1. Berlin Painter Volute krater

2. Basic facts  Vase shape:volute krater  Function:mixing wine & water  Potter:unknown  Painter:Berlin Painter  Date:500-480 BC  Height:65cm

3. Painter  never signed his own name  the name Berlin Painter comes from an amphora found in Berlin - this volute krater is stylistically similar to that amphora  often spotlighted a single figure against a black background, with no framing panel  characters often give impression of being frozen in mid- action – their bodies tensed & poised to move on  figures are well-muscled  details drawn with dilute glaze  excellent at refinement & delicacy

4. Innovations  spotlighting a single figure against a black background with no framing panel; in this way they appear light & graceful, as if floating on the vase

5. Subject – side A  Achilles & Memnon (Trojan hero from Ethiopia)  a ‘frozen’ action scene from battle  watched by their mothers, Thetis & Eos

6. Subject – side B  Achilles & Hector  ‘frozen’ battle scene  watched by their respective divine patrons – Athena & Apollo  Achilles has already wounded Hector

7. Composition - overall  simple decoration - typical of the Berlin Painter  only the neck & handles are decorated  this is a reversal of the major artistic trend – no decoration on the body except for a coating of shiny black glaze, and a band of stylised rays at the base of the belly  this draws attention to the shape of the vase & also the main frieze  complex mirrored lotus & palmette chain on the lip (above the frieze)  below the scene is a tongue pattern

8. Composition - scenes  no overlapping  single groundline  two central figures are framed by their supporters  scenes are symmetrical  ¾ view of Achilles is mirrored on both sides  positioning of shields helps to give a three-dimensional effect  figures are in a ‘W’ composition which mimics the wide mouth and narrow base of the vase (the supporters are the ‘wings’ of the ‘w’ whilst the warriors are in the interior inverted ‘v’)  the clashing of the spears on side B adds to the ‘W’ composition

9. Figurative Details – side A Achilles  twisted in ¾ pose  carefully mirrors taut back view of Memnon

10. Figurative Details – side A cont Memnon  holds up his shield to block Achilles’ spear  prepares to lunge forward with his sword  position of his legs indicate movement – the heels of his feet are raised off the ground  he looks like he’s moving forward about to lunge with his sword

11. Figurative Details – side A cont Thetis  mother of Achilles  stands behind Achilles  her hands are raised as if urging him on to defeat Memnon

12. Figurative Details – side A cont Eos  mother of Memnon  Eos means Dawn  stretches out her right arm (mirrors Thetis) but her pose is one of anguish, knowing that her son is about to be defeated  mirror-like symmetry of the two women  her drapery flows to show movement & suggests she is moving away from the scene  zigzag folds in her drapery

13. Figurative Details – side B Achilles  his legs are moving forward showing that he is ready to attack  he is preparing to make the last fatal blow to the already wounded Hector  can see the interior of his shield – it highlights the figure of Achilles (Hector is contrasted and looks deliberately weak)  this shows that Achilles will be the victor  both warriors are slender, agile & well-muscled  both warriors are nude as was typical of Greek heroes

14. Figurative Details – side B cont. Hector  depicted totally unprotected – his shield is twisted behind him!  blood is spurting from wounds in his thigh and chest  one knee is bent – almost looks as if he is stumbling backwards from the curve of his body  his body is painted in the ¾ pose  both warriors are slender, agile & well-muscled  both warriors are nude as was typical of Greek heroes

15. Figurative Details – side B cont. Athena  stands behind Achilles  one arm is outstretched behind him – encouraging her favourite hero  she holds a spear in her hand  she wears her snake covered aegis and a helmet

16. Figurative Details – side B cont. Apollo  stands behind Hector  appears to be waving goodbye to the ‘doomed’ Hector  is carrying an arrow; maybe a hint at the fate that awaits Achilles

17. Non-figurative details  complex mirrored lotus & palmette chain on the lip (above the frieze)  below the scene is a tongue pattern  band of stylised rays at the base of the body

18. Inscriptions  the figures have their names painted beside them in dilute glaze

19. Painting Technique - overall  red-figure  figures are first painted with a relief line; the background was then painted in with black slip; extra details such as eyes were then added with black slip  figures have their names painted beside them in dilute glaze  major muscles are painted with slip – this provides more detail

20. Painting Technique – side B  Achilles arm (holding the spear) is foreshortened  dilute slip has been used on Achilles hair  dilute slip is used for the blood flowing from Hector’s thigh & chest  dilute slip also used for the details on the shields

21. Narrative Technique The ways a story can be communicated or told:  names (sometimes symbolic, e.g. Peitho (persuasion) on Makron’s vase to emphasise seduction)  actions  poses  hand gestures

22. Narrative Technique – this vase Overall  all figures are named  drapery flaring shows movement (particularly the supporters walking away)  hand gestures – such as pulling hair (suggest grief) Side A  Achilles raised arm shows he’s about to strike  his raised heel suggests movement  Eos pulling her hair suggesting she is in grief about Memnon’s imminent death Side B  Apollo looks back at the defeated Hector as he walks away (heel raised)