Log in

Relevant bibliographies by topics / Vase paintings / Journal articles

To see the other types of publications on this topic, follow the link: Vase paintings.

Journal articles on the topic 'Vase paintings'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Vase paintings.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Bazant, Jan. "Cultural memory and recollections in Athenian vase paintings." Letras Clássicas, no. 8 (November 1, 2004): 11. http://dx.doi.org/10.11606/issn.2358-3150.v0i8p11-26.

Full text

Abstract:

<p><span>In this paper, I deal with the traditional division between myth and reality on ancient Athenian vases. I ask what happened in the late 6th century BC Athens that made classical archaeologists think that vase painters and their customers started to be interested in reality. There is no doubt that in the century or so around 500 BC iconography of Athenian vase underwent a radical change, but my point is that this makeover was misinterpreted. There was a revolution in storytelling, but the entirely new stories with which Athenian vase painters started to amuse their patrons

APA, Harvard, Vancouver, ISO, and other styles

2

Hedreen, G. "““I Let Go My Force Just Touching Her Hair””: Male Sexuality in Athenian Vase-Paintings of Silens and Iambic Poetry." Classical Antiquity 25, no. 2 (2006): 277–325. http://dx.doi.org/10.1525/ca.2006.25.2.277.

Full text

Abstract:

Abstract In Archaic Athenian vase-painting, silens (satyrs) are often sexually aroused, but only sporadically satisfy their desires in a manner acceptable to most Athenian men. Franççois Lissarrague persuasively argued that the sexuality of silens in vase-painting was probably laughable rather than awe-inspiring. What sort of laughter did the vase-paintings elicit? Was it the scornful laughter of a person who felt nothing in common with silens, or the laughter of one made to see something of himself in their behavior? For three reasons, I argue for the latter interpretation. First, some vase-p

APA, Harvard, Vancouver, ISO, and other styles

3

March, Jennifer R. "EURIPIDES' BAKCHAI: A RECONSIDERATION IN THE LIGHT OF VASE-PAINTINGS." Bulletin of the Institute of Classical Studies 36, no. 1 (1989): 33–65. http://dx.doi.org/10.1111/j.2041-5370.1989.tb00561.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Кузнецова, І. О., О. В. Лільчицький та М. О. Привалов. "Специфіка відображення теми спорту в творах античного мистецтва". Art and Design, № 4 (15 лютого 2021): 136–48. http://dx.doi.org/10.30857/2617-0272.2020.4.11.

Full text

Abstract:

Aim of work is to identify sport reflection features in ancient art. The paper uses methods of systematization and updating of analytical information about the peculiarities of the reflection of elements related to sports in the styles of the ancient world. The accumulation, systematization and implementation of information is carried out by studying the specialized professional literature and sites depicting the reflection of elements related to sports in ancient art. The main reflections of sports life in ancient art are identified and characterized. There is a description of ancient art tha

APA, Harvard, Vancouver, ISO, and other styles

5

Olson, Douglas, and Oliver Taplin. "Comic Angels and Other Approaches to Greek Drama through Vase-Paintings." Classical World 88, no. 1 (1994): 64. http://dx.doi.org/10.2307/4351629.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Taplin, Oliver. "A disguised Pentheus hiding in the British Museum?" Letras Clássicas, no. 8 (November 1, 2004): 27. http://dx.doi.org/10.11606/issn.2358-3150.v0i8p27-35.

Full text

Abstract:

During the last twenty-five years, two opposing trends have dominated over the debate about the relationship between mythological narratives in vase-painting and those in tragedy. On the one hand, there are those who regard the paintings as dependent upon works of literature; on the other hand, there are those who argue that the artistic tradition is fully self-explanatory with no need of any reference to any literature. This paper analyzes some cases, in which the whole phenomenon seems to be more complex, and to be inextricable from the part played both by painted pottery and by the theatre

APA, Harvard, Vancouver, ISO, and other styles

7

Laferrière, Carolyn M. "Dancing with Greek Vases." Greek and Roman Musical Studies 9, no. 1 (2021): 85–114. http://dx.doi.org/10.1163/22129758-12341378.

