Presentation on theme: "Kleophrades: Pointed amphora. about the painter Kleophrades worked in Athens between a period of 505BC to 475BC. Over 100 vases attributed to him."— Presentation transcript:
Kleophrades: Pointed amphora
about the painter Kleophrades worked in Athens between a period of 505BC to 475BC. Over 100 vases attributed to him survive today. It is likely he was a pupil of Euthymides (a red figure pioneer) Sometimes worked in black figure. Favoured decorating large vases. Most of his subject matter was scenes taken from the pioneers, but also did scenes from the Trojan War.
the vase Date: c BC Vase: Pointed Amphora Potter: Painter: Kleophrades Height: 56cm Technique: Red figure technique Use of vase: This type of vase was used for holding wine and oil. Because of the shape of the vase a stand was needed for it to remain upright. This meant that it was not often chosen for decoration by painters. Composition: This vase is divided into 3 main bands. One on the neck, a large one on the body which takes up about ¾ of the space and a smaller band above the foot of the vase. Side A Side B
decoration: neck Side A Three youths are depicted playing with spears. Each youth stands with their legs apart, and face to their right. The first youth carries several spears and a discus lies on its edge on the ground between his legs. The second youth has his right leg off the ground and carries a spear over his shoulder with his right arm. The third youth has his right foot forward and carries a discus in his right hand. A pick is lying on the ground behind the second and third youth. Discus Pick-axe Spear/javelin
decoration: body Side A Dionysos the centre figure on Side A. Wears a chiton and himation. Both items of clothing detailed. Leopard skin cloak, front legs of skin knotted around his neck. His left arm is raised and holding a vine branch with purple leaves. His head is turned to his right to look behind him. Wears a crown of purple ivy leaves. As he turns his head his hair (painted in ringlets) fans out over his shoulders. He holds an empty metal kantharos in his left hand. Feet are facing to his left. Dionysus
decoration: body Side A This maenad stands to the right of Dionysus (left when looking at the vase, right from Dionysos’ P.O.V.) She wears a detailed chiton and himation also. She wears a deer skin over her garments. She wears a sakkos on her head. Though some hair has escaped from beneath it in her revelry. In her right hand she holds a thyros to defend herself from the satyr. Her legs and feet are facing Dionysus. Her torso and head are facing her attacker. Maenad 1
decoration: body Side A This maenad stands to the left of Dionysus (right when looking at the vase, left from Dionysos’ P.O.V.) She wears a detailed chiton and himation also. She wears a sakkos on her head. Though some hair has escaped from beneath it in her revelry. In her right hand she holds a thyros to defend herself from the satyr. She is using her left arm to also fend off the attacker. Her torso and head are facing her attacker. Her feet are facing Dionysus. Maenad 2
decoration: base Side A The large main band is finished with a motif of meanders and saltires. The large main band and the last main band are separated by a large area of glossy black slip. The last main band consists on stylised rays in the black figure technique.
decoration: neck Side B As on side A, side B has a second grouping of 3 athletes with spears and a discus. On the wall hangs a sponge bag and an aryballos used for applying oil to their bodies. Athlete 1, holds a spear and faces to his right. His body is fully profile with a frontal eye. Athlete 2 faces his right and holds a discus in his right hand. Athlete 3 faces his left and holds a spear in his right hand, his head is down concentrating on something. As on side A all three athletes have their legs apart. Aryballos Discus Spear/javelin
decoration: body Side B This satyr stands in the middle if the main band on side B. This satyr is shown with a frontal head and torso, profile legs and tail. Inscription: “kale” the masculine form of “beautiful”. Satyr shown fully naked except for a deer skin. Wears a wreath of purple leaves on his head. Very comical looking with erect phallus. Plays the aulis, the double flute. Legs are apart and slightly bent at the knees. His right heel is raised off the ground slightly. His movement is to his left. His body is slightly bent over with playing the aulis. Satyr
decoration: body Side B She stands to the right of the satyr. She sways in time to the music. She faces away from the satyr, to her right. Carries a thyros over her right shoulder. As she moves her drapery swirls and flares around her ankles and behind her. This maenad has blonde hair, achieved by layering dilute honey coloured glaze. Her blue eyes were achieved by painting a ring of black with a red dot in the centre. She appears oblivious to the snake winding itself around her left arm. Also wears a deer skin. Her head is tilted back. Maenad 1
decoration: body Side B She stands to the left of the satyr. She seems frozen in her dance She faces away from the satyr, to her right. Carries a thyros over her right shoulder. She twists her thyros in her hands. As she moves her drapery swirls and flares around her ankles and behind her..This maenad has dark curly hair. She doesn’t wear a sakkos like the maenads on side A. Her head is thrown back and she looks like she is howling. Her right foot is in profile and has come out of the frame which adds depth to the scene. Inscription: “kalos” in front of her face. This is the feminine form of “beautiful”. Maenad 2
Symmetry: body Side A Symmetry created by having the two maenads on either side of Dionysus. Perfect symmetry broken by Dionysus’ lean and the positioning of the maenads thyroi. The maenads heads and bodies mirror each other, with the exception of their arms breaking symmetry.
Symmetry: body Side B The head and thyros’ that the two maenads carry are in mirrored positions. A symmetrical pattern is achieved with the two maenads either side of the satyr. Perfect symmetry is broken by the satyr’s pose and the positioning of the maenads arms.
realism How has the artist tried to create realism in the vase painting? Drapery follows the lines of the body. The bodies are fully profile. The relief line is used to define musculature. Hair has come loose from the maenad’s sakkos. The bodies are more in proportion. The poses are more naturalistic, maenads are “frozen” in position. The female poses are more realistic than that of the satyrs and Dionysus.
detail What has the artist used to create detail? The ruffles and folds of Dionysus’ chiton and himation. Added honey coloured glaze has been used to create intricate lines and zigzag folds on the maenad’s clothing. We can see the outline of Dionysus’ legs beneath the clothing. The snake and deer skin on the first maenad on Side A has been detailed with honey coloured glaze. Purple glaze has been used for the leaves and wreaths. Yellow and blue has been used to highlight and distinguish one maenad from the other.