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While used as a drinking vessel, due to the necessary inclination of the vessel, the cup with its painted eyes, the handles looking like ears and the base of the foot like a mouth, would have resembled a mask. Many of the vases also bear dionysiac imagery. [1] The eyes are assumed to have served an apotropaic (evil-averting) function. [2] [3]
Smikros (English transliteration: Small) was an ancient Greek vase painter who flourished in Athens between 510 and 500 BCE. He was active in the workshop of the Euphronios . Beside Euphronios, Euthymides , Hypsis and the Dikaios painter, Smikros was one of the most important representatives of the so-called Pioneer Group of Athenian red figure ...
A Handbook of Greek Vase Painting. Sparks, NV: Falcon Hill Press, 1995. Mitchell, Alexandre G. Greek Vase-Painting and the Origins of Visual Humour. New York: Cambridge University Press, 2009. Noble, Joseph Veach. The Techniques of Painted Attic Pottery. New York: Watson-Guptill, 1965. Oakley, John Howard. The Greek Vase: Art of the Storyteller ...
The Euphronios Krater (or Sarpedon Krater) is an ancient Greek terra cotta calyx-krater, a bowl used for mixing wine with water. Created around the year 515 BC, it is the only complete example of the surviving 27 vases painted by the renowned Euphronios and is considered one of the finest Ancient Greek vases in existence. [1]
At a Greek symposium, kraters were placed in the center of the room.They were quite large, so they were not easily portable when filled. Thus, the wine-water mixture would be withdrawn from the krater with other vessels, such as a kyathos (pl.: kyathoi), an amphora (pl.: amphorai), [1] or a kylix (pl.: kylikes). [1]
A different example of the eye-cup shape. Chalkidian black-figure eye-cup, circa 530 BC The bilingual eye-cup by the Andokides painter in the Museo Archeologico Regionale, Palermo (not illustrated), is a prime example of the transition from black-figure vase painting to the red-figure style in the late 6th century to early 5th century BC that commonly resulted in "bilingual" vases, using both ...
The endeavour by archaeologists to match vase forms with those names that have come down to us from Greek literature began with Theodor Panofka’s 1829 book Recherches sur les veritables noms des vases grecs, whose confident assertion that he had rediscovered the ancient nomenclature was quickly disputed by Gerhard and Letronne.
The Chicago Painter was an ancient Greek vase painter, active in Athens, Greece, in the middle of the 5th century BCE. His real name is unknown, but like many other ancient Greek vase painters, his style was recognized in several works by the British classical archaeologist and international authority of Attic Greek vases, Sir John Beazley (1885–1970).
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