Full text

Abstract:

Abstract As gods dance, women twirl in choruses, and men leap in kōmos revels on Athenian red-figure vases, their animate bodies must be made to conform to the rounded shape of the vessels. Occasionally, these vases are even included in the images themselves, particularly within the kōmos revel, where the participants incorporate vessels into their dance as props, markers of space, and tools to engage new dance partners. Positioning these scenes within their potential sympotic context, I analyze the vases held by the dancers according to the ancient viewer’s own possible use of these physical

APA, Harvard, Vancouver, ISO, and other styles

8

Marra, Kim, and Barbara Clayton. "Phallocracy and Phallic Caricature: Re-Viewing the Iconography of Greek Comedy." Theatre Survey 34, no. 1 (1993): 5–21. http://dx.doi.org/10.1017/s0040557400009728.

Full text

Abstract:

The characteristic costume of Greek comic actors has been widely represented iconographically in statuettes and vase paintings from the fifth and fourth centuries B.C. Theatre historians instantly recognize the grotesquely distorted expressions on the masks, the rotund shapes formed by ill-concealed padding, and, most distinctively, the comic phallus. A “dangling leather symbol… red at the tip, swollen,” the comic phallus, of course, represents male genitalia.

APA, Harvard, Vancouver, ISO, and other styles

9

Fara, P. "The Royal Society's portrait of Joseph Banks." Notes and Records of the Royal Society of London 51, no. 2 (1997): 199–210. http://dx.doi.org/10.1098/rsnr.1997.0017.

Full text

Abstract:

The year before he died, although disingenuously insisting that ‘I do not feel as if Vanity was a Prominent trée in my character’, Joseph Banks vituperatively rejected the ‘intended Brittle Compliment’ of a commemorative Sévres vase because he disapproved of its proposed illustrations. Just as Banks policed Enlightenment visions of the lands he had explored and the specimens he had collected, so too he carefully monitored the images of himself that became available for public consumption. Recognizing the propagandizing power of visual representations, during his long reign as President of the

APA, Harvard, Vancouver, ISO, and other styles

10

Lowenstam, Steven. "The Arming of Achilleus on Early Greek Vases." Classical Antiquity 12, no. 2 (1993): 199–218. http://dx.doi.org/10.2307/25010994.

Full text

Abstract:

This article is a critique of Friis Johansen's thesis that twelve Greek vases painted between 570 and 550 B.C. depict a first arming in Phthia. Details that Friis Johansen considered representative of domestic settings are shown to appear in other contexts too. Friis Johansen, who based much of his argument on a plate by Lydos depicting Achilleus, Thetis, Peleus, and Neoptolemos, problematically assumed that all the other early vases portraying Achilleus's arming must represent the same scene in Phthia. The appearance of Neoptolemos on Lydos's plate, however, shows that it is a "heroized genre

APA, Harvard, Vancouver, ISO, and other styles

11

Kim, Hye Jin. "The Visual Historicity of Archaic Style in Attic Vase Paintings in Classical Period: Some Cases in Mythological Scenes." Journal of Art Theory & Practice 26 (December 31, 2018): 5–29. http://dx.doi.org/10.15597/jksmi.25083538.2018.26.005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Lopes, Antonio Orlando Dourado. "Heracles's weariness and apotheosis in Classical Greek art." Synthesis 25, no. 2 (2018): e042. http://dx.doi.org/10.24215/1851779xe042.

Full text

Abstract:

In this paper, I propose a general interpretation of images showing the physical exhaustion and apotheosis of Heracles that were produced during the Classical period. These images appear on or take the form of coins, jewels, vase paintings, and sculptures. Building on the major scholarly work on the subject since the late 19th century, I suggest that the iconography of Heracles shows the influence of new religious and philosophical conceptions of his myth, in particular relating to Pythagoreanism, Orphism, and mystery cults, as well as the intellectual climate of 5th century Athens. Rather tha

APA, Harvard, Vancouver, ISO, and other styles

13

Ekroth, Gunnel. "Castration, cult and agriculture. Perspectives on Greek animal sacrifice." Opuscula. Annual of the Swedish Institutes at Athens and Rome 7 (November 2014): 153–74. http://dx.doi.org/10.30549/opathrom-07-08.

