wreath, lower part of woman clad in peplos, hold- about 20 . ing a wreath) and II (siren head; lines: 2); d. man's head facing woman's; 2 standard handles. Moore 2.4 Subjects and decoration 1972, 39, no. A 188; LIMC V.2 s.v. ‘Herakles' 2880 [D. von Bothmer] The subject matter is dull, and the Kyllenios 114. PARIS, LOUVRE C 12072, frr. (ex C 11301). Painter's preferences are few and weak. Seven Neck: palmette-lotus festoons (A, B); IA, Woman's amphorae show a fight on the obverse, each with head, horse's leg, warrior's leg; IB, Horsemen; three pairs of Greeks, as in Fig. 1. Elsewhere lines: 2. Moore 1972, 39, no. A 187; Bothmer Herakles is seen fighting Nessos or the Hydra, or 1977, 264 [D. von Bothmer] freeing Prometheus. Once, Athena stands behind him (Fig. 7), while he holds a sword in one hand Late period and a scabbard in the other one, facing a huge ram 115. CARLSRUHE B 2591. (Fig. 39) ABV 97.29; Add2 and several hoplites who stride towards him; the 26; Kluiver 1993, 192, fig. 3d [H. Mommsen] meaning of this scene is enigmatic. Achilleus and 116. LONDON, BRITISH MUSEUM 1847.8-6.26 Troilos occur on a few other vases, e.g. the (B 48). ABV 100.70; Para 38; Add2 27 [D. von Bothmer] amphora in Fig. 5. 117. PARIS, LOUVRE E 836. (Figs. 1-4) ABV 100.75 On the reverse, the horse-race is a favourite theme [D. von Bothmer] (Figs. 2, 6). The sporting scenes on 116 are interest- 118. BRUSSELS A 715. ABV 103.109; Add2 27; ing: they include wrestlers, a spear thrower, a jumper Kluiver 1992, no. 5, figs. 17-22, 61 [author] with weights, a discus thrower and several trainers. 119. PARIS, LOUVRE C 10509, fragmentary. Para 40; The duel on the reverse of 104 is unique in the Group Add2 28 [H. Mommsen] because each of the two onlooking mounted warriors 120. PARIS, LOUVRE C 10516, fragmentary. (Fig. 7) holds the horse of one of the combatants. Lastly, Pres. H. 22.0. IA, Athena, Herakles, ram, hoplites; the galloping centaurs on 105 and the marching IB, Komos, nonsense inscriptions; below, 3 animal friezes; lines: 2-2-1-? Unpublished [author] hoplites on 118 and 119 seem to be thematically connected with the scenes on the other side. b. Probably by the Kyllenios Painter In the lower friezes, panthers and sirens are the most popular animals; there are also fair numbers Only an inaccurate drawing remains of the obverse of ram, sphinx, swan, flying eagle, ibex, he-goat, shoulder scene boar and cock. Uncommon creatures are the horse- 121. ONCE IN MILAN, VIDONI COLLECTION. ABV 7 97.30; Add2 26 [author] cock (108), bull, lion and water bird . c. Reattributed amphorae (see Section 2.8 for the dinoi) 2 E.g. 107, 108, 112. — HOBART 59. Castellani Painter (173) 3 Festoon-filled friezes do not occur; the lower body is never solid black.
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