DOCSLIB.ORG

The Journal of Hellenic Studies, Vol. 40, Part 1 (1920), Pp

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Journal of Hellenic Studies, Vol. 40, Part 1 (1920), Pp Review Author(s): L. D. C. Review by: L. D. C. Source: The Journal of Hellenic Studies, Vol. 40, Part 1 (1920), pp. 124-126 Published by: The Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/625434 Accessed: 26-06-2016 19:37 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Society for the Promotion of Hellenic Studies, Cambridge University Press are collaborating with JSTOR to digitize, preserve and extend access to The Journal of Hellenic Studies This content downloaded from 128.42.202.150 on Sun, 26 Jun 2016 19:37:37 UTC All use subject to http://about.jstor.org/terms NOTICES OF BOOKS. Attic Red-Figured Vases in American Museums. By J. D. BEAZLEY. Pp. x + 236, 118 illustrations in text. Cambridge, Mass.: Harvard University Press. London: Humphrey Milford, Oxford University Press, 1918. This book is the result of a visit to the United States in the course of which the author was able to examine at first hand practically all the red-figured pottery in American Museums. He selects for discussion, or at least for mention, some four hundred pieces, about half of which are in Boston and a quarter in 1New York, while the rest are scattered through a dozen smaller collections belonging chiefly to universities and colleges. Considered merely as a report on vases in America, which, by reason of their location and the lack up to the present of adequate catalogues, have remained inaccessible to the majority of scholars, the book performs a service of very great value. But this report, which furnishes an excuse for the publication and justifies the title, is in reality only a by-product. The author's purpose in studying the vases was, as he tells us, 'to try to find out who painted each.' And, he continues, 'the greater number of the painters being both anonymous and hitherto unknown, I have been obliged to write down lists of their works whether preserved in Europe or in the United States.' Furthermore, 'Most, one might say, of the archaic, and many of the later painters in red-figure, are represented in America by one or more pieces. It follows that the vases mentioned in this book form no inconsiderable fraction of extant red-figured vases.' The book thus becomes a preliminary study for a complete history of Attic red-figured vase painting. The materials for such a history-the extant vases-might be compared to the pieces of a gigantic picture puzzle which has been in course of reconstruction during the last half- century. The main outlines of the picture had long been known; the majority of the pieces had been placed approximately where they belong; Mr. Beazley's predecessors, such as Klein, Hartwig, Furtwlangler, Hauser, had fitted many pieces together into groups based on potters' and painters' signatures, on KaXar names, and to a limited degree on style; Mr. Beazley himself had filled in large gaps by his identification of fourteen anonymous masters on purely stylistic grounds. Now, following the same method, he brings to light at one stroke no less than fifty more unknown painters, besides furnishing revised and augmented lists of the works of his fourteen anonyms, and much needed new arrangements of the groups previously put together. This is a sensational achieve- ment, and like all sudden steps forward in any branch of human knowledge it will doubtless not meet at first with universal acceptance. There will be talk about the impossibility of success in such an attempt, about the waste of time on microscopic researches which are not worth while, about faulty methods. The only test of a method, however, is the results achieved by following it. And those to whom, thanks to the author's earlier studies, the style of some of the nameless masters who decorated large vases in the ripe archaic period has become as familiar as that of any of the traditional 'Big Four,' will follow with equal fascination and confidence the new trails which he has blazed. It must be admitted that the 'Morellian method' which he employs has its dangers, and it is a matter for congratulation that the ground has been so thoroughly 124 This content downloaded from 128.42.202.150 on Sun, 26 Jun 2016 19:37:37 UTC All use subject to http://about.jstor.org/terms NOTICES OF BOOKS 125 covered in the present book, leaving comparatively little to be gleaned by less competent investigators. That Mr. Beazley himself possesses the necessary qualifications-complete command of the vast literature, intimate first-hand acquaintance with a very large proportion of the extant vases, and a marvellously sensitive eye for detecting minute differences of style-is apparent on every page of the book. Whatever revisions of single attributions may be necessary, his main results will stand. And the way has been cleared for a complete history of this branch of Greek art, in which details can be subordinated and the important features of the picture receive their due emphasis. The book embraces the whole development of red-figured painting down to the close of the fifth century, but most of the space is fittingly devoted to the masters of the archaic style. In the chapters on the early archaic period the most intceresting figures are Oltos, who appears in quite a new light with fifty-two vases to his credit, and ' the dainty Epiktetos' of whom the