Kleophrades: pupil of Euthymides

Kleophrades: pupil of Euthymides
Vase Catalog Number: Munich 2344 (inv. no. Munich J 408) Images | Browse Images Collection:Munich, AntikensammlungenSummary:Dionysos with maenads and Silens Neck: athletesWare:Attic Red FigureShape:Pointed amphoraPainter:Attributed to the the Kleophrades PainterPotter:Context:From VulciRegion:EtruriaDate:ca. 500 B.C B.C.Period:Late ArchaicDimensions:H m.Primary Citation:ARV2, 182.6Decoration: On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Vase 1 Pointed Amphora: Dionysus and followers

Vase 2 Hydria; Fall of Troy

Kleophrades: Pointed Amphora
Technique: Red figure Shape: Pointed Amphora Painter:Attributed to the Kleophrades painter Potter: Kleophrades Date:ca. 500 B.C B.C. Dimensions:Height. 56cm Subject: Body; Dionysus with maenads and silens. Neck; Athletes exercising

Composition Pointed Amphora
Body: a continuous frieze around the entire vessel. All figures on the same plane, little over lapping of figures wider spacing compared to Makron. On neck frieze interrupted by handles

Subject: Body center of Side A
Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Subject: Dionysus center of Side A
Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him. On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Dionysos moves to the right, holding in his right hand, a kantharos. On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

A panther skin knotted around his neck, and is crowned with an ivy wreath.

Subject: Body center of Side A
He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

He strides to the right, looking behind him and down towards the maenad behind him. On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Subject: Body Two Maenads on either side of the god are being attacked by Silenoi. Right Maenad fends Silenoi off with her thyrsos. Left Maenad holds a snake. On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Subject: Body, maenad to the left of Dionysos
She runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. She wears a long transparent chiton, long mantles whose ends dangle almost to the ground; on her heads a bonnet t,his one wears a fawn skin in addition. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Subject: Maenad to the right of Dionysos
She runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. Both these maenads wear long mantles whose ends dangle almost to the ground. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Subject: Body The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Subject: Body On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Subject: Orgasmic Maenads & Musican Satyr
On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Subject: Frontal Silenoi
On the body, Dionysos with maenads and Silens in a continuous frieze around the entire vessel. In the center of Side A, Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him, and in his right hand a kantharos. He is wearing a long, transparent chiton through which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath. He strides to the right, looking behind him and down towards the maenad behind him. The two maenads on either side of the god are being attacked by Silenoi. The maenad to the left of Dionysos runs to the right towards Dionysos, looking back over her shoulder at the silen. She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand. The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left. The maenad to the right of Dionysos runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg. Both these maenads wear long transparent chitons, long mantles whose ends dangle almost to the ground; on their heads they wear bonnets. The left-hand maenad wears a fawn skin in addition. The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising. Inscriptions: KALOS, "(he is) beautiful" twice, near the silens. Shape Description: This shape imitates in figured pottery the shape of plain transport amphorae. This is among the earliest red-figured pointed amphorae known. Fragments of another pointed amphora by the Kleophrades Painter are in Berlin. Sources Used: Simon & Hirmer 1976, 103-4 Other Bibliography: Lullies 1957; Beazley 1974b (Nick Cahill) Keywords: aryballos, athlete, attacking, aulos, branch, carrying, chasing, chiton, Dionysos, Dionysos, maenads and satyrs, diskos, fawn, fawnskin, fillet, fleeing, hat, ithyphallic, ivy, kantharos, maenad, mantle, naked, panther, pantherskin, pick, playing, pursuing, running, satyr, skin, snake, spear, sponge, throwing, thyrsos, vine, wreath Views: 17 Images Archive NumberCaption Side A: Dionysos and maenadsPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side A, Dionysos with maenads and a satyr Kleophrades Painter's pointed amphora: drawing of side A (left ), showing Dionysos and a maenad Kleophrades Painter's pointed amphora: drawing of side A (center ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: drawing of preliminary sketch lines on side A Kleophrades Painter's pointed amphora: drawing of side A (right ), showing a satyr and an ecstatic maenad Side B: maenads and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: ecstatic maenad on leftPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: maenad and silenPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Side B: silen playing aulosPhotograph copyright Staatl. Antikensammlungen und Glyptothek, München Kleophrades Painter's pointed amphora: drawing of side B, showing satyrs and maenads Kleophrades Painter's pointed amphora: drawing of side B (left ), showing a satyr, facing frontal and playing double pipes, and an ecstatic maenad Kleophrades Painter's pointed amphora: drawing of side B (right ), showing a maenad fending off a satyr Kleophrades Painter's pointed amphora: overview drawing of the vase, side A Drawing of neck (sides A & B) Kleophrades Painter's pointed amphora: drawing of the neck scene (left), showing three athletes Kleophrades Painter's pointed amphora: drawing of the neck scene (right), showing three athletesBack to the Search Menu

