The picture of red vase is one of the most important styles of Greek figural vase.
It was developed in Athens around 520 BC and remained in use until the end of the 3rd century BC. This replaced the style of painting a black vase-a figure previously dominant in decades. Its modern name is based on figural depictions in red on a black background, in contrast to the previous black image style with a black figure against a red background. The most important production area, besides Attica, is in Southern Italy. This style is also adopted in other parts of Greece. Etruria became an important production center outside the Greek World.
The attic of red picture vase is exported throughout Greece and beyond. For a long time, they dominated the market for fine ceramics. Only a few pottery production centers can compete with Athens in terms of innovation, quality and production capacity. Of the red sculptures produced in Athens alone, more than 40,000 specimens and fragments survive today. From the second most important production center, Southern Italy, more than 20,000 vases and fragments are maintained. Beginning with studies by John D. Beazley and Arthur Dale Trendall, the study of this art style has made great progress. Some vases can be thought of as coming from each artist or school. The images provide evidence for an exploration of the history of Greek culture, daily life, iconography, and mythology.
Video Red-figure pottery
Technology
The red number, simply, is the opposite of the black figure technique. Both are achieved by using a three-phase shooting technique. The paintings were applied to ships that were shaped but not misty after they were dried into a rough texture, almost fragile. In Attica, the non-burning clay is normally orange at this stage. The intended drawing lines are drawn with a dull scraper, leaving little grooves, or with charcoal, which will disappear entirely during combustion. Then the contours are redrawn with a brush, using a shiny clay slip. Occasionally, the painter decided to change the figurative scene. In such cases the plot of the original sketch is sometimes still visible. Important contours are often drawn with thicker slips, leading to rather prominent outlines (relief lines); less important lines and internal details are drawn with the attenuated glossy clay.
Details in other colors, such as white or red, are applied at this point. The aid line was probably drawn with a feather or hairbrush, immersed in thick paint. Hollow needle advice seems a bit impossible. The application of lines of assistance is necessary, because the rather fluid and shiny clay was too dull. After the initial stages of engineering development, both alternatives are used, so as to distinguish gradations and details more clearly. The space between the numbers is filled with a shiny gray clay layer. Then, the vases undergo a three-phase shooting, where the shiny clay achieves black or brown black characteristics through reduction, reddish color with final oxidation. Because this final oxidation phase is fired using lower temperatures, the shiny vase parts do not oxidize back from black to red: the finer surface is melted (sintered) in the reducing phase, and is now protected from oxygen.
The new technique has the main advantage of allowing a much better internal detail execution. In black vase paintings, such details should be scrawled onto a painted surface, which is always less accurate than a direct detail application with a brush. Red-figure depictions are generally more lively and realistic than the black figure's silhouette. They are also clearer than the black background. It is now possible to describe humans not only in profiles, but also in frontal, back, or three-quarters perspectives. The red-figure technique also allows the indication of the third dimension of the image. However, it also has its disadvantages. For example, the difference in sex by using black slip for male skin and white paint for women's skin is now impossible. An ongoing trend to portray heroes and naked deities and young age also makes it more difficult to distinguish the sexes through clothing or hairstyles. In the initial phase, there is also a miscalculation of the thickness of the human figure.
In the vase of the black flower vase, the previously drawn outline is part of the figure. In the red-drawing vase, the outline will, after shooting, form a part of the black background. This causes a vase with very thin figures from an early age. The next problem is that the black background does not allow space depiction anywhere, so the spatial perspective is almost never attempted. However, the excess exceeds the amount of the loss. Muscle depiction and other anatomical details clearly illustrate the development of force.
Maps Red-figure pottery
Attica
The image of the black vase had been developed in Corinth in the 7th century BC and quickly became the dominant style of pottery decoration throughout the Greek world and beyond. Although Corinthians dominate the market as a whole, regional markets and production centers are growing. Initially, Athena copied the Corinthian style, but gradually came to rival and overcome Corinth's dominance. The attic artists developed styles of unprecedented quality, culminating in their creative possibilities in the second third of the 6th century BC. Exekias, active around 530 BC, can be seen as the most important representative of the style of the black figure.
In the 5th century Attic pottery pottery, now dominated by a red figure, maintains its dominance in the market. Loft attic is exported to Magna Graecia and even Etruria. Preferences for Attic vases lead to the development of local workshops of Southern Italy and Etrurian or "schools", strongly influenced by the Attic style, but producing exclusively for the local market.
