DOCSLIB.ORG

Corpus Vasorum Antiquorum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 Attisch, Varia.............................................................................. 109 45,4-11.13 Varia ...................................................................................112 45,12 Attisch weißgrundig.................................................................. 113 46.47 Attisch schwarzgefirnißt........................................................... 119 48.49.1- 2 Böotisch schwarzgefirnißt........................................................ 121 49,3 Lakonisch schwarzgefirnißt...................................................... 122 49,4. 5 Euböisch..................................................................................... 123 50.1- 4 Lakonisch schwarzfigurig.......................................................... 124 50,5.6 Böotisch schwarzfigurig........................................................... 125 50, 7-10; 51 Italisch geometrisch.................................................................. 128 52.53 Pontisch...................................................................................... 132 54,1.2; 55,1-3 Etruskisch schwarzfigurig.......................................................... 136 54, 3-5; 55,4-7; 56-58. 59,1-6 Kampanisch schwarzfigurig .................................................... 143 59,7-10 Verzeichnisse I Darstellungen.................................................................. 144 II Inschriften und Graffiti................................................... 147 III Technische Besonderheiten.......................................... 148 IV Fundorte......................................................................... 148 V Vorbesitzer..................................................................... 149 VI Maler, Töpfer, Gruppen................................................... 151 VII Konkordanz der Inventarnummern............................... 152 Beilagen 1-12 Tafeln 1-59 VORWORT Im Mittelpunkt des zweiten Bandes Erlanger Vasen des Corpus Vasorum stehen schwarzfigurige Gefäße. Erfaßt sind lakonische, böotlsche und etruskische sowie vor allem attische Stücke. Wei­ ters sind auch attisch schwarzgefirnißte Knickwandschalen, attische Lekythen verschiedener Form und Verzierung und Tonalabastra aller Klassen In die Vorlage einbezogen. Großflächig gefirnißte Vasen mit tongrundigem Ornament und ohne Figürliches sind Ins Schwarzfigurige eingereiht, falls sie Formen zeigen, die für diese Ware typisch sind; zu dieser sogenannten Black- pattern-Ware s. Kurtz, AWL 115-128. Ebenso sind schwarzfigurige Stücke mit weißem Überzug dort eingeschlossen, siehe hierzu jetzt zusammenfassend J. R. Mertens In: Colors of Clay 186-193. Über die Geschichte der Sammlung wurde Im Vorgängerband berichtet. Die Herkunft zahlrei­ cher Erlanger Gefäße Ist, wie bekannt, nicht mehr bestimmbar. Sofern keine Angaben zur Her­ kunft erfolgen, kann In der Regel von einer Zugehörigkeit zu den Altbeständen der Sammlung ausgegangen werden, die weitgehend erst mit großem zeitlichen Abstand von der Erwerbung nachträglich Inventarisiert wurden. Die In den älteren Berichten vom Umfang her nicht definierte Gruppe der 1887 aus dem Nachlaß Ludwigs I. übermittelten Stücke bleibt nicht klar Identifizier­ bar. Heinrich Bulle nennt diesbezüglich Im Archäologischen Anzeiger 1904 etwa ein Dutzend wieder zusammengesetzte Gefäße, die Zahl der einigermaßen kompletten Vasen aus dem bis zur Zelt Wilhelm Grünhagens nachträglich Inventarisierten - also bis zur Nummer I 852 - geht In den ersten beiden Bänden des Corpus Vasorum jedoch bereits leicht über dieses Quantum hin­ aus. Vermutungen zur Zugehörigkeit zu den Ludwigs-Stücken haftet also Immer ein Vorbehalt an, und sie werden hier unterlassen, sofern nicht sichere Hinweise hinzutreten. Wo Fragmente aus der Münchner Antikensammlung angepaßt werden konnten - Berthold Fellmann und Erika Kunze-Götte werden hierzu wichtige Vorarbeiten verdankt -, liegt eine Herkunft aus diesem Fundus nahe, bei der 1948 Inventarisierten Bandschale des Elbows Out tauchen diesbezüglich jedoch Unsicherheiten auf (I 824). Die handschriftliche Numerierung der Erlanger Inventare wurde auch bei unsystematischer Bezifferung nicht angerührt. Sofern die fallweise hinzugesetzten Kleinbuchstaben mehrere ver­ schiedene, unter derselben Nummer erscheinende Vasen unterscheiden, wird der Buchstabe spa- tüert gesetzt, etwa „I517e". Wenn hingegen die Nummer mehrere nicht zusammenzufügende Bruchstücke desselben Gefäßes umfaßt, welche durch die Buchstaben unterschieden sind, stehen diese kompreß, etwa „I 637a und 1637b". Belm jeweils größeren Bruchstück kann der Buch­ stabe auch fehlen, wie bei„I 633 und I 633a". Aufbau und Verzierung werden anders als Im Erlanger Vorgängerband gemeinsam beschrie­ ben. Bel attischen Vasen Ist wie üblich auf eine genaue Charakterisierung des Tons verzichtet, sofern keine Eigentümlichkeiten vorliegen. Standlinien sind nur bei Besonderheiten erwähnt, ebenso bleiben bei attisch schwarzfigurigen Gefäßen die vorherrschende Detaillierung des wei­ ßen Fraueninkarnats mittels Ritzung sowie die übliche Firnisgrundierung für Deckfarben In der Regel ungekennzeichnet. Bel den Volumina Ist, wie mittlerweile gebräuchlich, Immer das maximale Fassungsvermögen bis zum Rand des Gefäßes angezeigt. Wo die empirische Messung nicht möglich war, wurde