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A lekythos (Ancient Greek: λήκυθος; pl.: lekythoi) is a type of ancient Greek vessel used for storing oil, especially olive oil. It has a narrow body and one handle attached to the neck of the vessel, and is thus a narrow type of jug, with no pouring lip; the oinochoe is more like a modern jug. In the "shoulder" and "cylindrical" types ...
Her 1936 book Attic Black Figured-Lekythoi, based on her work at the University of Utrecht, has remained the standard on lekythoi since its publication. Haspels was the first to attribute the black-figured lekythoi produced in Athens between ca. 560 and 470 B.C., mostly for graves, to specific painters and workshops. [1]
The vessels of the Reed Painter are typical of white-ground lekythoi in that they often focus on real people, in contrast to the earlier black-figure tradition that featured scenes of mythical figures pertaining to Dionysiac cult. [1] The purpose of the lekythos is often reflected in its subject matter.
The Athena Painter, along with the Theseus Painter, continued the tradition of painting large standard lekythoi. His black-figure work was of high quality. Apart from lekythoi, he mainly painted oinochai. Some archaeologists identify him with the red-figure Bowdoin Painter. [2] They may, however, simply have worked in the same workshop.
Already early in his career, he produced high-quality drawings, especially on larger lekythoi, considered better than those by the Haimon Group. A striking characteristic of his work are garlands of ivy used as a decorative motif on the necks of many of his lekythoi. Sometimes they are simple outlines, often on the same vessels as funeral scenes.
White ground technique lekythos attributed to the Sappho Painter depicting Achilles watching out for Polyxena. Louvre, Paris.. Sappho Painter was an Attic black-figure vase painter, active c. 510–490 BCE.
The Diosphos Painter was an Athenian Attic black-figure vase painter thought to have been active from 500–475 BCE, many of whose surviving works are on lekythoi. The Diosphos Painter was a pupil of the Edinburgh Painter, who also trained the Sappho Painter. He was first identified by C.H.E. Haspels in her Attic Black-figure Lekythoi (Paris ...
At the same time, the thematic range was reduced, limiting itself to tendrils of vine, ivy or laurel, theatrical masks, and, within the tendrils, male and female heads, doves and swans. The lower half of the vessels was now often ribbed. Apart from oinochoai, skyphos and pelikes, shapes also included bottles, lekythoi, bowls and kantharoi.