Beginning
The first red-drawing vases were produced around 530 BC. Invention techniques are usually accredited by Andokides Painters. He, and other early representatives of the style, e.g. Psiax, originally painted a vase in both styles, with a black figure scene on one side, and a red figure on the other. Such a vase, e.g. Amphora's stomach by the painter Andokides (Munich 2301), called the bilingual vase. Although they show great progress on the style of the black figure, the numbers still seem a bit stiff and seldom overlapping. Older style compositions and techniques are still used. So, the incision line is quite common, such as red paint additional app ("added red") to cover a large area.
Pioneer phase
The artists of the so-called "Pioneer Group" make the step toward full exploitation of possible red-figure techniques. They are active between
New forms include psykter and pelician . Large krater and amphorae are popular today. Although there is no indication that painters understand themselves as a group in the way that modern scientists do, there are some mutual relationships and influences, perhaps in an atmosphere of friendly competition and encouragement. Thus, a vase by Euthymides written "as Euphronios never [will be able]" . More generally, pioneer groups tend to use inscriptions. The labeling of mythological figures or the addition of Kalos inscriptions is a rule rather than an exception.
In addition to the vase painters, some bowl painters also use a new style. These include Oltos and Epiktetos. Much of their work is bilingual, often using a red image just inside the bowl.
Late Archaic
The generation of artists after the pioneers, active during the Archaic End period ( circa 500 to 470 BC) brought this style into a new flourish. During this time, black vases failed to achieve the same quality and were eventually pushed out of the market. Some of Attic's most famous painters belong to this generation. They include the Berlin Artist, the Painter of Kleophrades, and among the Onesimos bowl painters, Douris, Makron, and Brygos Painter. The quality improvement goes hand in hand with the doubling of output during this period. Athens became the dominant producer of fine pottery in the Mediterranean world, overshadowing almost all other production centers.
One of the main features of Attic's most successful vocal style is the mastery of perspective for sorting, enabling the depiction of more naturalistic figures and actions. Another characteristic is the drastic reduction of number per ship, anatomical detail, and decoration. In contrast, the illustrated scene repertoire increases. For example, the myths surrounding Theseus are becoming very popular today. New or modified vase shapes are often used, including Nolan amphora (see Greek Vase Shape Typology), lekythoi, and bowls of type askos and dinos . Specialization becomes a separate vase and seperate bowl painter increases.
Classic Start and Height
The main characteristic of the Early Classics figures is that they are often somewhat more stable and less dynamic than their predecessors. As a result, the portrayals get serious, even pathos . The folds of clothing are described to be less linear, so it looks more plastic. How to present the scene also changed substantially. First, the painting stops focusing on the moment of a particular event, but with dramatic tension, indicating the situation immediately before the action, thus implying and contextualizing the appropriate event. Also, several other new achievements of the Athenian democracy began to show influence on vase painting. Thus, the effects of tragedy and wall painting can be detected. Because Greek wall paintings are almost entirely lost today, its reflection on vases is one of the few, though simple, sources of information about the genre of art. Other influences on High Classical vase paintings include the newly established Parthenon and its sculptural ornaments. This is particularly evident in the depiction of garments; matter now falls more naturally, and more folds are illustrated, leading to an increase in depth "depth". The overall composition is simplified even more. Artists place special emphasis on symmetry, harmony, and balance. Human figures have returned to previous slimness; often they exude a divine serenity that absorbs oneself.
The important painters of this period, roughly 480 to 425 BC, including Providence-worshipers, Hermonaxes and Achilles painters, all follow the tradition of Berlin Painters. The Phiale painter, probably a pupil of Achilles Painter, is also important. New workshop traditions are also developed. Notable examples include the so-called "experts", the most famous of them is Pan Painter. Another tradition was started by Niobid Painter and continued by Polygnotos, Painter Kleophon, and Dinos Painters. Bowl role decreases, although still produced in large quantities, eg. by the workshop of the Penthesilean Artist.
Late Classical
During the Late Classical period, in the last quarter of the fifth century, two contradictory tendencies were created. On the one hand, the style of vase painting is strongly influenced by the "Rich Style" of the developed statue; on the other hand, some workshops continue the development of the Classic Higher period, with increasing emphasis on emotional depictions, and ranges. erotic scenes. The most important representative of the Rich Style is the Meidias Painter. Characteristic features include a transparent outfit and several folds of fabric. There is also an increase in the depiction of jewelry and other objects. The use of additional colors, mostly white and gold, which depict accessories with low relief, is very striking. Over time, there is a "softening" marked: The male body, until now defined by muscle depiction, gradually loses key features.
