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Relevant bibliographies by topics / Vase-painting

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Academic literature on the topic 'Vase-painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Vase-painting"

1

Oakley, John H. "Greek Vase Painting." American Journal of Archaeology 113, no. 4 (October 2009): 599–627. http://dx.doi.org/10.3764/aja.113.4.599.

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Oakley, John H., and Dietrich von Bothmer. "Greek Vase Painting." American Journal of Archaeology 93, no. 4 (October 1989): 612. http://dx.doi.org/10.2307/505344.

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Arafat, K. W. "Corinthian Vase Painting." Classical Review 49, no. 1 (April 1999): 204–5. http://dx.doi.org/10.1093/cr/49.1.204.

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SHPAK, L. YU. "COMPARATIVE ANTHROPOLOGICAL CHARACTERISTICS OF ATTIC WHITE-GROUND VASE PAINTING." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta Seria XXIII Antropologia), no. 1/2024 (April 12, 2024): 134–45. http://dx.doi.org/10.55959/msu2074-8132-24-1-12.

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Introduction. Of the numerous ceramic production centers of ancient Greece, the Attica region is notable for its continuous development of vase painting styles. Compared to the black-figure and red-figure painting techniques, the polychrome painting of Attic vases on a white-ground may indicate polymorphism in the pigmentation of the ancient Greeks. Materials and methods. The material was collected in digitized museum collections and thematic literature. The color and nature of the characters' hair were studied from vase painting and funerary painting. Anthroposcopic method and simple statistics were used. The significance of differences between groups was assessed using the chi-square test. Results and discussion. In all samples of Attic vase painting, the wavy nature of the hair is predominant, and this frequency does not change significantly over time. The highest frequency of straight nature of the hair (13.3%) is observed in white-ground vase painting. In comparison with the characters in vase paintings, modern Greeks have predominantly straight, lightly wavy hair, especially in women, and then wavy hair. For all style groups of Attic vase painting, no gender differences in nature of the hair were identified. The depiction of hair color on white-ground vase paintings of the early classical and classical times is significantly different: in the earlier vase painting, black and dark brown predominate, and in the later ones, brown/light brown and red-brown. The minimum frequency of dark shades of the hair is noted in Hellenistic funerary painting; it shows, like the white-ground vase painting of the classics, a lighter-pigmented population. The hair color of the modern Greek population is predominantly dark. Based on the hypothesis that the artist depicts familiar forms as traditional ones and reflects the anthropological characteristics of his group, the polymorphism of pigmentation and nature of the hair of the ancient and modern Greek populations is different. Conclusion. Groups of art sources that differ in chronology and style do not represent the hair pigmentation of the population of ancient Greece in the same way. To further study polymorphism of pigmentation of the ancient population, it is necessary to correct the methodology to correlate the actual colors used in vase/mural painting with the hair color classes of the traditional color scale, as well as the use of additional comparative materials.

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Mitchell, Alexandre G. "Humour in greek vase-painting." Revue archéologique 37, no. 1 (2004): 3. http://dx.doi.org/10.3917/arch.041.0003.

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Hughes, Alan. "Comedy in Paestan vase painting." Oxford Journal of Archaeology 22, no. 3 (August 2003): 281–301. http://dx.doi.org/10.1111/1468-0092.00188.

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Rotroff, Susan I. "Attic West Slope Vase Painting." Hesperia 60, no. 1 (January 1991): 59. http://dx.doi.org/10.2307/148228.

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Crouwel, J. H., and C. E. Morris. "Pictorial pottery of Late Minoan II–III A2 Early from Knossos." Annual of the British School at Athens 90 (November 1995): 157–82. http://dx.doi.org/10.1017/s0068245400016130.

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This paper looks at the period of the first regular use of pictorial vase painting in Crete: LM II–III A2 early. The focus is on Knossos, the major findspot for Minoan pictorial pottery of this distinct pre-destruction period. The shapes, motifs and overall character of Minoan pictorial pottery are discussed, as well as the extent of its influence on the earliest Mycenaean figure-style vase-painting.

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Herrmann, Hans-Volkmar. "Studies in Mythology and Vase Painting." Philosophy and History 21, no. 1 (1988): 60–61. http://dx.doi.org/10.5840/philhist198821132.

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Mackay, E. Anne. "A New Response to Vase-Painting." Classical Review 55, no. 2 (October 2005): 664–65. http://dx.doi.org/10.1093/clrevj/bni361.

