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An ancient Greek vase is a difficult object for the non-expert to come to terms with. Faced with rows of apparently undifferentiated black, red and buff pots, he or she is at a loss as to where to begin. Greek vases are treated as objets d'art in the modern world, but how much were they worth in the ancient? They are often used to demonstrate 'the Greek genius' and aspects of ancient Greek society, but why do many of them carry Eastern motifs, and why do so many turn up in Italy? Why were the Greeks not content with simple patterns on their pottery? What did the pictures on the pots mean to them? Why should a vase depict a scene from a play? These are the sorts of questions that this book, first published in 1991, attempts to answer. As the title implies, it is a series of 'looks' at Greek vases, offering suggestions on how to read the often complex images they present.
The manufacture, decoration, and use of terracotta vessels in antiquity is explored throughout this volume, which includes studies of iconography, individual painters, provenance, function, and inscriptions. The fourteen articles are organized by fabric and by chronology. Authors: Jaques Heurgon, Herbert Hoffmann, Carina Weiss, J. Alan Shaprio, Donna Kurtz, William Biers, Beth Cohen, Mary Moore, Brian Shefton, Shirley Schwarz, and Susan Matheson.
The Codrus Painter was a painter of cups and vases in fifth-century B.C.E. Athens with a distinctive style; he is named after Codrus, a legendary Athenian king depicted on one of his most characteristic vases. He was active as an artist during the rule of Pericles, as the Parthenon was built and then as the troubled times of the Peloponnesian War began. In contrast to the work of fellow artists of his day, the vases of the Codrus Painter appear to have been created almost exclusively for export to markets outside Athens and Greece, especially to the Etruscans in central Italy and to points further west. Amalia Avramidou offers a thoroughly researched, amply illustrated study of the Codrus Painter that also comments on the mythology, religion, arts, athletics, and daily life of Greece depicted on his vases. She evaluates his style and the defining characteristics of his own hand and of the minor painters associated with him. Examining the subject matter, figure types, and motifs on the vases, she compares them with sculptural works produced during the same period. Avramidou’s iconographic analysis not only encompasses the cultural milieu of the Athenian metropolis, but also offers an original and intriguing perspective on the adoption, meaning, and use of imported Attic vases among the Etruscans.
The potter and painter Myson founded the Mannerist workshop at the end of the sixth century BC. The Mannerists were his pupils and pupils of his pupils, and specialized in columnkraters, hydriai, and pelikai. The workshop was unusually long-lived and was active through the whole of the fifthcentury and the first decade of the fourth.The style of painting and the choice of some subjects are curiously old-fashioned. A number of pictures show rare themes such as the Death of Prokris, Odysseus and Nausicaa, and Orestes in Delphi. Other paintings give an unusual twist to well-known stories. The Mannerists were influenced bytheatrical productions, extant wall paintings, and the works of other vase-painters.The workshop provides important clues for the chronology of Attic vase-painting, for example drawing reflecting Pheidias' Athena Parthenos, and Aeschylos' plays Sphinx, Eumenides, and Seven against Thebes.
This 1897 book was written to provide archaeologists and visitors with a guide to Greek vases in the Fitzwilliam Museum.
This book explores how since colonial times South Africa has created its own vernacular classicism, both in creative media and everyday life.