Full text

Abstract:

The castration of most male animals seems to have been the rule in ancient Greece when rearing cattle, sheep, goats, and pigs; only very few adult males are needed for breeding purposes and flocks of bulls, rams, billy-goats and boars are difficult to keep, since they are too aggressive. Castrated males yield more and fattier meat, and, in the case of sheep, more wool. Still, sacred laws and sacrificial calendars stipulate the sacrifice of uncastrated victims, and vase-paintings frequently represent bulls, rams and billy-goats in ritual contexts. This paper will discuss the role of uncastrated

APA, Harvard, Vancouver, ISO, and other styles

14

Poehlmann, Egert. "Epicharmus and Aeschylus on Stage in Syracuse in the 5th Century." Greek and Roman Musical Studies 3, no. 1-2 (2015): 137–66. http://dx.doi.org/10.1163/22129758-12341005.

Full text

Abstract:

New excavations give clear information about the Athenian Dionysus-Theatre of the 5th century b.c.; and the stage in Western Greece can now be reconstructed by analogy with it. Vase paintings depict wooden theatres in Sicily from 400 b.c. onwards, mainly for comedy. Tragedies were performed only after 476/5 b.c., but the lively tradition of comedy since the late 6th century b.c. must have had a stage. For Epicharmus’ short comedies, which had no lyrics or chorus and were addressed to the elite of Hieron’s court, the small theatre carved into the slope of the Temenites rock was sufficient. But

APA, Harvard, Vancouver, ISO, and other styles

15

Oliveira, Gustavo Junqueira Duarte. "The Homeric Poems and the Concept of Tradition." Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 2, no. 1 (2017): 79–108. http://dx.doi.org/10.31669/herodoto.v2i1.175.

Full text

Abstract:

This paper focuses on the poetical tradition to which the Homeric poems belong. Firstly, I present a theoretical discussion regarding the concept of Tradition. The emphasis is on the transmission of content thought as relating to the past of certain groups, as well as the specific ways in which those groups value such elements. Secondly, the paper presents an interaction scheme between different aspects inside one tradition, or between different traditions. Finally, in the main section of the paper, I discuss the tradition the Homeric poems belong to, as well as the role the poems play in it.

APA, Harvard, Vancouver, ISO, and other styles

16

Pöhlmann, Egert. "The Monody of the Hoopoe in Aristophanes’." Greek and Roman Musical Studies 5, no. 2 (2017): 191–202. http://dx.doi.org/10.1163/22129758-12341300.

Full text

Abstract:

Animal choruses are familiar in ancient Greek comedy. Besides Aristophanes, there are 13 examples of them. Vase paintings provide evidence from the beginnings of Old Comedy. They had to sing the traditional melic parts of the agon and the parabasis. Aristophanes used the comic animal chorus in Knights (424 bc), Wasps (422), Birds (414), Frogs (405) and Storks (395-387). Moreover, with the song of the Hoopoe in the Birds 227-62, Aristophanes presents an animal as soloist which sings an extended monody, a perfect example of the astropha, the structure of which is defined by content, changes of m

APA, Harvard, Vancouver, ISO, and other styles

17

Manning, Sean. "The History of the Idea of Glued Linen Armour." Mouseion 17, no. 3 (2021): 491–514. http://dx.doi.org/10.3138/mous.17.3.003.

Full text

Abstract:

Many people have heard that ancient warriors wore armour of many layers of linen cloth glued together. Critics emphasize the lack of archaeological or written evidence for this construction; supporters emphasize that their reconstructions resemble armour in ancient art and pass practical tests. Both present the theory as one that first appeared in the 1970s. This article make two contributions to the debate. It shows how sixteenth-century scholars used a peculiar medieval chronicle to understand the linen armour in ancient texts, and how paraphrases and mistranslations of their theory ultimate

APA, Harvard, Vancouver, ISO, and other styles

18

Rodríguez Pérez, Diana. "The Meaning of the Snake in the Ancient Greek World." Arts 10, no. 1 (2020): 2. http://dx.doi.org/10.3390/arts10010002.