Subject: Left Ecstatic Maenad

Subject: Right Ecstatic Maenad

The right maenad She gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm.

The right maenad She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'.

The right maenad She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin.

Orgasmic Maenad left This maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands. Her curly black hair is in small ringlets. On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase. The maenad on the left gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm. She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'. She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin. The other maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands, and her right foot breaks the frame of the scene, her toes over the maeander border. Her curly black hair is in small ringlets. Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders. Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads. On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising.

Orgasmic Maenad left Her right foot breaks the frame of the scene, her toes over the maeander border.

Musical Silen Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders.

Use of colour Purple and dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads.

Subject Neck On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising.

Side A Neck

Side B Neck

Inscriptions: KALOS, "(he is) beautiful" twice, near the silens.

Kleophrades hydria Technique: RED-FIGURE Shape: HYDRIA
Attributed to KLEOPHRADES Dates 490 – 480 Height 45cm Decorated Area: Shoulder Subject: Fall of troy

Trojan War; Homer’s Illiad
Subjects from the Trojan War are a favorite topic of the Kleophrades Painter, perhaps spurred by the tragedies of Aeschylus On Naples 2422 (ARV2, 189, 74), the so-called Vivenzio Hydria, the figures are not confined to a panel but extend around the shoulder in a panorama of the Sack of Troy (Illustration 120; Illustration 121; Illustration 122; Illustration 123). Illustration 120 Illustration 121 In the center, Neoptolemos is killing Priam, who sits on the altar holding his bleeding head, his dead grandson Astyanax in his lap. Trojan women and warriors cower and fall on either side. Illustration 122 Illustration 123The naked Cassandra is pulled from the statue of Athena by the lesser Ajax, who does not notice Aeneas escaping with his father Anchises. On the opposite side, the sons of Theseus rescue their grandmother Aithra, and a Trojan woman attacks a Greek with a corn-pounder. The composition is sweeping and complex, with even the subsidiary ornament — running spirals above, slanted palmettes below — contributing to the sense of rolling destruction. The air of grief and pathos are a departure for the painter and indeed for Attic vase-painting up to this time; in this sense, the Naples hydria is a harbinger of the Early Classical style.

In the center Neoptolemos is killing Priam, who sits on the altar holding his bleeding head, his dead grandson Astyanax in his lap. Trojan women and warriors cower and fall on either side.

The murder of Priam

Pathetic palm

The naked Cassandra is pulled from the statue of Athena by the lesser Ajax, who does not notice Aeneas escaping with his father Anchises.

Illustration 123 The naked Cassandra is pulled from the statue of Athena by the lesser Ajax, who does not notice Aeneas escaping with his father Anchises.

On the opposite side, the sons of Theseus rescue their grandmother Aithra, and a Trojan woman attacks a Greek with a corn-pounder.

Rescuse of Aithra

Corn Pounder

Composition Murder of Priam

Composition Ajax & Cassandra

Composition Rescuse of Aithra

Foreshortening of foot

Composition The composition is sweeping and complex, with even the subsidiary ornament — running spirals above, slanted palmettes below — contributing to the sense of rolling destruction. The air of grief and pathos are a departure for the painter and indeed for Attic vase-painting up to this time; in this sense, this vase is a harbinger of the Early Classical style.

Trojan war illustrated companion

General information about Kleophrates Painter

Style He was a painter of power, whose vital, robust figures, whether naked, armored, or swathed in luxurious drapery, are imbued with intelligence and will.