The paintings depict the mythological scene less frequently than before. The personal and domestic world image is becoming increasingly important. Scenes from a woman's life are very common. The mythological scene is dominated by images of Dionysos and Aphrodite. It is unclear what caused these changes to describe the topic among some artists. Suggestions include the context with the horrors of the Peloponnesian War, but also the loss of Athena's dominant role in Mediterranean pottery trade (itself partly due to war). The increasing role of new markets, such as Iberia, implied new needs and desires on the part of customers. These theories contradict the fact that some artists maintain their previous style. Some, e.g. The Eretria painter, trying to combine the two traditions. The best works of the Classical Final period are often found in smaller vessels, such as abdominal lizard, pyxides and oinochai. Lekanis , Krater Bell (seeTypology of Greek Vase Shapes) and hydria are also popular.
The mainstream-red pottery production stopped about 360 BC. Both Rich and Simple styles existed until then. The final representatives include the Meleager Painter (Rich Style) and Jena Painter (Simple Style).
Kerch Style
The last decade of Attic-dim red vase paintings is dominated by Kerch Style. This style, currently between 370 and 330 BC, combines the Rich Style and the Simple before, with the dominant Rich. The overcrowded composition of large figures is typical. Added colors now include blue, green and others. Volume and shadow are characterized by the use of dissolved glossy clays. Sometimes, the whole number is added as appliques, ie as thin relief figural attached to the vase body. Ship variations used are sharply reduced. Commonly painted shapes include pelike , cup krater , stomach lekythos , skyphos , hydria and oinochoe . Scenes from a woman's life are very common. The mythological themes are still dominated by Dionysos; Ariadne and Heracles are the heroes most often portrayed. The most famous painter of this style is Marsyas Painter.
The last Athena vases with figural figures are made around 320 BC at the latest. The style continues a bit longer, but with non-figural decorations. The last known example is by a painter known as Group YZ.
Artists and Works
Kerameikos is home to the craftsmen in Athens. It contains small workshops, and maybe some bigger ones. In 1852, during the building activity at Ermou Street, Jena Painter's workshop was discovered. Artifacts from it are now on display at the University of Friedrich Schiller University of Jena collection. According to modern research, the workshops are owned by pottery craftsmen. The names of about 40 Attic vas painters are known, from vase inscriptions, usually accompanied by the words ??????? (ÃÆ' Â © grapsen, has been painted). By contrast, the potter's signature, ???????? (epoeneen, has been made) has more than doubled, about 100, pot (both numbers refer to the totality of Attic painting). Although the signature has been known since c. 580 BC (the first signature known to Potter Sophilos), its use increases to a peak around Phase Pioneers. The attitude of the changing craftsmen, apparently increasingly negative, leads to a reduction in signatures, which began during the Classical period at the latest. Overall, signatures are quite rare. The fact that they are mostly found in the good parts shows that they express the pride of potter and/or painter.
The status of painters in relation to craftsmen remains somewhat unclear. The fact that, for example, Euphronius was able to work both as a painter and potter suggests that at least some painters were not slaves. On the other hand, some of the known names indicate that there are at least some ex-slaves and some perioikoi among the painters. In addition, some names are not unique: for example, some painters are signed as Polygnotos. This may be an attempt to benefit from the name of the great painter. The same thing may happen where painters bear famous names, such as Aristophanes (vase painter). The careers of some vase painters are quite famous. In addition to painters with relatively short periods of activity (one or two decades), some can be traced longer. Examples include Douris, Makron, Hermonax, and Achilles Painter. The fact that some painters later became pottery, and relatively frequent cases where it is unclear whether some pottery is also a painter or on the contrary , suggests a career structure, perhaps starting with an apprenticeship that mainly involves painting, a potter. This division of labor seems to have evolved with the introduction of red paintings, as many potter painters are known from the black period (including Exekias, Nearchos and possibly Amasis Painters). Increased demand for exports will lead to new production structures, encourage specialization and division of labor, leading to sometimes ambiguous differences between painters and pottery makers. As mentioned above, the ship's painting may be primarily the responsibility of a young assistant or an apprentice. Several further conclusions about organizational aspects of pottery production can be suggested. It appears that in general, some painters work for a pottery workshop, as indicated by the fact that often, some contemporary jars made by the same painter are painted by various painters. For example, pots made by Euphronios have been found to be painted by Onesimos, Douris, Antiphon Painters, Triptolemos Painters and Pistoxenos Painters. Conversely, an individual painter can also change from one workshop to another. For example, Oltos bowl painters work for at least six different craftsmen.