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Dissertations / Theses on the topic "Vase-painting"

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Hoyt, Sue Allen. "Masters, pupils and multiple images in Greek red-figure vase painting." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150472109.

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Benson, Lisa Virginia. "Hermonax : an early classical vase-painter /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962504.

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Villing, Alexandra. "The iconography of Athena in attic vase-painting from 440 - 370 BC." [S.l. : s.n.], 2007. http://nbn-resolving.de/urn:nbn:de:bsz:16-propylaeumdok-368.

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Wachter, Rudolf. "Non-Attic Greek vase inscriptions : a philological study." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670296.

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EGAN, EMILY CATHERINE. "The Stylistic Relationship Between Wall Painting and Vase Painting at the Palace at Knossos During the Neo- and Final Palatial Periods." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1213729817.

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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in Greek vase-painting and literature /." Verona : Fiorini, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9788887082937.

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Saunders, David. "Sleepers in the valley : Athenian vase-painting 600-400 B.C. and the 'beautiful death'." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432118.

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Kopatos, Ferrer Anna-Maria. "The iconography of the so-called Boreads and Eileithyiai in black-figure vase-painting." Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408717.

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Xu, Jialin. "Techniques of red-figure vase-painting in late sixth- and early fifth-century Athens." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670015.

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Sini, Efthalia-Thalia. "Studies in the choice and iconography of everyday scenes on fourth-century Athenian vases." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670241.

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Books on the topic "Vase-painting"

1

Bothmer, Dietrich Von. Greek vase painting. New York: Metropolitan Museum of Art, 1987.

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2

A, Amyx Darrell. Studies in Archaic Corinthian vase painting. Princeton, N.J: American School of Classical Studies at Athens, 1996.

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3

Amyx, Darrell A. Corinthian vase-painting of the Archaic period. Berkeley: University of California Press, 1986.

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Amyx, Darrell A. Corinthian vase-painting of the Archaic period. Berkeley: University of California Press, 1986.

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Amyx, Darrell A. Corinthian vase-painting of the Archaic period. Berkeley: University of California Press, 1988.

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Amyx, Darrell A. Corinthian vase-painting of the Archaic period. Berkeley: University of California Press, 1986.

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Amyx, Darrell A. Corinthian vase-painting of the Archaic period. Berkeley: University of California Press, 1988.

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8

Sharma, Karuna. Non-European influences on Greek vase painting. London: LCP, 2001.

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9

A, Amyx Darrell. Corinthian vase-painting of the Archaic period. Berkeley: University of California Press, 1988.

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Amyx, Darrell A. Corinthian vase-painting of the Archaic period. Berkeley: University of California Press, 1988.

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Book chapters on the topic "Vase-painting"

1

Vlachopoulos, Andreas G. "From Vase Painting to Wall Painting:." In Amilla, 55–76. INSTAP Academic Press (Institute for Aegean Prehistory), 2013. http://dx.doi.org/10.2307/j.ctt5vj90s.13.

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Piqueux, Alexa. "Comedy and Vase-Painting." In The Comic Body in Ancient Greek Theatre and Art, 440-320 BCE, 8–72. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192845542.003.0002.

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Abstract The first chapter presents the main sources on which the study of the comic body in this book is based, namely the (mainly fragmentary) texts of Old and Middle Comedy as well as the comic vases (earlier called ‘phlyax vases’). It takes up the debates raised over recent decades by these bodies of material and their relation to each other. The links between Attic comedy and comic vase-paintings from southern Italy and Sicily are discussed according to the contexts of production and use of the vases, both Greek or non-Greek, so as to place the investigation of the staging and representation of the body in Greek comedy in the Classical period on a solid scientific basis. The chapter also examines the methodological challenges of a text–image study, which aims to shed light on the history of the comic genre and performances.

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Simon, Erika. "Early Classical Vase-Painting." In Greek Art. Archaic into Classical, 66–82. BRILL, 1985. http://dx.doi.org/10.1163/9789004674882_006.

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Mannack, Thomas. "Mannerism and Vase-painting." In The Late Mannerist in Athenia Vase-Painting, 3–11. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780199240890.003.0002.

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Abstract The term Mannerism is derived from the Italian word m11,niera. In the sixteenth century, Vasari complained that his contem poraries imitated the maniera di Miclteiangdo. l.1,micra can be roughly translated as style. ‘fhe term denoted artistic ability and Europe, which is abo reflected in literature. Busse regarded Mannerism as an interlude between the Renaissance and Baroque, Antal saw it as a return to the Gothic period, and Curtius, Hoffmann, and Friedlander defined Mannerism as anti-dassidsm.9 Bousquet explained Mannerism as recognition and knowledge of style.