author pithily remarks : 'You cannot draw better, you can only draw differently.' Hartwig's Chachrylion vanishes: the vases from the pottery owned by him are divided among three painters. Similarly 'the style of Pamphaios' is shown to be a meaningless phrase : there are vases from his factory which bear the signature of Epiktetos as painter ; others are by Oltos; still others are from the hand of a nameless artist who worked for Nikosthenes as well. By distinguishing the different styles, and by collecting the works of the anonymous artist whom he calls after his masterpiece 'the painter of the London Sleep and Death,' Mr. Beazley brings order out of chaos. A brief chapter is devoted to the painters Euphronios, Phintias and Euthymides, who are ill represented in America. The Euphronian problem would demand a book by itself. Mr. Beazley in addition to his attributions of fourteen vases to Euphronios states what pieces he would assign to the 'Panaitios Master ' evolved by Furtwiingler, and distinguishes from these the works of [Ones]imos whom he regards provisionally as a separate artist. The former is admirably represented in America by ten vases out of a total of thirty-two, eight being in Boston. In the same collection are also some fine examples of the work of the Brygos painter, to whom seventy vases are given. Two imitators of the latter, the 'Berlin Foundry Painter' (Hartwig's 'Diogenes Master') and the 'Painter of the Paris Gigantomachy' are clearly differentiated from their master and from one another. The author's important contributions to our knowledge of the painters of large vases in the ripe archaic period are familiar to readers of this Journal. The works of the Berlin painter are brought up to ninety-nine, those of the Kleophrades painter-' who may be said to play a kind of Florentine to the Berlin painter's Sienese,' and who, 'for the giant power of his standing or moving figures has not quite his equal among vase painters '-now number about fifty; those of the Pan painter are increased to fifty-three. Some new painters of this class make their ddbut in the present book, one of the most interesting being the 'Flying Angel painter,' so called after his picture of a silen holding his small son on his shoulder, on an amphora in Boston. Furtwangler's 'Penthesilea Master,' a painter of strong individuality but of very uneven merit, is represented in America by two or three excellent pieces and by many others which 'present a dreary spectacle of talent commercialized.' It is interesting to note that these American examples were studied independently by Miss Swindler and by Mr. Beazley, and that their lists agreed very closely. A similar coincidence occurred in the case of the Villa Giulia painter, Frickenhaus in his Lenrienvasen ascribing to one hand fifteen vases, thirteen of which Mr. Beazley included in his list. The period of the developed free style produced one painter of the first rank--the Achilles Master, whose works in red-figured and in poly- chrome technique Mr. Beazley has already collected in an article in this Journal. From this time on the art rapidly degenerates, the monotony being relieved occasionally by such figures as the 'Painter of the Boston Phiale,' the 'Lykaon Painter,' and the 'Kleophon Painter,' until the line which began with Andokides dies out ingloriously with Meidias. It is a remarkable thing that a book composed largely of lists which are intended for the specialist should make such interesting reading. One hesitates between admiration of its brevity and regret that the author has not given us more of his happy characterizations This content downloaded from 128.42.202.150 on Sun, 26 Jun 2016 19:37:37 UTC All use subject to http://about.jstor.org/terms 126 NOTICES OF BOOKS of the various artists and more longer passages such as that in which the innovations brought in by Euphronios, Phintias and Euthymides in the rendering of the human form are described (p.
Load more

Recommended publications
  • Veiling, Αίδώς, and a Red-Figure Amphora by Phintias Author(S): Douglas L
    Edinburgh Research Explorer Veiling, , and a Red-Figure Amphora by Phintias Citation for published version: Cairns, D 1996, 'Veiling, , and a Red-Figure Amphora by Phintias', Journal of Hellenic Studies, vol. 116, pp. 152-7. <http://www.jstor.org/stable/631962> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Journal of Hellenic Studies Publisher Rights Statement: © Cairns, D. (1996). Veiling, , and a Red-Figure Amphora by Phintias. Journal of Hellenic Studies, 116, 152-7 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 01. Oct. 2021 Veiling, αίδώς, and a Red-Figure Amphora by Phintias Author(s): Douglas L. Cairns Source: The Journal of Hellenic Studies, Vol. 116 (1996), pp. 152-158 Published by: The Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/631962 . Accessed: 16/12/2013 09:19 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
    [Show full text]
  • 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.
    [Show full text]
  • Painted and Written References of Potters and Painters to Themselves and Their Colleagues
    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 VIII The magic mirror of the workshop: painted and written references of potters and painters to themselves and their colleagues 145 Signatures and pictures of workshops are not the only direct references to themselves which Greek potters and pot-painters have left us.