Full text

Abstract:

Despite playing no meaningful practical role in the lives of the ancient Greeks, snakes are ubiquitous in their material culture and literary accounts, in particular in narratives which emphasise their role of guardian animals. This paper will mainly utilise vase paintings as a source of information, with literary references for further elucidation, to explain why the snake had such a prominent role and thus clarify its meaning within the cultural context of Archaic and Classical Greece, with a particular focus on Athens. Previous scholarship has tended to focus on dualistic opposites, such as

APA, Harvard, Vancouver, ISO, and other styles

19

VARAKIS, ANGELIKI. "BODY AND MASK IN ARISTOPHANIC PERFORMANCE." Bulletin of the Institute of Classical Studies 53, no. 1 (2010): 17–38. http://dx.doi.org/10.1111/j.2041-5370.2010.00002.x.

Full text

Abstract:

Abstract In Greek comedy the masking of the head and dressing of the body was essential to effect a full transformation of the actor into a comic character. The body mask was as important as the head in its power to transform the actor into a different persona, suggesting that the comic characters' bodies were as significant as their heads in producing meaning and not a simple costume accessory. In attempting to understand the function of the comic mask and body in ancient performance, this paper considers the similarities between the distorted bodies through a careful examination of a series

APA, Harvard, Vancouver, ISO, and other styles

20

Mazurczak, Urszula. "Czas i przestrzeń w badaniach sztuki oraz twórczości literackiej ks. profesora Janusza St. Pasierba." Artifex Novus, no. 3 (October 1, 2019): 2–19. http://dx.doi.org/10.21697/an.7058.

Full text

Abstract:

SUMMARY The Author separated the visualized time and the time when the painting was created. Both are rooted in the point of history which was important for the artist, in the time of creating the work of art as well as in the internal structure of the painting which is expressed through the theme and the presented figures. The researcher who was deeply influenced by history, browsed it deeply in order to find every “now”, adding it to the timeline of the artist’s life, or to the history he was a part of. The timeline, history, constitutes a basis of the knowledge about the artist’s work

APA, Harvard, Vancouver, ISO, and other styles

21

Письмак, Юрий. "Viennese vase painted in Dresden (architectural, artistic, stylistic, morphological and structural features)." Arta 30, no. 1 (2021): 54–62. http://dx.doi.org/10.52603/arta.2021.30-1.08.

Full text

Abstract:

The article examines the architectural, artistic, stylistic, morphological and structural features of an old porcelain vase from a private Odessa collection. The unpainted vase was made in 1860s at Vienna Porcelain Manufactory. This vase was painted in Helena Wolfsohn’s studio in Dresden between 1864 and 1878 (?). Helena Wolfsohn lived and worked in a significant center of European civilization, culture and arts of her time. The images are painted on the vase using the technique of manual overglaze painting. Amazingly arranged bouquets of flowers are painted on the turquoise background of the

APA, Harvard, Vancouver, ISO, and other styles

22

Heuer, Keely Elizabeth. "Vases with Faces: Isolated Heads in South Italian Vase Painting." Metropolitan Museum Journal 50 (January 2015): 62–91. http://dx.doi.org/10.1086/685673.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

24

Karl, Stephan, Kamil S. Kazimierski, and Christoph A. Hauzenberger. "An interdisciplinary approach to studying archaeological vase paintings using computed tomography combined with mineralogical and geochemical methods. A Corinthian alabastron by the Erlenmeyer Painter revisited." Journal of Cultural Heritage 31 (May 2018): 63–71. http://dx.doi.org/10.1016/j.culher.2017.10.012.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Palagia, Olga. "A classical variant of the Corinth/Mocenigo goddess: Demeter/Kore or Athena?" Annual of the British School at Athens 84 (November 1989): 323–31. http://dx.doi.org/10.1017/s0068245400021006.

