DOCSLIB.ORG

A Siana Cup of Heidelberg Painter from Histria

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Siana Cup of Heidelberg Painter from Histria doi: 10.2143/AWE.15.0.3167468 AWE 15 (2016) 139-145 A SIaNa CUP OF HeIDeLBeRG PaINTeR FROM HIsTRIa IULiAN BÎRZESCU Abstract This article discusses a fragmentary Siana cup found in the Sacred Area of Histria in 2007. The cup belongs to the Heidelberg Painter and shows a scene with a row of six men in a Dionysian procession. A cup of unknown provenance bearing an almost identical scene appeared in the Bosshard Collection in Basel. Such votaries of Dionysos are a common and original theme in the work of Heidelberg Painter. As inspiration he had the work of the C Painter, one of the earlier masters of Siana cup. Cups of the Heidelberg Painter were found very often in Ionian sanctuaries and it seems to have influenced some Ionian artists. The 2007 excavations in the Sacred Area (Fig. 1) in the north-western part of ­Histria have yielded 17 fragments of a double-decker Siana cup. They were discov- ered in a layer of yellowish clay near a monumental wall of the late Archaic period (Fig. 2), probably part of the peribolos. The vessel was apparently broken in situ. The cup (Fig. 3) is only partly preserved: the foot, the handles, the greater part of the lip and tondo, as well as more than half of the body are missing. Moreover, the reconstruction left three lacunae in the preserved part. Description. Inv. no. His 07 T 50.1: preserved height 10.7 cm; width between 0.37 and 0.24 cm. The body of the cup is wide and has an estimated diameter of 25 cm. Exterior and interior surfaces are well preserved, except for some scratches on the exterior. The lip is decorated with an ivy frieze with crosses and dots between the leaves. Only the lower parts of four ivy leaves are preserved, one of them painted with red over the black glaze. The jog was marked by a black and red line. The lower body of the cup shows three horizontal lines of between 0.6 and 1 mm width, thickening in its lower part. Below these, traces of decoration are visible, which probably belong to a band with meander hooks. As preserved, the decoration on the interior consists of red and black tongues below two horizontal bands. The body of the cup is decorated with a frieze of six men, only two of whom could be completely restored. With the two leftmost ones, only the lower parts of the bodies are preserved; for the last three, the upper part. Four of them have drinking-horns in their hands, and the others probably had them too. Taking its 140 I. BÎRZescU Fig. 1: Plan of the Sacred Area of Histria in Fig. 2: Late Archaic peribolos(?), view the late Archaic period. from the south; in the background is Monument C (Hellenistic). original form into account, the vessel could accommodate at least one more figure on this side. Thanks especially to Herman Brijder, Siana cups became one of the best-known categories of Attic black-figure pottery. Brijder has produced three volumes in which the painters of Siana cups are discussed in detail, the second of which con- cerns the work of the Heidelberg Painter, to whom the cup from Histria can be attributed.1 With the fourth and fifth figures, the eyes are rendered with small circles between horizontal dashes, while a tiny circle is added in the centre of the eye of the sixth figure, a characteristic of the Heidelberg Painter’s style.2 All the 1 For the Heidelberg Painter, see Beazley 1956, 63–67; Brijder 1991. 2 Brijder 1991, 409. A SIaNa CUP OF HeIDeLBeRG PaINTeR FROM HIsTRIa 141 Fig. 3: Siana cup of the Heidelberg Painter from the Sacred Area of Histria. decorative elements, such as the tondo borders,3 the motif of ivy-wreath on the lip4 or the meander hooks on the lower part of the body,5 have parallels in the cups from the Heidelberg Painter’s middle period, between 560 and 550 BC. Such processions of men are not uncommon on Siana cups. From this point of view the present cup is not an exceptional discovery. What characterises the scene are the almost identical six figures of 8.3 cm height, towards the left, each with drinking-horn in his right hand and an ivy-wreath on his head. The rhytons in their hands and the ivy-wreathes on their heads make the men resemble Dionysos, only their beards being smaller than that of the deity. In view of this particular detail we may surmise that all of the personages depicted are of the same age. A cup with an almost identical scene, its provenance unknown, appeared in the Bosshard Collection in Basel. It too has been allotted to the Heidelberg Painter’s middle period.6 It is complete, but the decoration is poorly preserved. Apart from the men in the main scenes on both sides, another man, looking backwards, is depicted below each handle. The shape, decoration and type of scene closely resem- ble the Histrian cup. We are dealing clearly with a variation on the same theme, i.e. votaries of Dionysos, one of the major subjects of the Heidelberg Painter. The 3 Brijder 1991, 350–51, fig. 89e–f. 4 Brijder 1991, 368, fig. 90k. 5 Brijder 1991, 373, fig. 94a. 6 Brijder 1991, 396. 