Although from a modern perspective the vase painter is often regarded as an artist, and their vase as a work of art, this view is inconsistent with that held in antiquity. Vase painters, like pottery, are regarded as artisans, their results as trade goods. The craftsmen must have a fairly high level of education, because various inscriptions occur. On the one hand, the Kalos inscription mentioned above is common, on the other hand, inscriptions often label the figures described. That not all vase painters can write is shown by some random meaningless random samples. These vases show an increase in literacy since the 6th century BC and beyond. Whether the pottery, and perhaps the vase painter, belonging to the Attic elite has not been satisfactorily clarified so far. Are the drawings of frequent symposia, definite upscale activities, reflecting the painter's personal experience, their aspirations for attending such events, or simply market demands? Most of the painted vases, such as psykter , krater , kalis , stamnos , and kylikes and kantharoi , created and purchased for use at the symposium.
The vases are very carefully painted good, but not the best, table stuff is available for the Greeks. Metal ships, especially of precious metals, are considered to be higher. Nevertheless, painted vases are not cheap products; larger specimens, in particular, are expensive. Around 500 BC, a large vase painted cost about one drachma, equivalent to a daily wage of a mason. It has been argued that painted vases represent an attempt to mimic metal vessels. It is usually assumed that lower social classes tend to use simple, unworked, abundant goods found in excavations. Tablewares made from perishable materials, such as wood, may be more widespread. Nevertheless, the discovery of many red vases, usually not of the highest quality, is found in settlements, proving that such ships are used in everyday life. Most of the production is taken by cults and cemeteries. In any case, it can be assumed that high-quality pottery production is a profitable business. For example, the pricey gift of vows by Euphronios painters is found in the Acropolis of Athens. There is little doubt that such pottery exports make an important contribution to the prosperity of Athens. It is not surprising that many workshops seem to direct their production in export markets, for example by producing more popular ships in the target area than in Athens. The death of the 4th century BC Attic vase painting coincided with a period when Etruscan, perhaps the main western export market, was under increasing pressure from the people of Southern and Roman Greece. A further reason for the ending of the classically decorated vase production is the change of taste at the beginning of the Hellenistic period. The main reason, however, must be seen in the increasingly unsuccessful progress of the Peloponnesian War, culminating in the devastating defeat of Athens in 404 BC. After this, Sparta controls western trade, albeit without economic power to fully exploit it. The artisans must find new markets; they do so in the Black Sea region. But Athens and its industry never fully recovered from defeat. Some craftsmen and painters have moved to Italy during the war, looking for better economic conditions. A key indicator for the nature of production of export-oriented Attic vase is the almost absence of a theatrical scene. Buyers from other cultural backgrounds, such as Etruscans or newer customers in the Iberian Peninsula, will find such portrayals incomprehensible or uninteresting. In Southern Italian vase paintings, most of which are not intended for export, such scenes are quite common.
Southern Italy
At least from a modern point of view, the painting of a red-red vase of Southern Italy represents the only production area that reaches Attic's artistic quality standard. After the attic vase, the Southern Italy (including from Sicily), is the most thoroughly researched. In contrast to their Attic colleagues, they are mostly produced for the local market. Only a few parts are found outside of Southern Italy and Sicily. The first workshop was established in the middle of the 5th century BC by attic artisans. Immediately, local craftsmen are trained and the thematic and formal dependence on the attic vase is overcome. Toward the end of this century, typical "decorations" and "plain styles" were developed in Apulia. Especially the style of ornaments adopted by other mainland schools, but without achieving the same quality.
Currently, 21,000 vases and pieces of Southern Italy are well known. Of them, 11,000 came from the Apulian workshop, 4,000 to Campanian, 2,000 to Paestan, 1,500 to Lucanian and 1,000 to Sicily.
Apulia
The tradition of Apulian vase paintings is regarded as the leading Southern Italian style. The main production center is in Taras. Apulian red vases are produced from circa 430 to 300 BC. Plain style and decoration are distinguished. The main difference between them is that the plain style likes the crater crater, the krater columns and the smaller vessels, and that a single plain ship seldom represents more than four numbers. The main subjects are mythological scenes, female heads, warriors in battle farewell scenes, and images of thiasos dionysiac. The opposite often shows youth wearing robes. The main feature of these simply decorated items is the absence of additional colors in general. The important plain style representatives are Sisyphus Painters and Tarporley Painters. After the middle of the 4th century BC, the style grew more and more similar to the ornate style. The important artist of that period was Varrese Painter.
