The art of vase-painting in classical Athens /
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| Format: | Book |
| Language: | English |
| Published: |
Cambridge ; New York :
Cambridge University Press,
1992.
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Table of Contents:
- I. Vase-painting in Athens before the invention of red-figure. II. The study of red-figure vase-painting
- 1. The beginning of red-figure. I. The invention. II. The inventors. III. The second phase
- 2. A time of ferment: the red-figure Pioneers and their contemporaries. I. The red-figure Pioneers. II. Black-figure in the time of the Pioneers: the Leagros Group and others. III. The course of cup-painting. IV. A note on absolute dating
- 3. After the Pioneers: red-figure mastery; the beginning of white-ground. I. Cup-painters and pot-painters. II. The Pioneers' direct successors. (a). Euphronios, the 'Panaitios Painter', Onesimos. (b). The white cup, and the origins of white-ground decoration. (c). Euthymides and the Kleophrades Painter. (d). The Berlin Painter and his origins. III. Three leading cup-painters. (a). Douris. (b). The Brygos Painter. (c). Makron. IV. Other cup-painters. (a). The Antiphon Painter and his group. (b). The Foundry Painter. (c). Apollodoros and others. V. Two cup-painters with a strong pot side. (a). The Triptolemos Painter. (b). The Dokimasia Painter. VI. Other pot-painters. (a). The Nikoxenos and Eucharides Painters. (b). The Syleus Sequence. (c). Myson and the painters of column-katers. (d). Some other painters of large pots. (e). Painters of small pots in various techniques
- 4. Archaic into classical. I.A change of background: the revolution in wall-painting. II. A question of names and dates. III. Pot-painters. (a). The Copenhagen-Syriskos Group, the Oreithyia Painter and others. (b). The Pan Painter; the Mannerist workshop and others; the Alkimachos Painter. IV. Cup-painters. (a). The following of Douris and Makron; and some others. (b). The Pistoxenos Painter and his companions
- 5. Early classical. I. Cup-painters. (a). The Penthesilea Painter and his workshop. (b). Various: the Akestorides Painter; the Sabouroff Painter. II. Skyphos-painters: the Lewis Painter and his circle. III. Pot-painters. (a). The Villa Giulia Painter. (b). Followers of the Berlin Painter: the Providence Painter; Hermonax. (c). Small pots: red-figure; black-figure; outline. (d). The Niobid Painter and his Group. IV. The Sotades Painter and Sotades
- 6. High classical. I. Introductory. II. Pot-painters. (a). The Chicago Painter. (b). The Achilles Painter and his circle; black-figure panathenaics; white lekythoi; the Phiale Painter. (c). The Group of Polygnotos. (d). Other painters of large pots; the column-krater. (e). Smaller pots (oinochoai, skyphoi); the Penelope Painter. III. Cup-painters: the Euaion Painter; the Codrus Painter
- 7. Developments from the high classical. I. The Kleophon Painter. II. The Washing Painter: woman's world. III. Oinochoai: the Shuvalov Painter; choes. IV. The Eretria Painter; cup-painting. V. Aison
- 8. The later fifth century; developments into the fourth. I. Introductory. (a). The historical background. (b). Pointers towards absolute dates. (c). Developments in wall and panel painting. II. Woman's world in its divine dimension: the Meidias Painter and his circle. III. The broader tradition: the Dinos Painter; Polion. IV. Some minor figures: the Kadmos and Pothos Painters; the Kekrops Painter; the Nikias Painter. V. The last white lekythoi. VI. After the Dinos and Meidias Painters: the Pronomos Painter; the Talos Painter; the Semele and Suessula Painters; the Painter of the New York Centauromachy. VII. Black-figured panathenaics; red-figured choes; other vases of festal or ritual use
- 9. The fourth century. I. Introductory. (a). The historical background. (b). Developments in painting on wall and panel; vase-painters' reactions to these. (c). Distribution and dating. II. Cup-painting: the Jena Painter and others; the decline. III. Pot-painting. (a). Everyday work; bulk production. (b). Black-figure panathenaics and the fine style in red-figure. IV. Kittos and Bakchios, sons of Bakchios.