    [Show full text]
  • Hippokrates Son of Anaxileos, Whose Name Appearson Ostraka of the 480'S (P1
    HIPPOKRATESSON OF ANAXILEOS (PLATES 74-76) rT5HREE ATTICBLACK-FIGURED VASES of the penultimatedecade of the 6th century bear the kalos name Hippokrates.1A fragmentaryfourth has PATEEKA, for which Beazley proposed the restoration HIHOKPATEXKAAO.2 The four are as follows: 1. Hydria, London B331. ABV, p. 261, no. 41. P1. 74:a. 2. Neck-amphora,Rugby 11. ABV, p. 321, no. 9. Pls. 75, 76:a. 3. Bilingual amphora, Munich 2302. ABV, p. 294, no. 23 and ARV2, p. 6, no. 1. P1. 76:b. 4. Lekythos fragment, Athens, Akr. ARV2, p. 8. Unpublished. All four seem to belong within a fairly small circle of contemporaryartists. No. 1 is in the manner of the LysippidesPainter, and No. 2 is described by Beazley as "some- what recalling" the same painter.3No. 3 is by Psiax, and No. 4 was connected with Psiax by Beazley on the basis of shape as well as the inscription.Psiax painted two vases for the potter Andokides,4who also collaboratedwith the LysippidesPainter.5 In 1887, F. Studniczka first proposed that Hippokrates should be identified as a member of the Alkmeonid family, son of Megakles II and Agariste, and brother of Kleisthenes the legislator.6He is also known to us as the father of Megakles IV, the victim of the second ostracism, in 486 (AthenaionPoliteia, 22.5). Otherwise, nothing is known of Hippokrates'own career. Studniczka's suggestion has been adopted by all subsequent scholars.7 A second Alkmeonid Hippokrates,active in the same period, is now known from several ostraka I I would like to thank ChristophClairmont, who read a draft of this paper, and the journal's-reader for helpful suggestions.
    [Show full text]
  • Three Women Sharing a Mantle in 6Th Century BCE Greek Vase-Painting: Plurality, Unity, Family, and Social Bond
    arts Article Three Women Sharing a Mantle in 6th Century BCE Greek Vase-Painting: Plurality, Unity, Family, and Social Bond Valérie Toillon Département d’histoire de l’art et d’études cinématographiques, Université de Montréal, Montréal, QC H3T 1J4, Canada; [email protected] Received: 30 May 2019; Accepted: 22 October 2019; Published: 25 October 2019 Abstract: The motif of three women sharing the same mantle is pictured on about a dozen vases dating from the first half of the sixth century BCE. Among these vases, the so-called “François Vase” and a dinos signed by Sophilos (now in London, British Museum) are of particular interest. The wedding of Thetis and Peleus is pictured on both vases. This theme is well-adapted to the representation of a procession of deities in which the Charites, Horai, Moirai, and Muses take part. The main feature of these deities is a shared mantle, which covers and assembles them, emphasizing that these deities are plural by definition. The main study on this iconographical theme remains that by Buchholz, who documented most of the depictions of the “shared-mantle” in ancient Greek vase-painting and small terracottas. The shared-mantle motif has been interpreted successively as a reference to the sacred peplos (in relation to the wedding), a simplification from the painter to avoid painting all the mantles, a sign of emotional/sexual union, a religious gesture, and a depiction of choruses. The present study aims to consider in more detail the “shared-mantle” as an iconographic sign that involves the idea of community, shared identity, and emotional bond.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 7Jf4hereis a Small Red-Figuredstemless Cup in London(B.M
