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Relevant bibliographies by topics / White-ground Lekythoi

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Academic literature on the topic 'White-ground Lekythoi'

Author: Grafiati

Published: 20 February 2023

Last updated: 19 July 2025

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Journal articles on the topic "White-ground Lekythoi"

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Margariti, Katia. "Painting early death. Deceased maidens on funerary vases in the National Archaeological Museum of Athens." Opuscula. Annual of the Swedish Institutes at Athens and Rome 11 (November 2018): 127–50. http://dx.doi.org/10.30549/opathrom-11-07.

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The present paper studies the iconography of dead maidens depicted on a red-figured funerary loutrophoros and six white-ground lekythoi in the National Archaeological Museum of Athens, all of them dating to the 5th century BC. The scenes painted on the vases under consideration are representative of the iconography employed by Classical Athenian vase-painters for the depiction of deceased maidens, parthenoi. Dead maidens are not frequently seen on funerary clay loutrophoroi, but mostly appear in psychopompoi, tomb visit, and prothesis scenes of white lekythoi, where their premature death befor

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Gorzelany, Dorota. "White-ground lekythoi in the Princess Czartoryski Museum in Krakow." Studies in Ancient Art and Civilization 20, no. 20 (2016): 69–81. http://dx.doi.org/10.12797/saac.20.2016.20.04.

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Vickers, Michael. "Artful crafts: the influence of metalwork on Athenian painted pottery." Journal of Hellenic Studies 105 (November 1985): 108–28. http://dx.doi.org/10.2307/631525.

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Why did Athenian vase-painters choose the colours they did for the vases they decorated? Why did they choose black figures on red, or red figures on black; why were lekythoi often decorated on white ground? These are basic questions, but have rarely been asked. Many books and articles deal with the technical aspects of how these effects were achieved, but never seem to ask why. A few minutes' conversation with a modern potter will dispel any illusion that the colours so familiar from Attic pottery were the only ones compatible with the local clay. Even the orange of that clay was made more int

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Walton, Marc S., Marie Svoboda, Apurva Mehta, Sam Webb, and Karen Trentelman. "Material evidence for the use of Attic white-ground lekythoi ceramics in cremation burials." Journal of Archaeological Science 37, no. 5 (2010): 936–40. http://dx.doi.org/10.1016/j.jas.2009.11.026.

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Berthold, Christoph, Kathrin B. Zimmer, Oliver Scharf, Ulrike Koch-Brinkmann, and Klaus Bente. "Nondestructive, optical and X-ray analytics with high local resolution on ATTIC white-ground lekythoi." Journal of Archaeological Science: Reports 16 (December 2017): 513–20. http://dx.doi.org/10.1016/j.jasrep.2016.02.008.

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Spivey, Nigel. "Art and Archaeology." Greece and Rome 64, no. 1 (2017): 90–93. http://dx.doi.org/10.1017/s0017383516000280.

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The nineteenth-century French painter Gustave Courbet famously declared that he did not paint angels because he had never seen one. If artists of classical antiquity were ever troubled by such scruples regarding depictions of the supernatural, it is not (so far as I know) documented. This is not to say that the question of how an artist could represent, say, an Olympian deity, went completely unheeded: Dio Chrysostom's Olympic Discourse of ad 97 is one serious attempt to address that topic, with significant implications for the status of an artist (in this case, Pheidias) famed for ‘imagining’

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Neils, Jenifer. "Corpus Vasorum Antiquorum. Netherlands 10. Amsterdam 4: Allard Pierson Museum, University of Amsterdam. Red-Figure and White-Ground Lekythoi. By W. D. J. van de Put. Corpus Vasorum Antiquorum. Greece 9. Athens 1: Benaki Museum. By Victoria Sabetai." American Journal of Archaeology 112, no. 2 (2008): 362–64. http://dx.doi.org/10.1086/ajs20627464.

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Gardner, Chelsea A. M. "An Examination of a Unique White-Ground Lekythos from the University of British Columbia’s Museum of Anthropology." Mouseion: Journal of the Classical Association of Canada 1012, no. 2 (2012): 143–54. http://dx.doi.org/10.1353/mou.2012.0026.

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Heesen, Pieter. "MORE GREEK VASES - (V.) Slehoferova Corpus Vasorum Antiquorum. Schweiz. Basel, Antikenmuseum und Sammlung Ludwig. (Basel, Faszikel 5; Schweiz, Faszikel 10.) Pp. 151, ills, pls. Basel: Schwabe Verlag, 2015. Cased, CHF135, €135. ISBN: 978-3-7965-3462-1. - (S.B.) Matheson Corpus Vasorum Antiquorum. Yale University Art Gallery, New Haven, Connecticut. Attic black-figure amphorae, loutrophoros-amphora, loutrophoros-hydria, hydria, olpai/oinochoai, lekythoi, alabastra, exaleiptra/kothones/plemochoai, pyxides, askos, plate, phiale, skyphoi, cups, and Six's technique lekythos, Boeotian black-figure lekane, kantharoi, skyphos, Attic red-figure bell krater. From the Martin Robertson Collection: Attic black-figure Cassel cup and fragments, red-figure pelike and fragments, white-ground lekythos fragment. (Yale University Art Gallery, Fascicule 2; USA, Fascicule 39.) Pp. xiv + 150, ills, pls. Darmstadt: Philipp von Zabern, 2016. Cased, €99.95. ISBN: 978-3-8053-4888-1." Classical Review 67, no. 2 (2017): 501–5. http://dx.doi.org/10.1017/s0009840x17000397.

