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Relevant bibliographies by topics / Vase-painting, Greek. Vases, Greek

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Academic literature on the topic 'Vase-painting, Greek. Vases, Greek'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Vase-painting, Greek. Vases, Greek"

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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Shapiro, H. A. "Attic Comedy and the ‘Comic Angels’ Krater in New York." Journal of Hellenic Studies 115 (November 1995): 173–75. http://dx.doi.org/10.2307/631658.

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The centerpiece of Oliver Taplin's recent monograph on Greek drama and South Italian vase-painting is an Apulian bell-krater of the early fourth century in a New York private collection (Plate IV). The vase belongs to the genre conventionally known as phlyax vases, though Taplin would reject that label, since it is the thesis of his book that many, if not most, of these vases reflect Athenian Old Comedy and not an indigenous Italic entertainment, the phlyax play.

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Honzl, Jiří. "African Motifs in Greek Vase Painting." Annals of the Náprstek Museum 38, no. 1 (2017): 7–16. http://dx.doi.org/10.1515/anpm-2017-0017.

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In the beginning the paper concisely summarises contacts of Greeks with Egypt, focusing on their interests on the North African coast, up until the Classical Period. The brief description of Greek literary reception of Egypt during the same timeframe is following. The main part of the paper is dedicated to various African (and supposedly African) motifs depicted in Greek vase painting. These are commented upon and put in the relevant context. In the end the individual findings are summarised and confronted with the literary image described above.

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Schaus, Gerald P. "The beginning of Greek polychrome painting." Journal of Hellenic Studies 108 (November 1988): 107–17. http://dx.doi.org/10.2307/632634.

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About the mid-seventh century, polychrome styles of vase painting appeared in five different Greek wares, and in a sixth ware a short time after. By polychrome here is meant the use of a light brown or reddish brown paint for male flesh in human figure scenes, to go with the normal colours found on seventh-century Greek vases, black, red and white. The use of this light brown or reddish brown paint may have begun a little earlier, e.g. for parts of animals, but it would be confusing to call this partial polychrome and to regard this as a preliminary step towards the distinctive use of brown for male human flesh. The six wares in which polychrome vases appear are Protocorinthian, Protoattic, Argive, Naxian, ‘Melian’ (likely from Paros), and a ware found at Megara Hyblaea. Except for ‘Melian’ polychrome which continues to the end of the seventh or early sixth century, each of these polychrome styles flourishes for a brief time and then disappears.

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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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Miścicki, Wawrzyniec. "Both Sides Matter? Reading Greek Vases Using Pictoral Semiotics." Studies in Ancient Art and Civilisation 19 (December 30, 2015): 107–28. http://dx.doi.org/10.12797/saac.19.2015.19.06.

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This paper explores the possibilities of using methods of analysis from the field of pictorial semiotics in studying Greek vase painting, and thus resolving the problem of interpreting multiple scenes on a single vase. Its aim is to explain and clarify basic notions connected to this discipline, such as imagery, syntagmatic and paradigmatic relations, and how they relate to Greek iconography, using various examples. The main premise is that the separate scenes on the artifact are connected syntagmatically and not only paradigmatically as it is usually indicated, thus the joint interpretation always precedes the analysis of detached scenes, the latter being dependent upon the syntagmatic reducibility of the image.

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HERRING, EDWARD. "APULIAN VASE-PAINTING BY NUMBERS: SOME THOUGHTS ON THE PRODUCTION OF VASES DEPICTING INDIGENOUS MEN." Bulletin of the Institute of Classical Studies 57, no. 1 (June 1, 2014): 79–95. http://dx.doi.org/10.1111/j.2041-5370.2014.00067.x.

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AbstractThis paper examines the place of vases depicting indigenous men in the wider context of Apulian red-figure pottery production. Through an analysis of 13,577 vases, it is shown that those depicting indigenous men were only ever a tiny part of the overall output. The overwhelming majority of surviving Apulian vases lack a proper archaeological provenance, but although this limits certainty, the evidence suggests that the vases in question were primarily used in Central Puglia. The iconography of the vessels shows indigenous men in a positive light, as successful warriors who participated in banqueting and religious rituals. The scenes all have direct parallels in the wider iconography of Apulian red-figure, where Greek men are shown engaged in a similar range of activities. The paper considers why this idealized representation of indigenous male lifestyles is so indebted to Greek culture and argues for the continued importance of local identities.