448, cat. 361, pls. 117–118. Another very fragmentary cup of Heidelberg Painter found in Corinth shows probably a similar procession (see Brownlee 1987, 88–89, cat. 25, pl. 15). 142 I. BÎRZescU Bosshard cup also shows that the missing figure on the Histrian cup is most likely a double-aulos player. The fringed himation with a shawl-like flap is the common attire for males in the Heidelberg Painter’s oeuvre.7 Here, however, the Histria cup differs from the Bosshard in some details of the male clothing. The first man has incised triangles on the shawl-like flap, the third incised crosses, the fifth painted rosettes, the last two wavy lines on the neck. The fact that each figure has a differently decorated costume is also characteristic of the Painter, who liked to render embellished ­garments. Furthermore, the Bosshard cup shows another decoration of the lower part of the cup, with two lines instead of three, and lacking the painted crosses and dots between the ivy-leaves on the lip. Its tondo shows Heracles’ fight with the Nemean lion, which may well have figured on the Histrian cup as well. As other cups of middle period of Heidelberg Painter suggest, one may suppose that the Histrian cup had a similar scene on the reverse to that on the obverse. Votaries of Dionysos are a common and original theme in the work of the ­Heidelberg Painter, who brought more than ten new subjects to the exterior of his cups.8 He may have found inspiration in the work of the C Painter, who was active a little earlier. Two cups of the C Painter, found at Taranto and Borysthenes respec- tively, show that such scenes with six identical men following a seventh one towards an altar were common in his workshop.9 Even though the two painters differ in the context of the procession scenes, one being the sacrifice of a bull, the other a sympo- sion, the Histrian cup shows the clear and direct influence of the C Painter on the work of the Heidelberg Painter.10 As in the case of the six figures on the cup from Taranto, the men on the cups from Histria and Basel are similar and have the same age. The C Painter’s men stand still and do not show an interest in motion, while the Heidelberg Painter’s seem to perform a ceremony with songs for Dionysos, a scene that becomes common in the following period, as shown in the work of the Amasis Painter, who was directly influenced by the Heidelberg Painter.11 Undoubtedly, the Heidelberg Painter’s work was appreciated in the Ionian milieu, as demonstrated by the finds from Ionia12 and from other cities on the 7 Brijder 1991, 336. 8 Brijder 1991, 336. 9 On the cup from Taranto, see Gebauer 2002, 683, fig. 1, cat. P1, and Brijder 1983, 12, cat. 23, pl. 12; also ThesCRA 1, 2004, 18, pl. 6, Gr. 117. The other cup was discovered in Borysthenes (­modern Berezan), and was considered a later work of the C Painter, being dated between 570 and 560 BC (Smith 2010, 183, cat. 13). 10 Even though the C Painter had many imitators, Brijder (1991, 337) considers negligible his influence on the Heidelberg Painter. 11 von Bothmer 1985, 78, fig. 58. 12 A fragment from Smyrna (see Tuna-Nörling 1995). A SIaNa CUP OF HeIDeLBeRG PaINTeR FROM HIsTRIa 143 western coast of Asia Minor,13 as well as from Ionian colonies such as Borysthenes.14 Moreover, his works have mainly come to light in Ionian sanctuaries,15 at Gravisca in Etruria,16 the sanctuary of Aphrodite in Miletus,17 and especially in Thasos, where 37 cups (three-quarters of his cups) have been uncovered.18 Apart from the cup under discussion, another of his cups was discovered in the Sacred Area of Histria.19 Also a third cup belonging to him came from Histria, but lacking a properly known context.20 The recently found cup from Histria has an additional value in showing that the popularity of its subject, the ‘votaries of Dionysos’, started in the middle period of the Heidelberg Painter’s activity.
Load more

Recommended publications
  • 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
    [Show full text]
  • 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]