Artists who use ornate styles tend to like large ships, such as volute kraters, amphorae, loutrophoroi and hydriai . Larger surface areas are used to represent up to 20 numbers, often in some registers in the vase. Additional colors, especially shades of red, yellow-gold, and white are used excessively. Since the second half of the 4th century, the neck and sides of the vase are decorated with ornamental plants or rich decorative decorations. At the same time, a perspective view, especially a building like "Palace of Hades" ( naiskoi ), flourished. Since 360 ​​BC, such structures are often depicted in scenes associated with funerals (vas naiskos ). The important representatives of this style are the Ilioupersis Painters, Darius Painters and Baltimore Painters. The mythological scene is very popular: Assembling the Gods, amazonomachy, Trojan War, Heracles and Bellerophon. In addition, such vases often depict scenes from myths that are rarely illustrated in vases. Some specimens represent a single source for a particular mythic iconography. Another unknown subject of Attic's vase is the theater scene. Especially the joke scene, e.g. of the so-called vl phlyax is quite common. The scene of athletic activity or everyday life occurs only in the initial phase, they disappear entirely after 370 BC.
Apulian vase paintings have a formative influence on other southern Italian production center traditions. It is assumed that individual Apulian artists reside in other Italian cities and contribute their expertise there. In addition to the red figure, Apulia also produces a black polished vase with a painted décor (Gnathia vase) and a polychrome vase (Canosa vase).
Campania
Campania also produced red vases in the 5th and 4th centuries BC. The light brown clay of Campania is covered with a slip that develops pink or red after being fired. Campania painters prefer smaller types of vessels, but also hydriai and bellows craters . The most popular form is amphora which is handled with a bow. Many forms of Apulian ships, such as volute kraters, columns, kraters, loutrophoroi, rhyta and nestoris amphorae does not exist, pelikes are rare. Reproduction motives are limited. Subjects include youth, women, thiasos scenes, birds and animals, and indigenous warriors. The backs often show cloaked youth. The mythological scenes and portrayals associated with the funeral rites play an additional role. The Naiskos scene , an element of ornament and polychromy was adopted after 340 BC under the influence of Lucanian.
Prior to the immigration of Sicilian craftsmen in the second quarter of the 4th century BC, when several workshops were set up in Campania, only the Owl-Pilar Workshop of the second half of the 5th century is known. Campanian vase paintings are divided into three main groups:
The first group was represented by Kassandra Painter of Capua, still under the influence of Sicily. He was followed by workshops from Parrish Painter and Laghetto and Caivano Painter. Their work is characterized by a preference for satyr numbers with thyrsos, head depiction (usually under the handle of hydriai ), decorative borders of garments, and frequent use of white, red and yellow additions. Laghetto and Caivano Painters seem to have moved to Paestum later.
AV Group also has a workshop in Capua. The most important is the Whiteface-Frignano Artist, one of the first in this group. His trademark is the use of additional white paint to describe a woman's face. The group likes domestic scenes, women and warriors. Some rare numbers, usually there is only one figure in the front and back of the vase, sometimes just the head. Clothing is usually drawn casually.
After 350 BC, CA Painter and his successors worked at Cumae. The CA painter is regarded as an outstanding artist of his group, or even a Campurn vase painting as a whole. From 330 onwards, a strong Apulian influence is seen. The most common motives are naiskos and serious scenes, dionysiac and symposia scenes. The description of the bearded female head is also common. The CA painter is polychrome but tends to use a lot of white for the architecture and figure of women. His successors were not fully able to maintain his quality, leading to a rapid death, ending with the end of Campanian vase painting around 300 BC.
Lucania
The traditions of Lucanian vase paintings began around 430 BC, with the works of Pisticci Painter. He may be active in Pisticci, where some of his works are found. He is strongly influenced by the Attic tradition. His successors, Amycus Painter and Cyclops Painter held a workshop in Metapontum. They are the first to paint a new type of nestoris (see Typology of Greek Vase Shape) type of vase. Mythical or theatrical scenes are common. For example, the Cheophoroi painter, named after Cheophoroi by Aeschylos shows scenes of a questionable tragedy in several vases. The influence of Apulian vase paintings became evident at the same time. Especially polychromic decorations and herbs become standard. Important representatives of this style include Dolon Painter and the Brooklyn-Budapest painter. Towards the middle of the 4th century BC, a major decline in quality and thematic variations became important. The last famous Lucanian vas painter is the Primato painter, strongly influenced by Apulian Lycourgos Painter. After him, a brief quick death was followed by the cessation of Lucanian's vase painting at the beginning of the last quarter of the 4th century BC.
Paestum
Paestan vase painting style developed as the last style of Southern Italian style. It was founded by Sicilian immigrants around 360 BC. the first workshop is controlled by Asteas and Python. They are the only Southern Italian vase painter known from the inscription. They mainly paint the bells of kraters, neck amphorae, hydriai , lebes gamikos , lekanes , lekythoi and jugs, less frequent pelikes , kraters and kraters . Characteristics include decorations such as lateral palmettes, spiraling patterns with petals and umbel known as "asteas flowers", patterns such as cenelation on garment and curly hair that hangs behind figures. Figures that bend forward, resting on plants or stones, are equally common. Special colors are often used, especially white, gold, black, purple and red shades.
