1. Black Figure vases

2. Proscribed vases 1 Francois Vase; Volute Krater.
2 Lydos; Column Krater.
3 Exekias; Belly Amphora.
4 Exekias; Kylix. Exam 2004
5 Amasis; Lekythos weaving wool.
6 Amasis; Lekythos. Wedding
- B -
BLACK FIGURE PAINTERS (c. 625-c.530 B.C.)
Black figure vase painters are sometimes named for the potter who did the actual signing of the vessel; sometimes for the current location of artwork in that style; and sometimes after the subject depicted on the vase. Bi-lingual painters used both the black figure painting style and the newer red figure style.
Early Black Figure Painters
Nessos Painter ( )
Gorgon Painter ( )
Sophilos ( )
Komast Group ( ) Mature
Kleitias ( )
C Painter ( )
Tyrrenian amphorae ( )
Painter of Akropolis 606 ( )
Nearchos ( )
Lydos ( )
Heidelberg Painter ( ) Classic
Exekias ( )
Group E
Amasis Painter ( /25)
Little Master Cup Painters Late
Affector ( )
Princeton Painter ( /30)
Swing Painter ( )
Nikosthenes ( )
Antimenes Painter ( )
Leagros Group ( ) Bi-Linguals ( B.C.)
Andokides Painter = Lysippides Painter?
Psiax

3. "black figure"
Definition: The term "black figure" refers to a style of Greek pottery in which only the figures represented on the clay are painted. The background remains red (clay-colored). The painted figures are black -- whence the name. Using engraving tools, details are inscribed through the black paint, revealing the underlyng red
Black Figure Technique
Knowledge of black figure technique is derived from:
vases themselves
scenes depicting vase production
modern practice
chemical experiments
The black portions of the vase are often called a black glaze but the term is misdleading. The dark portions are produced by placing a clay slip (finer in texture than the clay of the pot and more liquidy). In black figure you have a clay slip placed against a red background (usually the color of the clay once fired). Details are incised. White and red paint were accessory colors; white for women and for hair and beards of old men, red for hair, manes of horses, parts of garments, etc.
After the decoration was completed and the vases had become bone dry, they were placed in a kiln and fired [See Pedley, p. 184 for an illustration of a kiln]. A single fire but in three successive stages:
oxidyzing (air admitted): vases and slip turn red
reducing (smoke introduced): both become black
re-oxydizing: clay of vase turns red, being porous enough to admit oxygen; the denser slip, however, remains black
Lastly, a red ochre application was applied to intensify the red of the clay. Pedley has a fuller explanation of the process on pages For shapes, see Pedley p. 185 Attic Black Figure(600-)
--Gorgon Painter, Sophilos, , Dinos, Funeral Games for Patroclus--first signed Attic vase we have. See other Sophilos Dinos on p Kleitias and Ergotimos, Francois vase, 570, Volute Krater; main theme is marriage of Peleus and Thetis; p. 186 and Nearchos, Kantharos, , Achilles speaks to his horses --Amasis Painter, Amphora, Dionysus and two Maenads (Dionysus' female followers), 540; p ***Exekias, floruit A master potter/painter; the great genius of black- figure. 1. funerary plaques 2. Ajax and Achilles, amphora; p Achilles kills Penthesilea, queen of the Amazons, amphora; p Dioscuri (Castor and Polydeuces) at home, amphora. 5. Ajax prepares to kill himself, amphora; p Dionsysus on the sea, kylix

