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White-ground vase painting often occurred in association with red-figure vase painting. Especially typical of this are kylikes with a white-ground interior and a red-figure exterior image. White-ground painting is less durable than black- or red-figure, which is why such vases were primarily used as votives and grave vessels.
Men are depicted with red, black or white skin, women virtually always in white. Contours and interior detail were incised, as is common in black-figure vases. Areas covered in black shiny slip were often covered with an additional layer of white shiny slip, so that the underlying black would be visible in incised details. The front imagery is ...
The depicted version of Rubin's vase can be seen as the black profiles of two people looking towards each other or as a white vase, but not both. Another example of a bistable figure Rubin included in his Danish-language, two-volume book was the Maltese cross. A 3D model of a Rubin vase
Heracles and Geryon on an Attic black-figured amphora with a thick layer of transparent gloss, c. 540 BCE, now in the Munich State Collection of Antiquities.. Black-figure pottery painting (also known as black-figure style or black-figure ceramic; Ancient Greek: μελανόμορφα, romanized: melanómorpha) is one of the styles of painting on antique Greek vases.
An illusory contour is a perceived contour without the presence of a physical gradient. In examples where a white shape appears to occlude black objects on a white background, the white shape appears to be brighter than the background, and the edges of this shape produce the illusory contours. [9]
It is decorated with black and white painted figures on a light colored background, which is characteristic of the "Black and White" style commonly seen in Middle Protoattic pottery. [1] The amphora's decoration reflects the pottery of the Orientalizing period (c. 710–600 BCE), [2] a style in which human and animal figures depict mythological ...
The vase was lent to Wedgwood by William Cavendish-Bentinck, 3rd Duke of Portland from 1786. Wedgwood devoted four years of painstaking attempts at duplicating the vase in black and white jasperware, which was finally completed in 1790, the figures perhaps modelled by William Hackwood.
If the edges between the black and white regions are assigned inward, then the central white region is seen as a vase shape in front of a black background. No faces are perceived in this case. On the other hand, if the edges are assigned outward, then the two black profile faces are perceived on a white background, and no vase shape is perceived.