Secondary opinions on the Kleophrades Painter
Beazley called the Kleophrades Painter the greatest pot-painter of the Late Archaic period, giving him precedence over his contemporary, the Berlin Painter, an artist whose best works are among the masterpieces of Attic vase-painting. The KleophradesPainter Michael Padgett, Princeton University Beazley called the Kleophrades Painter the greatest pot-painter of the Late Archaic period, giving him precedence over his contemporary, the Berlin Painter, an artist whose best works are among the masterpieces of Attic vase-painting. [1] The two painters are frequently compared and discussed in tandem, but although they shared a common background and were close in their early careers, they possessed different temperaments and developed markedly different styles. Of the Kleophrades Painter, Beazley remarked that "he may be said to play a kind of Florentine to the Berlin Painter's Sienese."[2] Although this statement says as much about Beazley as it does the Kleophrades Painter, there can be no doubt what he meant. He was a painter of power, whose vital, robust figures, whether naked, armored, or swathed in luxurious drapery, are imbued with intelligence and will. The firm lines and clear compositions of his paintings were founded on careful designs, worked out in extensive preliminary sketches.[3] In his earliest works, from the last decade of the sixth century, the influence of Euthymides is strong, and there can be no doubt that the Kleophrades Painter trained under him in the Pioneer workshop, where he would also have been exposed to the works of Phintias and Euphronios. The Berlin Painter had a similar training, though he was perhaps closer to Phintias than to Euthymides, whose influence on the Kleophrades Painter is so great that Beazley originally attributed to the older painter some works he later assigned to the pupil.[4] His career lasted over thirty years, ending in the late 470s, before the Berlin Painter's latest works, which are so poor that one is thankful the Kleophrades Painter quit when he did.10. Kraters: The Trojan War Table of Contents | Previous Section | Next Section .[

His career lasted over thirty years, ending in the late 470s

Michael Padgett, The Kleophrades Painter http://www. perseus. tufts
Michael Padgett, Princeton University 19. Shapes: Hydriai and Kalpides Table of Contents | Previous Section | Next Section The hydria was among the shapes most favored by the Kleophrades Painter. The earliest, Salerno 1371 (ARV2, 188, 67), is the old black-figure shape and has black palmettes below the main scene of youths courting boys. The satyrs robbing the sleeping Herakles on the shoulder are close in style to those skulking behind Herakles on the painter's early psykter in Compiègne.[94] The painter's other hydriae are of the kalpis type, most of them with framed pictures on the shoulder. The patterns of the lower and lateral frames are nearly always the same: tongues below and a pomegranate-net on the sides.[95] The upper frames vary: key-pattern, maeander and box, "Tau" maeander. The broad band of ornament below the panel, in the handle zone, is always filled with palmettes, which may be black or reserved, upright or slanted, back to back or lying on their sides. On Rouen 25 (ARV2, 188, 68), satyrs are again stealing up on a sleeping figure, this time a maenad, whose thigh is stroked by her excited admirer. The subject is repeated on the fragmentary vase in the Getty, Malibu 85.AE.188, but there the satyr is masturbating.[96] Beazley called this vase "very early," but it is no earlier in style than the "early" Villa Giulia (ARV2, 188, 69), with Herakles wrestling the Nemean Lion. The other kalpides are all later. On a vase in the Wilhelm collection, Basel (ARV2, 189, 73), the maenads with Dionysos are "flying": i.e. dancing with their chiton sleeves pulled over their hands.[97] On Louvre G 50 and Leiden PC 83 (ARV2, 188, 70-71) the action is more violent, with Lapiths battling centaurs and Herakles slaying the Egyptian king Busiris.

Influences In his earliest works, from the last decade of the sixth century, the influence of Euthymides is strong, and there can be no doubt that the Kleophrades Painter trained under him in the Pioneer workshop, where he would also have been exposed to the works of Phintias and Euphronios. Euthymides, influence on the Kleophrades Painter is so great that Beazley originally attributed to Euthymides some works he later assigned to his pupil Kleophrades.

Style The firm lines and clear compositions of his paintings were founded on careful designs, worked out in extensive preliminary sketches.