Full text

Abstract:

This paper examines the fragment of a life-size marble statue of a goddess in the storerooms of the Acropolis Museum (inv. no. 13641). Both technical and stylistic considerations show that it is an original work of the mid 5th century B.C., issuing from the artistic milieu of the Parthenon. The figure was dressed in a chiton under a himation pinned on the right shoulder (diplax), following a sub-Archaic fashion current throughout the 5th century and recurrent in Archaising works of later periods. This dress is familiar from Attic red-figure vase-paintings, where it is donned by a number of dei

APA, Harvard, Vancouver, ISO, and other styles

26

김혜진. "The Imagery of Ideal Women and Romantic Married Life in Attic Red Figure Vase Paintings : Some Thoughts on Athenian Female Citizens in the 5th century B.C.E." Journal of Classical Studies ll, no. 35 (2013): 31–75. http://dx.doi.org/10.20975/jcskor.2013..35.31.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Worman, Nancy. "The Ties that Bind: Transformations of Costume and Connection in Euripides' Heracles." Ramus 28, no. 2 (1999): 89–107. http://dx.doi.org/10.1017/s0048671x00001739.

Full text

Abstract:

Cependant, elle, qui croyait bien connaître Jacques, s'étonnait. Il avait sa tête ronde de beau garçon, ses cheveux frisés, ses moustaches très noires, ses yeux bruns diamantés d'or, mais sa mâchoire inférieure avançait tellement, dans une sôrte de coup de geule, qu'il s'en trouvait défiguré.Zola, La Bête HumaineIt may seem banal to note that in its original conception Greek tragedy depended for much of its force on costume and visual effect. The dramas themselves often make clear, however, that costume, as a central feature of a character's visible type, communicates essential aspects of how

APA, Harvard, Vancouver, ISO, and other styles

31

Pöhlmann, Egert. "Excavation, Dating and Content of Two Tombs in Daphne, Odos Olgas 53, Athens." Greek and Roman Musical Studies 1, no. 1 (2013): 7–24. http://dx.doi.org/10.1163/22129758-12341235.

Full text

Abstract:

Abstract On 13. and 14. May 1981, in the course of emergency excavations in Odos Olgas 53 in Daphne, Athens, two tombs were excavated, the second of which was heralded as the Tomb of the Musician by the press. The contents were transferred to the National Archaeological Museum and later, after restoration, to the Archaeological Museum of Piraeus. In Tomb I there were found the bones of an adult person in his or her 40s, together with four lekythoi, which can be dated by their shape and the style of the paintings to about 430 B.C. In Tomb II there were found the bones of a young adult in his or

APA, Harvard, Vancouver, ISO, and other styles

32

Taplin, Oliver. "Phallology, phlyakes, iconography and Aristophanes." Proceedings of the Cambridge Philological Society 33 (1987): 92–104. http://dx.doi.org/10.1017/s0068673500004946.

Full text

Abstract:

Two highly unusual vase paintings, which may be more or less direct representations of Aristophanes, have been first published recently. They have received little attention to date, and yet both bring with them intriguing problems, which are not, in my opinion, resolved in the original publications. This double accession is all the more remarkable since up till now there has been so little that might be claimed to illustrate pictorially the golden age of Old Comedy (say 435 to 390 B.C), however loosely or tightly the debatable term ‘illustration’ is used (see note 24). The best known has proba

APA, Harvard, Vancouver, ISO, and other styles

33

Tao, Shilong, Anqi Peng, and Xi Chen. "“Being So Caught up”: Exploring Religious Projection and Ethical Appeal in Leda and the Swan." Religions 12, no. 2 (2021): 107. http://dx.doi.org/10.3390/rel12020107.

Full text

Abstract:

This paper explores the religious projection and ethical appeal in the art and literature of Leda and the Swan created from ancient times to the contemporary era, so as to make a comparative review and reading on it, providing religious reflection and ethical enlightenment to today’s society. From ancient Greek vase paintings to contemporary English poems, the investigation shows that the story of Leda and the Swan has been continuously rewritten and revalued by history, religion and social ethics. The interaction between Leda and the swan goes from divinity to humanity, increasingly out of th

APA, Harvard, Vancouver, ISO, and other styles

34

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

35

Ivantchik, Askold. "'Scythian' Archers on Archaic Attic Vases: Problems of Interpretation." Ancient Civilizations from Scythia to Siberia 12, no. 3-4 (2006): 197–271. http://dx.doi.org/10.1163/157005706779851408.

