1. Euphronios Calyx Krater

2. Attribution Details When made: 510-500 BC Potter: Unknown
Painter: Euphronius, this is known because he signed his name in a purple glaze
Group of artists: The Pioneers, so called because they were among the first to use red figure also renowned for their interest in the depiction of the human form and movement

3. Red Figure Technique Invented in Athens around 525BC
Preliminary work would involve rough sketches which would bruise the surface of the vase
A relief line is used and the differing thicknesses of paint created the illusion of texture. The technique disappeared before the end of the 4th century BC.
Red figure is the reverse of black figure which executed detail by brush rather than engraving into the surface of the vase, which gave the artist more freedom for the new, realistic style he sought to express.

4. The Shape Vase Shape: Calyx Krater
Size: height of 46cm and diameter at neck, 55cm
Purpose: Used for mixing wine and water at Symposiums
The wide mouth of the vase is perfect for this because the wide mouth enables cups and vessels to be dipped in the large deep belly of the vase.

5. The Scene: Side A
The two central figures are Herakles and Antaios, the Giant
Herakles is figthing the Libyan giant Antaios who gets all his power/strength through contact with Gaia the earth mother so Herakles must lift Antaios off the ground in order to defeat him. However the lifting of Antaios from the earth is not visible on the vase due to the confined sense of space and composition. Athene advised Herakles of this and the myth is from the twelve labours of Herakles.

6. Herakles
Can be identified by the symbols of the bow and quiver as well as the lion skin cloak
The hair of Herakles has been given texture through the use of extra glaze
Contrasts with Antaios with his neatly curled hair and trimmed beard while Antaios looks unkempt which reflects his barbarian nature and the civilised manner of Herakles

7. Composition
W Shape: Central triangle of Herakles and Antaios is framed and extended by the female figures
Central triangle: Herakles and Antaios form a central triangle. Their bodies are frozen in action which enables the artist, Euphronios to show the finer details of their taunt muscles.

8. Composition: W shape

9. Innovations
Ability to show emotional realism as the pain, despair and anguish of Antaio’s female supporters is visible as they tear at their hair in grief and raise their arms in lamentas well as the physical strain shown by Antaios and Herakles
Experimentation with the depiction of figures through the use of foreshortening, twisting and ¾ pose which creates a sense of movement and drama
Muscles are rounded and clearly shown as they are pulled taunt though the strain of the fight which indicates that Euphronios spent time observing real wrestlers in action
The figures show a greater verisimilitude due to the obvious musculature

10. Clothing
In red figure vases figures usually wear chitons whereas in black figure vases they generally wear much heavier peplos
Extremely narrow lines show folds in the linen which then falls in zigzag lines creating movement

11. Side B: The Flute Scene

12. Side B
Shows a youth stepping onto a platform to perform the flute to an audience of three other youths
The border above the frieze is a palmette border and the border below is of palmette and lotus flowers on both sides of the vase