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White-ground technique is a style of white ancient Greek pottery and the painting in which figures appear on a white background. It developed in the region of Attica , dated to about 500 BC. It was especially associated with vases made for ritual and funerary use, if only because the painted surface was more fragile than in the other main ...
Next to her stands a male figure, naked and winged. Both figures wear wreaths made of leaves and their hair preserve traces of golden paint. The features of their faces are stylized. The vase has a white ground and maintains in several parts the traces of bluish, greenish and reddish paint. It dates to the 4th century BC.
Sometimes further painting in other colours was added after firing, especially in white-ground and Hellenistic vases. However, new studies instead provide material evidence that the pottery was made with two or more separate firings [ 1 ] in which the pottery is subjected to multiple firing stages.
The Affecter Amphora, in the collection of the Walters Art Gallery in Baltimore, Maryland, is a case study for the history of conservation of Greek vases. The black figured Attic (meaning from Athens region) vessel was created around 540 BCE by a well-documented vase painter known as the Affecter Painter. Treatment of the vase in the 1980s ...
Tin-glazed pottery was taken up in the Netherlands from the 16th to the 18th centuries, the potters making household, decorative pieces and tiles in vast numbers, [51] usually with blue painting on a white ground. Dutch potters took tin-glazed pottery to the British Isles, where it was made between about 1550 and 1800.
One example of a white-ground lekythos by the Thanatos Painter is a vase in the Art Walters Museum (440–430 BCE). [3] The women are mourning over a deceased family member. There is a male figure approaching from the right side of the lekythos that is unseen by the women. He is a representation of the deceased family member. [3]
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Lekanis in Düsseldorf. The paintings were only applied on one side, entirely using tempera paints applied after all firing. This is a significant difference from most other Greek vase-painting, [6] although some later vases had added some painting after firing as well as the traditional fired ceramic painting, [7] and Greek terracotta figurines were often painted in this way.
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