Full text

Abstract:

AbstractThe article analyses the depictions of archers in so-called 'Scythian' clothes (a high sharp cap or a rounded hood, a caftan and trousers) in Attic archaic vase-painting. The author concludes that these figures were neither conceived as real ethnical Scythians, nor associated by vase painters or their customers with this or any other people. The clothes were rather an iconographic conventionality symbolising a second rank character accompanying a hero. The latter was depicted as a hoplite. The 'Scythian' clothes corresponded to the character's function, not to his ethnical identity. Th

APA, Harvard, Vancouver, ISO, and other styles

36

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.

Full text

Abstract:

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 fo

APA, Harvard, Vancouver, ISO, and other styles

37

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Brennan, Maura. "LAME HEPHAISTOS." Annual of the British School at Athens 111 (May 10, 2016): 163–81. http://dx.doi.org/10.1017/s0068245415000131.

Full text

Abstract:

The Return of Hephaistos to Olympus was a popular scene in Attic vase-painting from the beginning of the sixth century through the end of the fifth century bce, and it is found occasionally on other forms of pottery as well. According to myth, Hephaistos was lame, and this disability is sometimes depicted on painted pottery, almost always in scenes of his Return. The most well-known example is the François Vase, which is often the only vase cited when discussing instances of Hephaistos's lameness on Athenian pottery. Although three other Attic vases are occasionally cited as showing the disabi

APA, Harvard, Vancouver, ISO, and other styles

41

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

42

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 (2014): 79–95. http://dx.doi.org/10.1111/j.2041-5370.2014.00067.x.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

43

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

46

Bennett. "Targeted Advertising for Women in Athenian Vase-Painting of the Fifth Century BCE." Arts 8, no. 2 (2019): 52. http://dx.doi.org/10.3390/arts8020052.

Full text

Abstract:

This paper analyzes the trends in depictions of women in Athenian vase-painting during the 5th century BCE through an examination of approximately 88,000 vases in the Beazley Archive Pottery Database. It found a 15% increase in depictions of women during the 5th century BCE and a diversification in subject matter in which women appear. By considering these trends within the historical context of the hegemonic position of Athens in the Delian League and its wars, this paper proposes that the changes in representations and subject matter denote an expanded marketability of vases to female viewer

APA, Harvard, Vancouver, ISO, and other styles

47

Neils, Jenifer, and Susan B. Matheson. "Polygnotos and Vase Painting in Classical Athens." American Journal of Archaeology 101, no. 2 (1997): 412. http://dx.doi.org/10.2307/506524.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Steiner, Ann, and D. A. Amyx. "Corinthian Vase-Painting of the Archaic Period." Classical World 84, no. 3 (1991): 244. http://dx.doi.org/10.2307/4350782.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Moore, Mary B., and D. A. Amyx. "Corinthian Vase-Painting of the Archaic Period." American Journal of Archaeology 94, no. 4 (1990): 691. http://dx.doi.org/10.2307/505137.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Brendle, Ross. "The Pederastic Gaze in Attic Vase-Painting." Arts 8, no. 2 (2019): 47. http://dx.doi.org/10.3390/arts8020047.

Full text

Abstract:

An image on an Attic red-figure kylix attributed to the Antiphon Painter, showing a single youth wrapped tightly in a mantle, represents a type of figure often found in pederastic courting scenes and scenes set in the gymnasium, where male bodies were on display. Subject to the gaze of older men, these youths hide their bodies in their cloaks and exhibit the modesty expected of a boy being courted. While many courting scenes show an erastês approaching a tightly-wrapped erômenos, in this scene, the boy stands alone with no source of modesty-inducing gaze within the image. Combined with the int

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!