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Dissertations / Theses on the topic "White-ground Lekythoi"

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Eliasson, Carl William. "Artefacts in funerary scenes on Athenian white-ground lekythoi. Artefakter i begravningsscener på athenska vit-grundiga lekyter. : A comparison between iconography and text. En jämförelse mellan ikonografi och text." Thesis, Uppsala universitet, Antikens kultur och samhällsliv, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413438.

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This study analyses visible artefacts depicted on Athenian white-ground funerary lekythoi from between 475 to 425 BCE, to investigate what the iconographic information of the artefacts can tell us about the funerary activity and how the information relates to the written sources from antiquity. The purpose of this study is to gain a more in-depth view of the Athenian funerary activities, of which we currently have limited knowledge of. The activates surrounding an Athenian funeral is a complex matter consisting of several stages of preparation and visits to the grave. However, when we are look

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Kowalski, Charlotte Jade. "Colour and Identity in Ancient Greece." Thesis, Department of Archaeology, 2016. https://hdl.handle.net/2123/23287.

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This thesis explores the possible conventional use of colour for the representation of identity in ancient Greece from the sixth to the fourth centuries BC. The question is considered for broad identities based on gender, age, and mortal or mythological status, as well as more specific identities comprising figure types and representations of individuals. Colour is recorded for the physical characteristics and dress of the human form as it is represented in stone sculpture, terracotta figurines, and white-ground lekythoi. While previous studies have focused on analysing traces of colour throug

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Books on the topic "White-ground Lekythoi"

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Fairbanks, Arthur. Athenian White Lekythoi: With Outline Drawing in Matt Color on a White Ground. University of Michigan Press, 2016.

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Book chapters on the topic "White-ground Lekythoi"

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Bundrick, Sheramy D. "Music as Mnēma on Athenian White-Ground Lekythoi." In Music and Memory in the Ancient Greek and Roman Worlds. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108917858.012.

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Barringer, Judith M. "14 THE MESSAGE IS IN THE MEDIUM: WHITE-GROUND LEKYTHOI AND STONE GRAVE MARKERS IN CLASSICAL ATHENS." In Images at the Crossroads. Edinburgh University Press, 2022. http://dx.doi.org/10.1515/9781474487382-018.

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Álvarez, Jesús Salas, and Rui Morais. "News About a White-Ground Floral Lekythos from the Athenian Agora." In Reading Ancient Objects Inside Out: Greek Figure-Decorated Pottery in Portugal. Archaeopress Publishing Ltd, 2024. https://doi.org/10.2307/jj.23338163.24.

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Głuszek, Inga. "Depictions of Warriors on the Diosphos Painter’s Lekythos from the Collection of the National Museum in Poznań. A Contribution to the Iconographic Analysis of Representations of Warriors in Athenian Vase Painting." In Tools of war. Wydawnictwo Uniwersytetu Łódzkiego, 2023. http://dx.doi.org/10.18778/8331-461-7.03.

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The collection of the National Museum in Poznań includes a white-ground lekythos with a black-figure depiction of two Greek warriors surrounded by archers in Scythian attire. The warrior theme was especially popular on Greek vessels in the archaic period. The interpretation of representations according to the historical trend sees in the images of warriors heroes from heroic epics. While the vessels are considered to be highly specialised artisan products that were distributed to Greek colonies, often far away from Athens, the author draws attention to other possibilities for interpreting the representations in question.

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Immerwahr, Henry R. "Early Classical: From the Persian Wars to the Mid-Fifth Century." In Attic Script. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198132233.003.0010.

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Abstract After the Persian Wars certain changes took place in the production and distribution of Attic pottery. Yet many painters and potters continued their prior activities, so that there is not so much a break as a gradual transformation in the direction of the Classical style. Among smaller vases, the lekythos and the small Nolan amphora replace the cup in popularity; among large vases, the column krater becomes more common. The export is still to Etruria, but more so for the small vases. Larger vases are used mainly in Athens and in South Italy: no doubt these changes in the market cause the change in the statistics of shapes. The trade is a flourishing one, and we find a great increase in the number of painters, especially minor painters who are not yet fully understood. The schools of Douris, the Brygos Painter, and Makron continue with copious production of small vases (AR V2781-836), and the same is true for the larger vases painted by the followers of the Berlin Painter (the Providence Painter, Hermonax, etc.) and the Mannerist school (AR V 5 62 ff., IIo6 ff.). But there are also many new schools, such as those of the Altamura and Niobid Painters, and of the Pistoxenos and Penthesilea Painters. The white-ground lekythos comes to the fore in this period (AR V 743 ff.). The second quarter of the fifth century is altogether a lively and somewhat chaotic period, in which the old and the new are mixed; this is what we would expect in the founding years of the Athenian Empire.

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