mathematisch kalkuliert: Gerd Graßhoff von der Universität Bern lieferte so dankenswerter­ weise vor allem für die Affecteramphore (I 385) exakte Berechnungen auf vektorieller Grund­ lage, Unterstützung leistete diesbezüglich auch Markus Wäfler. Diese Ergebnisse sowie In den übrigen Fällen die Plauslbllltätsprüfung anhand des empirisch gemessenen Fassungsvermögens bestätigten die Zuverlässigkeit des Im Internet bereitstehenden, auf graphischer Analyse beru­ henden Programms des Centre de recherches archéologlques an der Freien Universität Brüssel. Nur bei den Lekythen war diese Kontrolle formbedingt lediglich eingeschränkt möglich. Mit Hilfe des Brüsseler Programms konnte schließlich auch für mehrere weitere Stücke die Volumen­ berechnung durchgeführt werden, die jeweils durch den Begrlff„kaIkuIIert" gekennzeichnet Ist. Zuweisungen an Maler, Gruppen und Klassen werden unter Anführung des Erstzuschreibers genannt. Manchmal sind einschlägige mündliche Bemerkungen In den Erlanger Archiven auf­ gezeichnet, vor allem solche Dietrich von Bothmers. In anderen Fällen gaben Fachkollegen direkt oder Indirekt die entscheidenden Hinweise. Wenn ein solcher Wink nicht dem zitierten Gedruck­ 8 Vorwort ten entstammt, sondern mündlich, brieflich oder über Dritte erfolgte, ist der Vorname hinzu­ gesetzt. Das Zitieren von Vergleichsstücken folgt im Wesentlichen den Kriterien Beazleys, auch was die Nennung von Museen und die Numerierung der Stücke angeht. Die amerikanischen Univer­ sitätssammlungen erscheinen jedoch in schlichter Namensnennung und ohne Anführung der Ortsnamen. Die Bezeichnung der Klassen auf den Tafeln alter Bände des Corpus Vasorum ist wie üblich hinzugesetzt, wo es Irrtümer vermeiden hilft. Dem Zitieren von Beazleys und Haspels' Listenwerken gehört beim Anführen der Primat, die dort sowie in den angeführten Bänden des Corpus Vasorum genannte Literatur nebst Abbildungsverweisen wird um der Kürze willen nicht wiederholt. Wiederum werden die neuen Restaurierungen Agathe Hommel und vor allem Robert Schwab verdankt, welch letzterer auch fast alle Zeichnungen anfertigte, die graphische Dokumentation zweier Neuerwerbungen lag in den Händen von Stephanie Czogalla. Der Dank an alle Beteilig­ ten gilt wiederum besonders dem früheren Redaktor Heinrich B. Siedentopf und dem früheren Sammlungsleiter Peter Kranz sowie Paul Zänker als Vorsitzendem der Kommission für das Cor­ pus Vasorum. Martin Boss steuerte erneut neben vielfältiger Unterstützung vor allem zahlreiche Beobachtungen am Befund bei, besonders wertvolle zur Bauchamphore des Princetonmalers (I 876). Berthold Fellmann bin ich für Rat und Tat verbunden, vor allem beim Aufspüren neu zuzuweisender Fragmente der Bandschale des
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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:28 Sep 2021 8. NEANDROS, NEANDROS PAINTER, AMASIS PAINTER, OAKESHOTT PAINTER (nos. 209-34; pls. 60-66) 8.1 NEANDROS, NEANDROS PAINTER, c. 555/540, and NEANDROS, AMASIS PAINTER, c. 550/40 BC (nos. 209-15; figs. 79-82; pls. 60-61b) Introduction Epoiesen-signatures of Neandros mark at least five cups (209-11, 214-15, pls. 60-61a-b), and two partial examples (212-13) may also name him.759 Furthermore, Neandros possibly signed as painter in the egraphsen-signature on a pyxis lid from Brauron, although the writing is incomplete and the drawing style differs from that of the cups with his epoiesen-signatures.760 The signatures led J.D.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [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]
  • Painters, Potters, and the Scale of the Attic Vase-Painting Industry,” by Philip Sapirstein (AJA 117 [2013] 493–510)
    AJA OPEN ACCESS: APPENDICES www.ajaonline.org Methodology, Bibliography, and Commentary for the Painters in the Study Two appendices to “Painters, Potters, and the Scale of the Attic Vase-Painting Industry,” by Philip Sapirstein (AJA 117 [2013] 493–510). “Print figures” and “print table 1” cited herein refer to figures and the table in the AJA print-published article. Appendix 1: Methodology This confirmation applies only to the well-defined hands. The results of this study emphasize that Beazley tended to “overdivide” the vases whose authorship is ASSUMPTIONS unclear.1 The methodology of attribution begins with each This study of the productivity of Attic vase painters side of an Attic vase potentially mapping to a different begins with three underlying assumptions. First, the at- painter—so, for example, 40,000 vases could equal 80,000 tributions made by Beazley and other scholars are in large painters. Identifying unique stylistic features connects part reliable, although permitting a degree of uncertainty multiple works to an artisanal identity. The linkages and occasional mistakes. Second, the chronological frame- within the works of the major painters are well defined, work for Attic vases is accurate enough for individual but Beazley’s work was far from complete. The uncer- career lengths to be estimated within several years of the tainty in the linkages for the bulk of the Attic material is reality. Third, the collection of vases studied by Beazley evident in the hundreds of minor painters and groups, and his successors is a relatively unbiased sample of the many of whom were “followers” or in the “circle” of a total Attic pottery production from the sixth and fifth prolific hand.
