Description, Function, Attribution, and Analysis of a Red-figure Type B Kylix

Martin Robertson and Mary Beard’s manuscript, Adopting an Approach, focuses on the study of Athenian pottery. The manuscript begins, by describing Sir John Beazley and his revolutionary method of studying Greek vases. The Beazley Method focuses on the technical conventions of Greek Vases such as naming the artist, dating the pieces and then grouping them based off of similar characteristics. Beazley “provided for the first time a comprehensive framework of analysis for Athenian painting, and a way of dating and classifying.” (Pg. 16) However, what Beard’s main argument suggests is that it is not the artists that help us understand the importance of the vases because even if a vase is assigned to a specific time period or artist, there is

Throughout the history of art, the human body and figure has captivated both artisans and their audiences. This can be said especially of the Greeks and their sculptures. Even from the earliest periods, Greeks motivation for the search of the ideal human body can be seen through the sculpture Metropolitan Kouros (c 120-50 BCE), created in the Archaic period and said to be found in Attica, Ancient Greece (Richter 1931, p. 220). However, it is not until High Classical period that they truly achieve their goal with Polykleitos’ The Spear Bearer (c. 120-50 BCE) or the Doryphoros (its Greek name). The sculpture, found in a Palestra in Pompeii, Italy is said to be the epitome of perfection during its period. Although there is exquisite rendering and beauty in both sculptures, there are also a vast number of differences that make each work unique.

The Greeks took care of the dead by washing them, putting them in tombs, and bringing offerings to their grave. The women’s role was to wash and wrap the dead bodies in cloth. They also decorated them with flowers and herbs. The men dug the area in which the body was to be buried. On this first piece of pottery, it looks like people are walking as if they were in a funeral procession. Women are surrounding the dead person and men are following the women. The pottery has a top that looks like a funnel which comes down and narrows out into a long neck. At the bottom of the long neck it starts to get wider and forms a shape that looks like a vase. The vase sits on a very small pedestal. On the sides of the narrow neck there are two handles that look like very long and thin wings. On the neck of the pot, there is one women standing there. The design above her head looks like a wreath. She looks like she is crying over a body. She is on top of everything that is on the pottery which leads me to conclude that she is an important part of this piece. The dead person may have been her son or husband. At the bottom of the pottery there is a design that looks like black spikes. The pot is entirely black with the picture in gold paint. This pot was called a Loutrophoros. It was used for holding water to wash the dead body. After the body was buried, the Greeks put offerings on the graves of the people who have passed away. This next

This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

he Harvester’s Vase, a fascinating 3500 year old stone sculpture from the Aegean Bronze Age was a product of cultural interactions between the Minoans and the outside world. The vase is “unprecedented” in ancient art history due in part to the animated facial features and accurate human anatomy, thanks to the Minoans long history in making art and their mercantile economy. While Mycenaeans and Hellenic Greeks are more well-known and studied, Minoans played a huge in part in laying the foundations of Western art. Discovered in ruins of the Hagia Triada on the island of Crete. The Harvester’s vase was created around 1500 to 1450 BC, the vase is unique in that it is one of the few well preserved artifacts of the Minoan Kamares where they have

Through further research, I have learned that this vase “depicts the heroes Achilles and Ajax playing a board game” (Two-Handled Jar with Achilles and Ajax).

The Beaker with Ibex Motifs is a prehistoric pottery art work, found in near-perfect condition during a 1906-1908 excavation of a Susian necropolis in Susa, Iran. The Beaker with Ibex Motifs is a large vessel with dimensions at 28.90 x 16.40 cm. Used by the first inhabitants of Susa, this beaker is a the first example of a funerary item. The identity of artist is unknown, however, it is thought the beaker was created sometime between 4200 and 3500 B.C.E.

The “Terracotta vase in the form of a bull's head” is dated ca. 1450 to 1400 B.C. from the Late Minoan II Period. The material used for the rhyton is terracotta and paint. The inventory number is 1973.35. The vase is located in the Metropolitan Museum of Art in the Greek and Roman Art Department in Gallery 151 at The Robert and Renée Belfer Court.

This paper will employ close visual analysis of the The Vase that was created by skilled craftsmen [Tang dynasty (618–907)] describing how it’s minimalist design represents that it was a time when they focused on non-controversial themes when painting.

The Harvester Vase was found in Hagia Triada on the island of Crete. This vase is from the Late Bronze Age, dating from 1550 to 1500 BC. The vase was originally made in three parts and was fitted together. The face is oval shaped and has a vessel on the top. The vase was carved on brownish steatite. The vase was originally glided with gold and hammered to paper-thin thickness. This piece is decorated with low-relief sculpture and shows a unique scene. The piece has pictorial designs. The composition is powerful, rhythmical, and lively.

Modern figurines of art stem directly from the hands of the ancient’s. The organic forms of modernly sculpted artifacts can most likely be directly referenced to the movements of prehistoric artworks. There seems to be an ongoing transition on how cultures no matter how stretched apart through time, contrasted by ethnicity or religious views; can all be somewhat related to each other by the methods or principles portrayed through their artworks. In fact, I saw that very transition; within two works in which are extremely different in meaning, craftsmanship, time, culture and so on. However, I was still able to find similarities within the artifacts. In this paper I will examine Venus of Willendorf, a Paleolithic carving in limestone; which can fit in the palm of one’s hand. As well as, The Sacrifice of Chacmool, which are a plethora of Mesoamerican statues emulating rituals of sacrifice.

Cleveland Museum of Art (Ohio) has in its collection a very valuable piece – an Athenian neck-amphora produced in c. 550 – 500 BC. The vase was executed in the black-figure technique, and it is attributed to Antimenes Painter. The amphora is richly decorated. One part represents Herakles and the lion between Iolaos holding club and Athena with Boeotian shield. The other part features Dionysos standing with satyrs and maenads. I like the amphora very much, especially its decoration and an interesting subject matter.

This mythical creature is holding a stick, for hunting rabbits, in his right hand and looking up at Dionysus with great admiration. Pan’s left arm is wrapped around Dionysus’ back. Pan’s body is smaller, about two-thirds of Dionysus’ body, in comparison to Dionysus indicating Pan’s status as a follower perhaps. However, both are in perfect proportions.

Although these two vessels, one in the Black-figure technique (Theseus and the Minotaur) and the other in Red-figure technique (Herakles and the Nemean Lion), have very distinct styles and techniques, they also have key similarities, that with closer analysis, reveal more about Greek values than was originally known. Showing us how Greek art had not only developed over time, but also providing an understanding as to why Greeks found scenes of heroes battling monsters so popular.

Pottery illustrations are existent to provide information about historical vessels in comparison to other findings of history. They also lay foundations of visual evidence for future readings of the vessels. It is incredible to recognise the amount of information that a vessel or a sherd can inform you about history. In this technology fuelled day and age it could be argued that it is not a powerful form of reference, however illustrations can define shape much more effectively and also