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Heuer, Keely. "Tenacious Tendrils: Replicating Nature in South Italian Vase Painting." Arts 8, no. 2 (June 6, 2019): 71. http://dx.doi.org/10.3390/arts8020071.

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Elaborate floral tendrils are one of the most distinctive iconographic features of South Italian vase painting, the red-figure wares produced by Greek settlers in Magna Graecia and Sicily between ca. 440–300 B.C. They were a particular specialty of Apulian artisans and were later adopted by painters living in Paestum and Etruria. This lush vegetation is a stark contrast to the relatively meager interest of Archaic and Classical Athenian vase painters in mimetically depicting elements of the natural world. First appearing in the work of the Iliupersis Painter around 370 B.C., similar flowering vines appear in other contemporary media ranging from gold jewelry to pebble mosaics, perhaps influenced by the career of Pausias of Sicyon, who is credited in ancient sources with developing the art of flower painting. Through analysis of the types of flora depicted and the figures that inhabit these lush vegetal designs, this paper explores the blossoming tendrils on South Italian vases as an evocation of nature’s regenerative powers in the eschatological beliefs of peoples, Greek and Italic alike, occupying southern Italy.

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Toillon. "Three Women Sharing a Mantle in 6th Century BCE Greek Vase-Painting: Plurality, Unity, Family, and Social Bond." Arts 8, no. 4 (October 26, 2019): 144. http://dx.doi.org/10.3390/arts8040144.

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The motif of three women sharing the same mantle is pictured on about a dozen vases dating from the first half of the sixth century BCE. Among these vases, the so-called “François Vase” and a dinos signed by Sophilos (now in London, British Museum) are of particular interest. The wedding of Thetis and Peleus is pictured on both vases. This theme is well-adapted to the representation of a procession of deities in which the Charites, Horai, Moirai, and Muses take part. The main feature of these deities is a shared mantle, which covers and assembles them, emphasizing that these deities are plural by definition. The main study on this iconographical theme remains that by Buchholz, who documented most of the depictions of the “shared-mantle” in ancient Greek vase-painting and small terracottas. The shared-mantle motif has been interpreted successively as a reference to the sacred peplos (in relation to the wedding), a simplification from the painter to avoid painting all the mantles, a sign of emotional/sexual union, a religious gesture, and a depiction of choruses. The present study aims to consider in more detail the “shared-mantle” as an iconographic sign that involves the idea of community, shared identity, and emotional bond.

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Dissertations / Theses on the topic "Vase-painting, Greek. Vases, Greek"

1

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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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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Gerleigner, Georg Simon. "Writing on archaic Athenian pottery : studies on the relationship between images and inscriptions on Greek vases." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610545.

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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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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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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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Martens, Didier. "Une esthétique de la transgression: le vase grec, de la fin de l'époque géométrique au début de l'époque classique." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213114.

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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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Tosto, Vincent Boele Vincent. "The black-figure pottery signed [Nikosthenesepoiesen]." Amsterdam : A. Pierson Museum, 1999. http://catalogue.bnf.fr/ark:/12148/cb40094984n.

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Walker, Lauren L. "Boiotian black figure floral ware : a re-analysis of the Southern style with an introduction to floral groups from Halíartos." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85212.

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Black Figure Floral Ware is an understudied style of pottery which was produced in Boiotia and the nearby regions of Euboia and Phokis during the fifth and fourth centuries B.C.E. Floral Style vases are painted with compositions formed predominantly of palmettes and lotuses rendered in black gloss without the incised details which are typically associated with Black Figure pottery. The corpus of Boiotian Floral Ware is divided into two sub-styles: the Northern Style and the Southern Style. The Northern Style is thought to have been produced in the area North and West of the Kopais while the Southern Style was chiefly produced in the Thespiai-Thebes and the Tanagra regions. To date our understanding of the development of the Southern Style has been based on systematically excavated floral evidence from Rhitsona (Ancient Mykalessos) and the Thespian Polyandrion and random vases from the Skhimatari Museum. Previous research incorrectly identified Tanagra as the primary source of Southern Floral Ware with little regard for Thebes as an important producer. Newly discovered ceramic evidence from four Theban cemeteries now indicates that Thebes was in fact a major producer of Floral Ware. The excavations have brought to light new floral groups and have provided evidence which indicates that vases previously identified as Tanagran or Euboian are more likely to be Theban.
This dissertation chronicles the morphological and iconographical development of the Southern Floral Style according to the systematically excavated floral vases from Rhitsona and the Thespian Polyandrion. Rim and base profiles from the Thespian Polyandrion, Thebes and Haliartos are classified and floral motifs from datable contexts are assigned to types. The evidence indicates that it is the overall shape of the vase and the decorative details within the compositions, rather than a specific rim or base type or compositional layout that identifies regional differences, if any. Newly excavated vases from Haliartos are presented not only to provide a contrast for the Southern Style Floral Ware, particularly in terms of their shape, but also in order to establish a bridge between this dissertation and any future studies of the Northern Style Floral Ware.