    THE "KOTTABOS-TOAST" AND AN INSCRIBED RED-FIGURED CUP (PLATES 97-100) 7Jf4HEREIS a small red-figuredstemless cup in London(B.M. 95.10-27.2)decorated inside and out with eight symposiastssinging, making music, conversing,and playing kottabos.1 Their song and conversationis renderedby inscriptions: in the tondo (retrograde;P1. 97:a) fO All tY ErTAI 0- on Side A (boustrophedon;P1. 97:b) A 1%LE71- 1 We are grateful to B. F. Cook for permission to study the cup and D. Williams for assistance at the British Museum. We wish to thank T. J. McNiven, 0. Murray, W. J. Slater, and especially H. R. Immer- wahr for adviceon various aspectsof this paper, E. R. Malyon for the drawing of Figure 1, and F. Lissarrague for permission to use his drawing for Figure 2. F. W. Hamdorf of the Munich Antikensammlungenand B. Tailliez of the Musee du Louvre graciouslyundertook to providefor our specificphotographic needs. Both authors gratefully acknowledge the financial assistance of the Social Sciences and Humanities Research Council of Canada. Works frequentlycited are abbreviatedas follows: Barron = J. P. Barron, "ReligiousPropaganda of the Delian League,"JHS 84, 1964, pp. 35-48 Beazley Addenda2 = T. Carpenter, Beazley Addenda. Additional References to ABV, ARV2 and Parali- pomena, 2nd ed., Oxford 1989 Hartwig = P. Hartwig, Die griechischenMeisterschalen, Stuttgart/Berlin 1893 Herzog = R. Herzog, Die Umschriftder dlterengriechischen Literatur in das ionischeAlphabet, Basel 1912 Immerwahr, 1990 = H. R. Immerwahr,Attic Script:A Survey, Oxford 1990 Jacobsthal, 1912 = P. Jacobsthal, Gottinger Vasen nebst einer Abhandlung mit Yv,L7rocTtaKa(AbhGott XIV, No. 1), Berlin 1912 Jahn = 0.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Archaic Relief Sculpture 550-490 B.C.E
    Archaic Relief Sculpture 550-490 B.C.E. Francois Vase – “A Dictionary of Mythology” Attic, Black Figure 580-70 B.C.E. Allied Invasion, Sept. 9, 1945 Foce del Sele, Italy Orestes Murders Aegisthus Herakles Wrestles Antaios Foce del Sele ca. 550 (Paestum Museum) Herakles Steals Tripod from Apollo Herakles Captures Kerkopes Siphnian Treasury at Delphi 525 BCE Delphi Island of Siphnos Delphi Siphnian Treasury 525 BCE Looking toward port of Itea From the Temple of Apollo (Delphi) Looking up toward the Temple of Apollo (Delphi) Temple of Apollo, Delphi Sacred Way – Treasury of Sikyon (Doric, just before 548 BCE) and beyond it the Treasury of the Sacred Way ascending past Siphnians (Ionic, 525 BCE) the treasuries and toward the Temple of Apollo Siphnian Treasury 1. Master A (earlier) – Two Plains (above) 2. Master B (later) – Movement in Space (below) Siphnian Treasury (Delphi) 525 BCE (based on information from Herodotus) East Frieze by “Master B” 1) Gods on Olympos, 2) Battle Scene Juxtaposed in Homeric “Parataxis” Siphnian Treasury, East Frieze Remnants of Paint Siphnian Treasury, East Frieze Foundry Ptr 490-480 BCE, Euphronios ca. Wurzburg 530 BCE (right) Master B – North Frieze Battle of Gods and Giants Euphronios 530 BCE Villa Guilia, Rome Hermonax Basel 85.483 470-440 BCE Foundry Painter ca. 480 BCE A “Bi-Lingual” Amphora c. 520 BCE The Sacred Way, Delphi Treasury of the Athenians ca 490 BCE Statue Base Athenian Treasury – Statue Base Athenian Treasury (Delphi) ca. 490 BCE Theseus & Athena (left) Theseus & Antiope (below & right) ( Athenian Treasury (Delphi) ca. 490 BCE Painter of Tarquinia C 3984 Andokides Painter (Florence 3797) 550-525 BCE 525 BCE Berlin Painter 500-490 Berlin Painter 490-480 Ok, That’s It! Birth of Dionysos Alkimchos P c.
    [Show full text]
  • Style and Politics in Athenian Vase-Painting
    STYLE AND POLITICS IN ATHENIAN VASE-PAINTING The Craft of Democracy, ca. 530–460 B.C.E. RICHARD T. NEER University of Chicago published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb22ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Richard T. Neer 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typefaces Electra 10.5/13.5 pt., with Weiss and Linotype Decoration Pi 1 System Quark XPress™ [hisbnt] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Neer, Richard T. Style and politics in Athenian vase-painting / Richard T. Neer. p. cm. – (Cambridge studies in classical art and iconography) Includes bibliographical references and index. isbn 0 521 79111 1 1. Vases, Greek. 2. Vase-painting, Greek. 3. Politics in art. I. Title. II. Series. nk4645 .n44 2001 738.3′82′09385-dc21 2001035049 Publication of this book has been aided by a grant from the Millard Meiss Fund of the College Art Association. isbn 0 521 79111 1 hardback CONTENTS List of Figures ᇼ xiii Abbreviations ᇼ xvii Preface ᇼ xxi introduction.
    [Show full text]