The themes depicted are often included in the Dionysiac cycle: the thiasos and symposium scenes, satyrs, maenads, Silenos, Orestes, Electra, the gods of Aphrodite and Eros, Apollo, Athena, and Hermes. Paestan paintings rarely depict domestic scenes, but prefer animals. Asteas and Python have a great influence on the Paestum vase. This is clearly seen in the work of the Aphrodite Painter, who may have immigrated from Apulia. Around 330 BC, a second workshop was developed, initially following the first work. The quality of his paintings and his various motives deteriorated rapidly. At the same time, influences by the Painter Caivano Campania became famous, clothing that falls in linear fashion and female characters without contours follow. Around 300 BC, Paestan's vase was stopped.
Sicily
Production of Sicilian vase paintings began before the end of the 5th century BC, at the poles of Himera and Syracusae. In terms of style, theme, ornament and vase form, the workshop was strongly influenced by the Attic tradition, especially by the late Classical Meidias painter. In the second quarter of the 4th century, Sicilian vase painters emigrated to Campania and Paestum, where they introduced a red-picture vase painting. Only Syracusae maintains limited production.
The typical Sicilian style only developed around 340 BC. Three groups of workshops can be distinguished. The first, known as the Lentini-Manfria Group, is active in Syracusae and Gela, the latter, making Centuripe Ware around Mt. Aetna, and the third in Lipari. The most distinctive feature of Sicilian vase painting is the use of additional colors, especially white. In the initial phase, large vessels such as krater trophies and hydriai are painted, but smaller vessels such as thermos, lekes, lekythoi i> i> and skyphoid pyxides more typical. The most common motives are scenes from the life of women, erotes , female heads and the phlyax scene. Mythological scenes are rare. As in all other areas, vase paintings disappeared from Sicily around 300 BC.
Etruria and other regions
Unlike the vase of black flower vases, the red-drawing vase paintings develop several regional traditions, workshops or "schools" outside Attica and Southern Italy. Some exceptions include several workshops in Boeotia (Painter of Kantharos Athena Agung), Chalkidike, Elis, Eretria, Corinth and Laconia.
Only Etruria, one of the main export markets for the Attic vase, which developed its own school and workshop, eventually exported its own products. The adoption of red painting, imitating the Athenian vases, occurred only after 490 BC, half a century after the style was developed. Because of the technique used, the earliest example is known as the pseudo-red-figure vase painting. The correct red-figure technique was introduced much later, near the end of the 5th century BC. Some painters, workshops and production centers are known for both styles. Their products are not only used locally, but also exported to Malta, Carthage, Roma and Liguria.
Pseudo-red-figure vase paintings
Early Etrurian examples only mimic red-figure techniques. Similar to the rare and early Attic techniques (see technique Six), the entire ship is covered with a shiny black clay and the numbers applied then use a mineralized color that will oxidize red or white. Thus, unlike the contemporary vases of the Attic vase, red is not achieved by leaving the unpainted area but by adding paint to the black main layer. As in the black image vase, internal details are not painted, but incised into numbers. Important representatives of this style include Praxias Painter and other masters of his workshop in Vulci. Despite their obvious knowledge of Greek myth and iconography, there is no evidence to suggest that this painter had immigrated from Attica. The exceptions to this may be Praxia Painter, since the Greek writings on his four vases might indicate that he was from Greece.
In Etruria, the pseudo-red-figure style is not only the earliest phenomenon of phases, as happened in Attica. Particularly during the 4th century, some specialized workshops in this technique, although the actual red painting is widespread among the Etrurian workshops at the same time. Famous workshops include Sokra Group and Phantom Group. The Sokra Group, somewhat older, prefers a bowl with an interior decoration of Greek mythical themes, but also some Etruscan motifs. The ghost group mainly painted cloaked figures combined with a vegetal or palmette ornament. The workshops of both groups are thought to be in Caere, Falerii, and Tarquinia. The Phantom Group was produced until the early 3rd century BC. As elsewhere, changing customer tastes eventually lead to the end of this style.
Picture painting red vase
The real vase of red vase, the vase in which the red area had been abandoned, was introduced to Etruria at the end of the 5th century BC. The first workshops were developed in Vulci and Falerii and produced also for the surrounding area. It is likely that the Attic teacher was behind these early workshops, but the influence of Southern Italy is also real. The workshop dominated the Etruscan market into the 4th century BC. Large and medium-sized ships like kraters and jugs are decorated mostly with mythological views. In the 4th century, Falerian production began to hit Vulci. New production center developed in Chiusi and Orvieto. Particularly the Tondo Chiusi Group, which produces mainly beverage vessels with interior depictions of the dionysiac scene, becomes important. During the second half of this century, Volterra became a major center. Here, especially the bugs that are handled by the rods are produced and, especially in the early phases, are painted in detail.
