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The Amasis Painter Ovoid lekythos – Wedding Procession White text: p.34-35 Black text: p.33-35.

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Presentation on theme: "The Amasis Painter Ovoid lekythos – Wedding Procession White text: p.34-35 Black text: p.33-35."— Presentation transcript:

1 The Amasis Painter Ovoid lekythos – Wedding Procession White text: p Black text: p.33-35

2 Shape: Ovoid lekythos Function: Used to hold oil, funeral offerings Painter: Amasis Painter Potter: Amasis Technique: black figure Date: c.550 B.C

3 Dimensions Height: 17cm

4 Lower Frieze – subject matter

5 This vase shows a wedding procession, and the narrative runs right-left See Black text p.34 for whole lower frieze

6 The procession is heading towards a house, where the door is wide open. The grooms mother is inside. She carries a torch to welcome the happy couple. A woman leads the procession, carrying two torches to light the way

7 The newlyweds (plus another man) ride on the first carriage. The bride holds what may be a ritual crown, and holds out her veil with her left hand The second carriage carries four men (probably relatives of the bride, accompanying her to the new house) Each carriage is escorted by two women and one man

8 Upper Frieze – subject matter Two seated men play musical instruments – on this side a lyre, and on the other side a flute As musicians play, nine young girls dance stiffly around the vase – probably part of the wedding festivities shown in the lower frieze

9 Painting Technique Detail is incised through the black slip, especially on the mules and the mens beards Lots of white slip has been used: womens flesh, carriages, the Doric columns on the house

10 Drapery All figures wear clothes that are flat and foldless. Detailing is shown on the cloth, but no attempt to show depth. Women wear the peplos The men wear the himation and the chiton, except the groom. The groom does not have a chiton, and therefore his right shoulder is bare.

11 Style and Technique Superior to other Lekythos in artistry Details more precise and realistic Sense of motion and direction –All figures in profile –Varied poses to create sense of movement Upper frieze sits more easily on shoulder and has some relationship with main frieze Depth - one figure placed behind the other – women behind mule Amasis painter not as advanced in use of anatomy to convey mood and movement –Simple clear outlines, no internal anatomy –Draper flat, folds indicated by widely separated lines –No sugestion of figures being 3D


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