4. 1 Francois Vase; Volute Krater
Potter: Ergotimos
Painter: Kleitias
Date: 570 B.C.
Height: 66 cm Diameter of mouth 57cms
Circumference: 181cm at widest girth
Human and animal characters 270
Inscriptions of names: 121
Early black figure
From Nessos Painter to Sophilos (c )
In the end of the seventh century, Attic workshops gradually abandoned Orientalizing style and started to produce more elaborate works, such as the amphora in Athens (1002), dated to c Although these are classified as the Late Protoattic pottery, they already have characteristics of black figure pottery. On the neck of the Athenian amphora has Herakles fighting against Nessos. Although the body also has Gorgons, Perseus and Athena are omitted. Except for added purple for Gorgons' heads and clothes, all details are represented by engraved lines.
Although owls and water birds on the handles are Corinthian style and some Orientalizing filling ornaments remain, the style of the large figures is Attic and the painter added the names of characters in Attic script. The painter is named the Nessos (or Netos) Painter from this subject [1] and also painted Herakles freeing Prometheus and Bellerophon and Chimaera.
The Gorgon Painter is named after the subject on the dions in the Louvre, dated to [2]. Although the animal friezes on the lower body and stand are obviously influenced by Corinthian pottery, the scene of Gorgons on the upper body is of Attic.
His style is more developed than that of the Nessos Painter. Especially fallen Medusa is depicted with more realistic posture. Finer clay is used for this vessel and it produces good contrast of vivid orange of clay and shinny black gloss, which becomes the hallmark of the Athenian fineware. Other than this dinos, the Gorgon Painter also painted on both larger and smaller vessels. Although most of them are filled with Corinthian animal frieze, the figures are larger and have freer postures and less space filler is used.
The first Athenian painter who signed his name is Sophilos[3]. Although he left his name as potter on one vessel and as painter on three, the best example is the dinos and stand in the British Museum (london ). His figures are not detailed and not well postured as those of the Gorgon Painter.
His female figures, however, wear clothes with detailed patterns and white is used for thier flesh, as later Athenian painters did. The subject on the upper frieze is the wedding of Peleus and Thetis and the procession of deities. The painter gives the name of over 30 figures. Other than this vase, Sophilos depicted the funeral game of Patroklos on another dinos, as well as Corinthianized animal figures on many other vases.
Although some other painters of this period are also identified, they have less characteristics. The most florished of this period is Horse-head amphorae[4]. Only the head of a horse is depicted within a panel on either side of a belly amphora, though occasionally female or warrior's head is depicted instead of the horse-head. Cups of this period generally have the shape, so-called Komast cup, on which Komasts, or revellers, are often depicted(harvard ) [5]. The best cup-painters of this period are the KX and KY Painter, though the former had never painted on the Komast cup.
Francois Vase, Nearchos and Cup Painters (c )
Together with the growing influence of Athens against other regions in the second quarter of the sixth century, Athenian pottery overwhelmed Corinthian Pottery. Space fillers almost disappeared and human figures became more important than animal figures. In this transitional period, c , the masterpiece of Greek pottery was produced. This great volute krater in Florence is so-called Flancois Vase, named after the finder (florence4209) [6]. This is the first volute krater of Greek pottery.
On this vase both the potter Ergotimos and painter Kleitias signed their names twice. Kleitias has the Gorgon Painter's delicacy and Sophilos' miniaturistic composition. This Krater is, however, much more grandeur and has over 270 figures, of which 121 figures have inscriptions.
Each side is divided into seven friezes. Within the uppermost frieze is the Karydonian Boar Hund on one side and Theseus and Athenian youths landing on the other. The second frieze has Patroklos' funeral game and the battle between Centaurs and Lapiths. The third frieze on the shoulder is the procession to the wedding of Peleus and Thetis. The fourth has Achilleus' ambush of Troilos and Hephaistos returning to Olympos. The fifth frieze has decorative ornaments with heraldic Sphinxes and the sixth has a ray pattern. The seventh frieze on the foot has the battle between Cranes and Pygmies. Below the each handle is Artemis as the mistress of animals and Aias carrying the body of Achilleus.
There is no example filled with so many mythological subjects and figures like this. This vase is important, not only for the development of Greek vase-painting, but also for the study of Greek iconography. The style of Kleitias was followed not by the painters of large vessels, but by cup painters specialized in miniaturistic representation.
On the other hand, Nearchos is the painter who influenced on the masters of black figures of the next generation[7]. He also sometimes drew figures in miniaturistic style. His style is, however, more clear on the fragmental Kantharos in Athens, on which his own name, Achilleus' and even horses' names are added. The scale of the figures is much larger than that on the Francois vase and the features, hairs and horses are depicted with more delicate engraved lines. This cup is also the first example with white ground technique, though it is only applied to the neck. Only some vessels are attributed to him, his style was followed by many painters.
Siana cups, whose production was started before the Francois Vase, have a short conical foot and concave lip[8]. The C painter is the most typical painter [9] and his younger contemporary, the Heidelberg Painter, introduced figures within tondo (circular panel placed within a cup) and this tradition was followed until the end of Greek vase-painting [10].
Other than these, the Tyrrhenian Group produced large vases, generally neck amphora, in different style. Although the main scene on the shoulder is generally of mythological or genre, the lower body has animals. Since most of them are found from Etruria, it was thought that the workshop is Etruskan. But it is certain that these vases were produced by Athenian workshops of c for Etruskan market[11].[1]For the Nessos Painter, see, Brommer, F., Berl.Mus.4, pp.1-.[2]For the Gorgon Painter, see, Scheibler, I., "Olpen und amphoren des Gorgomalers", JdI 76, pp.1-47.[3]For Sophilos, see, Bakir, G., Sophilos, ein Beitrag zu seinem Stil, (1981).[4]For Horse-head amphorae and the classification, see, Birchall, A., "Attic horse-head amphorae", JHS 92, pp [5]For the Komast cups and the painters, see, Brijder, H. A. G., Siana cups I and Komast cups, (1983).[6]For the Francois Vase, see, Maetzke, G. and Cristofani, Materiali per servire alla Storia del Vaso Francois, (1981).[7]For Nearchos, see, Richter, G. M. A., "Nearchos", AJA 36, pp [8]For Siana cups and the paiters, see, Brijder, H. A. G., Siana cups I and Komast cups, (1983), Brijder, H. A. G., Siana cups II: The Heidelberg Painter, (1991).[9]For the C painter, see, Beazley, J. D., MMS 5, pp [10]For the Heidelberg Painter, see, Beazley, J. D., "Amasea", JHS 51, pp [11]For the Tyrrhenian amphorae and the painters, see, Thiersh, H., 'Tyrrheniche' Amphoren, (1899), Bothmer, D. v., "The Painters of Tyrrhenian vases", AJA 48, pp , Carpenter, T., "On the dating of the Tyrrhenian Group", OJA 2, pp , Carpenter, T., "The Tyrrhenian Group: problems of provenance", OJA 3, pp