During the second half of the 4th century BC, mythological themes disappeared from the repertoire of Etruscan painters. They were replaced by female heads and scenes of up to two numbers. Instead of figural depictions, ornaments and flower motifs cover the ship's body. The great figural composition, as it was in krater by The Den Haag Funnel Group Painter was simply superbly produced. The initial large-scale production at Falerii lost its dominant role to a production center in Caere, which may have been established by Falerian painter and can not be said to represent a different tradition. The standard repertoire of the Caere workshop includes just painted oinochoai , lekythoi and drinking a bowl from Torcop Group, and a plate from the Genucuilia Group. The transition to the production of black glaze vases near the end of the 4th century, perhaps in reaction to a change in time taste, spelled the end of the Etruria red vase painting.
Research and acceptance
Approximately 65,000 vases and fragments of red vases are known to be safe. The study of ancient pottery and Greek vase painting had begun in the Middle Ages. Restoro d'Arezzo presents a chapter ( Capitolo de le vasa antiche ) from his description of the world on an ancient vase. He considers especially clay ships as perfect in terms of shape, color, and artistic style. However, at first the focus is focused on the vase in general, and probably especially on the stone vase. The first collection of ancient vases, including some painted vessels, developed during the Renaissance. We even knew some imports from Greece to Italy at that time. Until the end of the Baroque period, vase paintings were overshadowed by other genres, especially by sculpture. A rare pre-classical exception is a watercolor book depicting a figural vase, produced for Nicolas-Claude Fabri de Peiresc. Like some contemporary collectors, Peiresc has a number of clay vases.
Since the period of Classicalism, ceramic vessels are collected more frequently. For example, Sir William Hamilton and Giuseppe Valletta have a vase collection. The vases found in Italy are relatively affordable, so even individual people can collect important collections. Vase is a popular souvenir for young northwestern Europeans to take home from the Grand Tour. In his Italian voyageto diary, Goethe refers to the temptation to buy an ancient vase. Those who can not afford original documents have the option of obtaining copies or prints. There is even a special factory to mimic ancient pottery. The most famous are the Wedgewood devices, although the techniques used are totally unrelated to those used in ancient times, using ancient motifs only as a thematic inspiration.
Since the 1760s, archaeological research has also begun to focus on vase painting. The vases are valued as a source of material for all aspects of ancient life, especially for iconographic and mythological studies. The vase painting is now treated as a substitute for an almost entirely missing oeuvre from a Greek monumental painting. Around this time, the view extended that all vases painted were Etruscan works untenable. Nevertheless, the artistic mode of the time to imitate the ancient vase was then called all'etrusque . Britain and France are trying to outdo one another in terms of research and imitation of vases. The German aesthetic writer Johann Heinrich MÃÆ'¼ntz and Johann Joachim Winckelmann studied the vase paintings. Winckelmann especially praised UmriÃÆ'Ÿlinienstil ("outline style", ie red-figure painting). Vase ornaments are arranged and disseminated in the UK through Book patterns .
Vase paintings even have an influence on the development of modern painting. Linear styles influenced artists such as Edward Burne-Jones, Gustave Moreau or Gustav Klimt. Around 1840, Ferdinand Georg WaldmÃÆ'¼ller painted Still Life with Silver Vessels and Red-Figure Bell Krater . Henri Matisse produced a similar painting ( IntÃÆ'Â © rieur au vase ÃÆ' Â © trusque ). Their aesthetic influence extends to this day. For example, the famous curved shape of a Coca-Cola bottle is inspired by Greek vases.
Scientific studies of Attic vases have been advanced primarily by John D. Beazley. Beazley began studying the vases from about 1910 onwards, inspired by the methodologies that art historian Giovanni Morelli had developed to study painting. He assumes that each painter produces individual works that can always be considered wrong. To do so, certain details, such as face, fingers, arms, legs, knees, folds of garments and so on, are compared. Beazley examined 65,000 vases and fragments (in which 20,000 were black figures). During his six decades of study, he was able to link 17,000 of them with individual artists. Where their names are unknown, he developed a system of conventional names. Beazley also unites and combines individual painters into groups, workshops, schools and styles. No other archaeologist has ever had an influence on all subdisciplines as did Beazley on the study of Greek vases. Most of the analysis is still considered valid today. Beazley first published his conclusions about red vase painting in 1925 and 1942. His original study was only considered material from before the 4th century BC. For a new edition of his work published in 1963, he also entered that period, making use of the work of other scholars, such as Karl Schefold, who specifically studied Kerch Style vases. Famous scholars who continued the Attic red-figure study after Beazley included John Boardman, Erika Simon and Dietrich von Bothmer.