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Beeler, Maggie, Sarah Barack, Beth Edelstein, and Chelsea A. M. Gardner. "Ancient Greek Vase Painting:." In An Educator's Handbook for Teaching about the Ancient World, 121–24. Archaeopress Publishing Ltd, 2020. http://dx.doi.org/10.2307/jj.15135914.16.

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Topper, Kathryn. "Mythography and Greek Vase Painting." In The Oxford Handbook of Greek and Roman Mythography, 477—C34.P73. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.35.

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Abstract This chapter examines points of overlap between mythography and Greek vase painting. Although vase painters had different goals from mythographers, they used similar organizational and rhetorical strategies to present and reflect on myth. The chapter shows that the strategies of narrative, catalogue, and pendant can be detected in both vase painting and mythography. The François vase is discussed as an example of visual narrative and catalogue; the “Heroines pyxis” in London is treated as a second instance of catalogue; and Makron’s skyphos depicting the abduction and recovery of Helen is offered as an instance of pendant images. While vase paintings were not strictly mythographic in themselves, the examples considered in this chapter suggest that painters expected viewers to be adept at the same sorts of narration and comparison that made mythographic thought possible. The chapter ends by discussing some limitations of the approach that compares vase painting and mythography.

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"SAPPHO IN ATTIC VASE PAINTING." In Naked Truths, 124–35. Routledge, 2003. http://dx.doi.org/10.4324/9780203037713-9.

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"4. Reperformances and Vase-painting." In Reperforming Greek Tragedy, 130–58. De Gruyter, 2017. http://dx.doi.org/10.1515/9783110561166-005.

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"Pictorial Art and Vase Painting." In The Art and Archaeology of the Aegean Bronze Age, 505–14. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108630672.055.

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Bentz, Martin. "Torch race and vase-painting." In The Panathenaic Games, 73–79. Oxbow Books, 2015. http://dx.doi.org/10.2307/j.ctvh1dkzw.10.

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Conference papers on the topic "Vase-painting"

1

М Ю, Трейстер М. Ю. "Late archaic gold finger ring from phanagoria." In Hypanis. Труды отдела классической археологии ИА РАН. Crossref, 2023. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-324-4.233-240.

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Статья посвящена атрибуции золотого перстня с изображением на щитке безбородого обнаженного юноши c диадемой на голове и венком – в обеих опущенных вниз руках. Перстень был найден в 2018 г. в заглубленном в грунт помещении из сырцового кирпича (святилище № 835). И форма перстня, и стиль изображения на его щитке не оставляют никаких сомнений в датировке перстня позднеархаическим временем, скорее всего, около рубежа 6–5 вв. до н. э. Сюжет, представленный на щитке перстня, чрезвычайно редок и практически не имеет параллелей в глиптике, на произведениях которой рассматриваемого времени чаще всего венки изображались в руках Эрота. Тем не менее, параллели в чернофигурной вазописи дают основание скорее связывать изображение обнаженного безбородого юноши в диадеме, с венками в опущенных руках с мотивами педерастического круга или связанными с симпосием, нежели спортивного. В подобной интерпретации греческого украшения нет, собственно, ничего удивительного, за исключением того, что нам открываются новые грани жизни греческого населения позднеархаической Фанагории (в том случае, если имела место первая версия). The article is devoted to the attribution of a golden finger ring with the image of a beardless nude youth with a diadem on his head and two wreaths – each in every hand, lowered down, on the bezel. The finger ring was found in 2018 in a room made of mud bricks (sanctu ary no. 835) under the stone foundation of a temple in Phanagoria. Both the shape of the ring and the style of the image on its bezel leave no doubt about the dating of the ring to the Late Archaic period, most likely around the turn of the 6th–5th centuries BC. The subject, presented on the ring’s bezel, is extremely rare and has practically no parallels in glyptics – in the items dated to the period under consideration, wreaths were most often depicted in the hands of Eros. Nevertheless, the parallels in the black-figure vase painting give reason to associate the image of a naked, beardless young man in a diadem, with wreaths in lowered hands with motives of a pederastic circle or those associated with a symposium, rather than sports. In such an interpreta tion of a Greek piece of jewelry there is, in fact, nothing surprising, except that new facets of the life of the Greek population of the Late Archaic Phanagoria are revealed to us (in the event that the first version of interpretation is correct).

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