5. General Background Pg 17 - 18 Campbell & Harrison
It is known as the Francois vase because…
Like many black figure vases from the 6th century it was …
It can be seen as a development from earlier styles in two ways a) b)
Shape and handles influenced by which contemporary 6th century industry?
Discovered by Alessandro Francois 1848 Chiusi Italy
Etruscan
Signed by potter and painter
Orientalising influence
Metalworking; high flat handles and curled tip on bronze cauldrons

6. Shape and its use at Symposium
The symposium, conventionally interpreted as a drinking party, was a well-established feature of Greek, particularly Athenian, society.
For over a century, representations on vases document that wine, women, and song were central ingredients.
Importance of the symposium was primarily as an institution that permitted citizens to gather, transact business, and, as Plato's dialogue makes clear, to engage in serious discussions.
An essential piece of equipment for the symposium was the krater in which the wine was diluted with water and from which it was served.

7. Symposium

8. Subject matter; Body Seven bands of decoration 7cm high
Side A
Neck
1 Calydonian Boar
2 Chariot race
Shoulder
3 Wedding of Peleus & Thetis
Decorative motifs: Shoulder , tongues
Belly
4 Achillles pursues Troilus
5 Griffins
6 Decorative motifs: Lower belly; rays
Foot
7 Battle of Pygmies and Cranes
Decorative motifs: foot; tongues

9. Side A

10. Side A

11. Subject matter; Body Seven bands of decoration 7cm high
Side B
Neck
1 Dance of liberation
2 Battle of Lapiths & centaurs
Shoulder
3 Wedding of Peleus & Thetis
Decorative motifs: Shoulder , tongues
Belly
4 Return of Hephaistos
5 Lion vs Stag & Lion vs Bull
6 Decorative motifs: Lower belly; rays
Foot
7 Battle of Pygmies and Cranes
Decorative motifs: foot; tongues

12. Side B

13. Inner Handle Left and right viewed from side A
Artemis as mistress of wild animals (Potnia Theron)
Left
Artemis as winged goddes holding lions in each hand below Ajax stumbles has he carries Achilles’s body and a spear then a gorgon
right
left

14. Potnia theron left

15. Potnia theron right handle
Artemis as winged goddes holding panther and stag below this as shown on next slide Ajax stumbles has he carries Achilles’s body then there is a gorgon

16. Ajax stumbles as he carries Achilles’s body

17. Right Handle gorgon

18. Left Gorgon

21. Kalydonian boar hunt

22. Kalydonian boar hunt

23. Kalydonian boar hunt

24. Style
Narrative is lively, cheerful and polite yet tragic and restrained.
Inspired by Corinthian miniaturist style
Orientalising features (pg 12 & 13 Campbell / Harrison)
Mythological animals from East; sphinxes and griffins
Exotic plant motifs; lotus and palmette
Rigid stylised humans schematic attention to musculature.