For the study of Southern Italian case painting, the work of Arthur Dale Trendall has the same significance as Beazley for Attica. Most post-Beazley scholars can be said to follow Beazley's traditions and use his methodology. The study of the Greek vase is ongoing, not least because of the constant addition of new materials from archaeological excavations, illegal excavations and unknown private collections.
See also
- Ancient Greek Art
- List of Greek vasers
- See also Liste der Formen, Typen und Varianten der antiken griechischen Fein- und Gebrauchskeramik on Wikipedia Germany for a useful set of tables classifying vase forms and variations, with typical outline and typical examples, and typology of Greek vase shapes.
Resources and resources
- References
- Source
- John D. Beazley: The attic of the red-picture vase painter . 2nd Edition. Oxford 1963.
- John Boardman: Rotfigurige Vasen aus Athen. Die archaische Zeit. Ein Handbuch , von Zabern, Mainz 1981 (= 4. ed. 1994) (Kulturgeschichte der Antiken Welt, Vol 4), ISBN 3-8053-0234-7
- John Boardman: Rotfigurige Vasen aus Athen. Die klasische Zeit. Ein Handbuch . Mainz, Zabern 1991 (Kulturgeschichte der Antiken Welt, Vol 48), ISBN 3-8053-1262-8.
- Friederike Fless: Rotfigurige Ceramic als Handelsware. Erwerb und Gebrauch attischer Vasen im mediterranen und pontischen Raum wÃÆ'¤hrend des 4. Jhs. v. Chr. , Leidorf, Rahden 2002 (Internationale ArchÃÆ'¤ologie, Bd. 71) ISBN 3-89646-343-8
- Luca Giuliani: Tragic, Trauer und Trost. Bildervasen fÃÆ'¼r eine apulische Totenfeier . Berlin, Staatliche Museen zu Berlin - PreuÃÆ'Ÿischer Kulturbesitz 1995. OCLCÃ, 878870139
- Rolf Hurschmann: Apulische Vasen , in: DNP 1 (1996), col. 922 f.; Kampanische Vasenmalerei , in: DNP 6 (1998), col. 227 f.; Lukanische Vasen , in: DNP 7 (1999), col. 491; Paestanische Vasen , in: DNP 9 (2000), col. 142/43; Sizilische Vasen , in: DNP 11 (2001), col. 606; Unteritalische Vasenmalerei , in: DNP 12/1 (2002), col. 1009-1011
- Thomas Mannack: Griechische Vasenmalerei . Wissenschaftliche Buchgesellschaft, Darmstadt 2002. (also Theiss, Stuttgart 2002 ISBN 3-8062-1743-2)
- Sabine Naumer: Vasen/Vasenmalerei , in DNP 15/3, col. 946-958
- John H. Oakley: Rotfigurige Vasenmalerei , in: DNP 10 (2001), col. 1141-43
- Christoph Reusser: Vasen fÃÆ'¼r Etrurien: Verbreitung und Funktionen attischer Ceramics im Etrurien des 6. und 5. Jahrhunderts vor Christus . ZÃÆ'¼rich 2002. ISBNÃ, 3-905083-17-5
- Ingeborg Scheibler: Griechische TÃÆ'¶pferkunst. Herstellung, Handel und Gebrauch der antiken TongefÃÆ'¤ÃÆ'Ÿe . 2nd ed., MÃÆ'nnchen 1995. ISBN 978-3-406-39307-5
- Ingeborg Scheibler: Vasenmaler , in: DNP 12/I (2002), col. 1147f.
- Erika Simon, Max Hirmer: Die griechischen Vasen. Ed's 2nd update. Hirmer, MÃÆ'nnchen 1981, ISBN 3-7774-3310-1.
- Arthur Dale Trendall: Rotfigurige Vasen aus Unteritalien und Sizilien. Ein Handbuch. von Zabern, Mainz 1991 (Kulturgeschichte der Antiken Welt, Vol. 47), ISBN 3-8053-1111-7
Further reading
Von Bothmer, Dietrich (1987). Greek painting vase. New York: Metropolitan Museum of Art. ISBNÃ, 0-87099-084-5.External links
- The Beazley archive - the searchable archive of the Attic vase
- Trendall Archive - Southern Italian vase
Source of the article : Wikipedia
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