Reviewed by Jenifer Neils, Case Western Reserve University.
In a perceptive essay on scholarly approaches to Greek vase-painting,1 Martin Robertson compares the conceit of hearing Mozart played on period instruments with the notion of modern classicists that they can share the ancients' sensibility to painted pottery by identifying its practitioners and reconstructing its stylistic development. R. notes that, just as we cannot really "hear" Mozart because of all the subsequent music of which we are inevitably conscious, so our "seeing" of Greek vases is colored (and enhanced) by our appreciation of later epochs of art history. We must also always bear in mind that the "art history" of vase-painting is largely a construct of modern scholarship, since the subject barely warrants a mention in ancient literature. The well-wrought urn seems not to have played such a major role in ancient life as it does in contemporary aesthetics, to say nothing of the art market. The process of mapping out the terrain of Athenian vases began with the well-known scholar, Sir John Beazley. He successfully applied a method developed by the 19th-century art historian Morelli for distinguishing hands in Italian Renaissance figural paintings. Known as the Morellian method, it is based on the premise that every artist has an individual way of rendering details, such as a nose or anklebone. Beginning with a morass of largely anonymous material (approx. 30,000 black- and red-figure vases) Beazley ended up with hundreds of painters and potters, groups and classes, arranged in roughly chronological order. Subsequently, most scholars in the field have occupied themselves with re-fining his lists by studying an individual painter, a shape or a subject. Until now the student who wished to fathom the intricacies of Athenian vase-painting during the city's heyday, that is from the foundation of the city's democracy to the loss of its hegemony to the Macedonians, would have had to choose from one of two extremes: either elementary surveys, or Beazley's 1700-page, 3-volume, unillustrated lists of attributed red-figure vases with their often arcane abbreviations, supplemented by various paralipomena. The latter can be bewildering to students and offer few clues to the development of the subject, while the former necessarily give short shrift to vase-painters' artistic personalities and workshop interconnections, iconography, shape development, the role of ornament, etc. At first it might seem surprising that this fundamental chapter in Greek art has remained unwritten, but when one considers the daunting task (some 1,000 artists and groups), it is perhaps more understandable. Even Beazley who fleshed out his list of black-figure vase-painters (ABV) with The Development of Attic Black-figure (1951), never undertook a counterpart for Attic Red-figure Vase-painters (ARV second edition, 1963). We are fortunate that R., an epigone of Beazley and one who knew him well, undertook this monumental task. His text, which spans 200 years (ca ), follows the master's main divisions beginning with the inventors of red-figure to the decline of the craft in the late fourth century. Along the way, as he deals with specific artists and their workshops, he draws our attention to subsidiary ornament, chronology, other techniques such as white-ground and coral red, and composition. In terms of chronology the text not only traces the internal development of many a painter's oeuvre, but, where possible, pegs it to a historical date. In his close study of vase-painters, R. does not simply blindly follow Beazley, but has suggested some innovative ideas and creative solutions to long-standing problems. In the first chapter dealing with the earliest red-figure, R. notes that the painter Psiax was a "finer and more boldly experimental draughtsman than the Andokides Painter" (13). He goes on to suggest that Psiax may have been inspired by his teacher's (the Amasis Painter's) use of outline for female figures (instead of the usual black silhouette with added white) to invent the red-figure technique. For, according to R., it is not the Lysippides / Andokides partnership (traditionally credited with the invention), but Psiax who proceeds to realize the artistic potential of the new technique. In a later chapter R. attributes the famous singleton, the Sosias cup in Berlin, to the young Kleophrades Painter (although I don't see such an accomplished and progressive work representing the juvenalia of any painter), and he would also reassign the cylindrical wine cooler with Alcaeus and Sappho, which Beazley considered a late work of the Brygos Painter, to the Dokimasia Painter (118). Nor is R. unobservant of shape; he weaves in many perceptive observations about artists' preferences and adaptations. For instance he notes that in black-figure the neck-amphora was a predominantly "light" vase, whereas the hydria was "dark" with decoration set into reserved panels. While the new technique was easily accommodated to the latter shape, it could not be to the former and so artists preferred the one-piece amphora and eventually remodeled the neck amphora. The relationship of potters to painters is explored in light of the maddeningly capricious use of signatures. While R. accepts that egrapsen means painted by the artist himself, he feels that epoiesen is less clear, and rather than referring to the individual as the potter, he prefers the more ambiguous term poietes. R. admits that this is clumsy terminology, and that in most instances the potter himself is named, rather than the owner of the establishment. I would suggest that in the case of overly numerous signatures