25. Making this pot add details to this brief outline from C&H PG 5 -6
Clay prepared
Pot thrown on potters wheel then turned
Individual pieces dry then glued together with slip.
Pot burnished and a coat of slip applied then burnished.
Decoration planned on paper, then transferred to pot before firing.
Figures painted in silhouette then details incised.
Pot fired some colour added after firing.

35. The figures Black silhouette incision for detail
Colour added; white for female flesh & purple for clothing
Eyes painted on, now missing.
Rigid stylised humans schematic attention to musculature.
Sure elegant variety of poses convincing yet archaic conventions of anatomy.
Some male faces coloured purple.

36. Dancer

41. Satyrs
This scene is divided between joy at Hephaistos return and conflicting emotions from Hera and Aphrodite

43. Satyrs ½ goat men with erect phalluses drawn with horselike bodies unlike most other sixth century Satyrs. Satyrs accompany Dionysus.

44. Dionysus and Hephaistos
Compare this representation of Dionysus from side B band 4 Return of Hephaistos
with the next from Side A band 3 Wedding of Peleus & Thetis

45. These are some of the earliest paintings showing Dionysus.

46. Zeus and Hera’s Chariot

48. Ergotimos Signature

49. Kleitas Signature

50. Composition Clear and well knit.
Mass figures in shallow focus of the pictorial field. (eight people deep in wedding procession)

51. Inscriptions Polyxena’s Hydria Priam’s Stool The fountain.
Ergotimos m’epoisen; Ergotimos made me
Kleitias m’egraphsen; Kleitias painted me
(by Chariot of Zeus and Hera / on neck)

52. Myths depicted on vase
Most come from the Iliad; uniting theme the stories of Peleus and his son Achilles.
Kalydonian boar hunt; Peleus, Achilles and many other heroes participated in it.
Marriage of Peleus and Thetis, incidences which occurred at it lead to judgement of Paris, abduction of Helen by Paris and the Trojan war.
Achilles Pursuit of Trolius. Read C&H pg and Classical Mythology, M. Findlay then summarise the main points.

53. Make notes using Classical Mythology
Death of Achilles: bottom of 2nd column P92
Wedding of Peleus and Thetis P85 “ Judgement of Paris”
Calydonian boar hunt pg 70

54. Myths depicted on vase
The Geranos; Theseus’ victory dance on return from Crete after killing the Minotaur. Theseus was an early king of Athens.
Battle of lapiths and centaurs; Theseus fought on behalf of his friend the Lapith king Peirthous
Return of Hephaistos to Olympus. Reconciliation of Hera with Hephaistos, after Dionysus got him drunk and Zeus offered him Aphrodite as his wife. Satyrs ½ goat men with erect phalluses drawn like horses unlike most other sixth century Satyrs. Scene divided between joy and conflicting emotions. This scene is one of the earliest showing Dionysus.
Cranes and Pygmies during Trojan war. Iliad Bk3.4-8

55. Earliest depiction of the return of Hepiastos
Figures are all named
Most complete representation of the myth
At the far right
Scene indicates a revel
Maenad with cymbals and dancing
Icthophallic satyr playing pipes
Icthophallic satyr carrying wine skin

56. Hephaistos In front of band Rides icthophallic mule Bearded Long robes
Shows twisted feet
Indicates lameness
Reason why Hera threw him out

57. Dionysos Partially preserved Leads the mule with Hephaistos Bearded
next
Partially preserved
Leads the mule with Hephaistos
Bearded

58. Aphrodite In front of Dionysos, looking towards Dionysos
Direction of scene changes
Her role uncertain
Literary references on her role in the story
Suggested she was offered as a reward for return of Hephaistos
Dionysos turned down the reward
Given to Hephaistos as his wife
They are married in the Odyssey, assembly of the gods.

59. Aphrodite

60. Zeus & Hera Zeus Seated on a throne Holds staff Hera Behind him
Seated on throne

61. Ares & Athena Ares Seated on a block Head bowed Spear pointed down
Indicates failure in his task to bring back Hephaistos
Athena
Looks at Ares
Points to him with one hand
Other hand points towards procession
As if to say this barbarian succeeded where you failed

62. Ares & Athena