    [Show full text]
  • 7 X 11.5 Double Line.P65
    Cambridge University Press 978-0-521-82522-1 - Reading Greek Vases Ann Steiner Index More information INDEX OF VASES CITED IN TEXT ᇻᇼᇽ Alpine (New Jersey) Collection of Stuart Tray 14501: 303n13 cup: 276n6 16389: 96–100, 103 Arezzo, Museo Civico 16391: 283n15 1465: 89, 223–227 Avallon (Yonne), Musee´ Municipal Arlesheim, Schweizer amphora: 274n11 cup (ARV2 1705): 216 Athens Basel Agora Museum Antikenmuseum und Sammlung Ludwig P 5157: 68 BS 436: 76 P 24113: 85 Ka 420: 158–159, 257, 293n84 P 5160: 300n61 Lu 19 (once Aachen, Ludwig): 166–167 P 23693: 300n61 Cahn British School of Archaeology 300: 268n8 kantharos: 275n21 925: 277n30 Kerameikos Museum Kambli: 277n27, 291n47 hydria (Para 45): 277n30 Market (MuM): 289n23, 289n30 691: 279n80 Bari, Museo Archeologico Provinciale National Archaeological Museum 6233: 276n7 hydria (Para 45 Lydos): 277n30 Berkeley, University of California column-krater (ABV 31, 3): 275n18 8/358: 83, 309n112 Akropolis 821: 296n14 8.1: 286n72 75: 48 Berlin, Staatliche Museen, Antikensammlung 192: 246, 247 1685: 109–110, 112, 115, 139 221: 44 1688: 165–166 ‘418’ (ABV 59, 12): 173–175 1699: 223 528 (CC. 634): 275n22 1718: 25–26 531: 121 1720: 73, 271n35, 279n79 533 (CC. 648) 1756: 76, 255 640 (CC. 631): 275n22 1894: 290n39 940 (CC. 633): 275n22 1966.19: 188–190, 201–203, 255, 256 1104: 18, 52, 67, 74, 75, 194, 196, 255, 259, 298n18 2160: 227 2420: 7, 290n42 2180: 85, 186 14498: 303n13 2262: 76, 216 323 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82522-1 - Reading Greek Vases Ann
    [Show full text]
  • Narrative Tradition in Early Greek Oral Poetry and Vase-Painting
    Oral Tradition 10/2 (1995): 282-303 Narrative Tradition In Early Greek Oral Poetry And Vase-Painting E. A. Mackay Archaic Athenian vase-painting of the sixth century BC exhibits visual narrative phenomena that are very similar to the verbal narrative patterns of traditional, orally composed poetry: in the poetry these are the familiar formulaic phrases and themes analyzed by Milman Parry and the ensuing train of oral theorists; in the art they take the form of repetitious iconography and recurrent compositional structures.1 In the vase-paintings as in the poems the same question arises: do the repetitions have an aesthetic or significatory function in the narrative context, or are they rather incidental and even impedimental to the process of reception? In his recent work on oral traditions, John Miles Foley (1991) has recognized the need to develop a new theory of reception for oral and oral-derived poetry, one that takes into specific account the peculiar characteristics of oral composition. It will be argued that this theory can usefully be applied also to the vase- paintings. In regard to poetry, Foley has proceeded by seeking to define a question, the answer to which is constituted by the characteristics of oral composition. Starting from the premise that the repetitious noun-epithet formulas are significatory rather than redundant, and accepting that their signification cannot regularly be conferred by the context in which they are 1 The ideas on which this paper is based were presented in embryo in my Inaugural Lecture at the University of Natal, September 1991 (Mackay 1993), and subsequently in a more developed form under the current title at the 27th AULLA Congress in Dunedin, February 1993.
    [Show full text]