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Books on the topic "Vase-painting, Greek. Vases, Greek"

1

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

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Beazley, J. D. Greek vases: Lectures. Oxford: Clarendon Press, 1989.

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Cook, Robert Manuel. Greek painted pottery. 3rd ed. London: Routledge, 1997.

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Panos, Valavanēs, ed. Greek pottery: A culture captured in clay. Athens, [Greece]: B. Kagia, 1992.

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Attische Kelchkratere: Eine Untersuchung zum Zusammenspiel von Gefässform und Bemalung. Frankfurt am Main: P. Lang, 1990.

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6

Greek vases. Cambridge, Mass: Harvard University Press, 1985.

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7

Williams, Dyfri. Greek vases. London: Published for the Trustees of the British Museum by British Museum Publications, 1999.

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Williams, Dyfri. Greek vases. 2nd ed. London: Published for the Trustees of the British Museum by British Museum Press, 1999.

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9

Lissarrague, F. Vases grecs: Les Athéniens et leurs images. Paris: Hazan, 1999.

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10

Martens, Didier. Une esthétique de la transgression: Le vase grec : de la fin de l'époque géometrique au début de l'époque classique. [Bruxelles]: Académie royale de Belgique , Classe des beaux-arts, 1992.

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Book chapters on the topic "Vase-painting, Greek. Vases, Greek"

1

"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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"The history of the study of vase-painting." In Greek Painted Pottery, 301–38. Routledge, 2013. http://dx.doi.org/10.4324/9780203714355-21.

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"Bubbles = Baubles, Bangles and Beads: Added Clay in Athenian Vase Painting and Its Significance." In Greek Vases: Images, Contexts and Controversies, 55–71. BRILL, 2004. http://dx.doi.org/10.1163/9789047405146_008.

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"16. Clytemnestra and Telephus in Greek Vase-Painting." In Painter and Poet in Ancient Greece, 313–24. B. G. Teubner, 1997. http://dx.doi.org/10.1515/9783110953060.313.

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"From Sculpture to Vase-Painting: Archaeological Models for the Actor." In Performance in Greek and Roman Theatre, 517–33. BRILL, 2013. http://dx.doi.org/10.1163/9789004245457_026.

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"Observing Genre in Archaic Greek Skolia and Vase-Painting." In The Look of Lyric: Greek Song and the Visual, 146–84. BRILL, 2016. http://dx.doi.org/10.1163/9789004314849_007.

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"Fragmentary Comedy and the Evidence of Vase-Painting: Euripidean Parody in Aristophanes’ Anagyros." In Fragmentation in Ancient Greek Drama, 481–500. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110621693-026.

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Hurwit, Jeffrey M. "The Human Figure in Early Greek Sculpture and Vase Painting." In The Cambridge Companion to Archaic Greece, 265–86. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521822008.011.

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Duigan, Michael. "A Greek vase-painting: comments on the nature of craftsmanship?*." In Work and the Image I, 13–34. Routledge, 2019. http://dx.doi.org/10.4324/9781315189444-2.

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Levin, Nitzan. "BEES AND WASPS AS SHIELD DEVICES IN GREEK VASE-PAINTING." In Corpus Vasorum Antiquorum, Österreich, Beiheft 2, 81–86. Verlag der österreichischen Akademie der Wissenschaften, 2016. http://dx.doi.org/10.2307/j.ctt1hj9zq0.10.

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Conference papers on the topic "Vase-painting, Greek. Vases, Greek"

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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.

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