like those of Nikosthenes, the letters had simply become part of the decorative scheme and should not be taken literally. R. is at his art historical best in comparing and contrasting similar scenes executed on various shapes by different artists. The Ilioupersis, which becomes a popular subject during the Persian incursions into Greece, appears on the interior of a large cup by Onesimos (Malibu), on the shoulder of a hydria (kalpis) by the Kleophrades Painter (Naples), and on the exterior of a cup by the Brygos Painter (Louvre). R. demonstrates how each artist excels in his own way within his chosen format: Onesimos prefers tondos where the viewer is forced to focus on the gruesome death of Priam; the Kleophrades Painter provides a narrative sequence of events and highlights the gravitas of the situation via the mournful gestures of the Trojan women. The Brygos Painter heightens the drama with swirling drapery, staccato movement, and complex groupings. "The structure of the picture on the kalpis, with the feet on the wide outer circle, leads to compact pyramidal groups. On the cup the feet are on the narrow inner circle and the figures reach up in spreading movements. There is a corresponding contrast in mood. The Kleophrades Painter's tone is given by still figures, mourners and the dead; with the Brygos Painter all is action" (94). Such perceptive analysis of shape and decoration moves us from noses and anklebones to a deeper understanding of each painter's particular niche in the history of Athenian vase-painting. Throughout his text the author gives due consideration to Vickers and Francis' recent challenges to two mainstays of Beazley's system: chronology and Materialgerechtigkeit (or "truth to materials"). He does not accept the drastically lowered chronology, and refutes it with a variety of convincing evidence: material from dated contexts like the Marathon mound, stylistic affinities between datable relief sculpture and vase-painting, new iconography such as the appearance of Boreas and Oreithyia following the scattering of the Persian fleet by the north wind off Cape Artemision in 480. Much of this is not new evidence but it is brought together and argued in a cogent fashion. R. also refutes Vickers' theory about the influence of vessels in precious metals on the two main ceramic techniques: i.e. black-figure = tarnished silver inlaid on bronze, and red-figure = gold inlay on silver. He points out the existence on many vases of pentimenti or preliminary sketch, which indicates that the artists often changed their minds and so were not slavishly imitating metal prototypes. Most importantly he argues on behalf of the integrity of a craft which has its own traditions and conventions dating back to the Geometric period. It may surprise some readers to find that in the last chapter there are as many illustrations of black-figure vases as red. The earlier technique in fact outlasted red-figure because it served as the religiously sanctioned mode of decoration for the prize amphorae awarded every four years to winners at the city's Panathenaia. Some of the finest draftmanship of the fourth century is found on these Panathenaics, which are conveniently dated by the archons' inscriptions. Here one might hazard the suggestion that metal engraving was at this time influential, given the fluidity of incision on the reverses of these fourth-century Panathenaics, which compares closely with the engraved cistae and mirrors of the period. The disappointments of this long-awaited book are mainly of a technical nature. One wishes, particularly in an art history book, that the handles of the cups were not routinely cropped off, or that the contours of the Berlin Painter's bell krater, which are discussed at some length, were actually visible (fig. 64). The endnotes, alas, are decidedly not helpful, especially since a great many simply refer the reader to another note. There is an uneven quality to the text which careful editing could have corrected: on the one hand, it is peppered with the last names of scholars which would mean nothing to the average reader, while on the other it describes in great detail many aspects of Greek vase-painting, such as technique, which are now fairly well known. Some readers will welcome the incorporation of numerous new museum acquisitions, whereas others might deplore such overdependence on unprovenanced and illicitly excavated finds. And finally, a word of advice to the reader: it is absolutely essential to keep at one's elbows John Boardman's two handbooks of red-figure vases which together offer a compendium of over 800 illustrations,2 to which R.'s endnotes refer the reader in the many instances where a vase is discussed but not illustrated. An outsider looking for the first time at a museum case filled with Athenian pots would likely conclude that the Greeks strove for verisimilitude but were unimaginative in terms of color, and enjoyed scenes of heroic action (aka violence), sports, drinking, and sex, and he would be not far wrong. R. has demonstrated another side, namely the phenomenon of vase-painting as a fine art. With this comprehensive and thoughtful book, he has proved his premise that the craft of painted pottery assumed in Athens an artistic importance rarely equaled in other cultures. NOTES [1] M. Robertson, "Adopting an approach," in T. Rasmussen and N. Spivey, edd., Looking at Greek Vases (Cambridge: 1991) [2] J. Boardman, Athenian Red Figure Vases: the Archaic Period (London: 1975), and Athenian Red Figure Vases: the Classical Period (London: 1989).

Kleophrades: pupil of Euthymides

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