LaurieAnnie's photos with the keyword: KleophradesPainter

Terracotta Panathenaic prize amphora Attributed to the Kleophrades Painter Period: Archaic Date: ca. 500 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H: 25 in. (63.5 cm) Classification: Vases Credit Line: Rogers Fund, 1916 Accession Number: 16.71 Obverse, Athena Reverse, pankration (athletic contest) and judge After the mid-sixth century B.C., artists' signatures do not appear on Panathenaic prize amphorae. It seems, however, that certain artists used their own "trademark" shield devices. The Kleophrades Painter favored Pegasos, the winged horse. The reverse of this vase depicts the pankration, which combined wrestling, boxing, and kicking. The inclusion of the judge may highlight the particular danger of the event to the competitors. www.metmuseum.org/art/collection/search/249067

Terracotta Panathenaic prize amphora Attributed to the Kleophrades Painter Period: Archaic Date: ca. 500 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H: 25 in. (63.5 cm) Classification: Vases Credit Line: Rogers Fund, 1916 Accession Number: 16.71 Obverse, Athena Reverse, pankration (athletic contest) and judge After the mid-sixth century B.C., artists' signatures do not appear on Panathenaic prize amphorae. It seems, however, that certain artists used their own "trademark" shield devices. The Kleophrades Painter favored Pegasos, the winged horse. The reverse of this vase depicts the pankration, which combined wrestling, boxing, and kicking. The inclusion of the judge may highlight the particular danger of the event to the competitors. www.metmuseum.org/art/collection/search/249067

Terracotta Panathenaic prize amphora Attributed to the Kleophrades Painter Period: Archaic Date: ca. 500 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H: 25 in. (63.5 cm) Classification: Vases Credit Line: Rogers Fund, 1916 Accession Number: 16.71 Obverse, Athena Reverse, pankration (athletic contest) and judge After the mid-sixth century B.C., artists' signatures do not appear on Panathenaic prize amphorae. It seems, however, that certain artists used their own "trademark" shield devices. The Kleophrades Painter favored Pegasos, the winged horse. The reverse of this vase depicts the pankration, which combined wrestling, boxing, and kicking. The inclusion of the judge may highlight the particular danger of the event to the competitors. www.metmuseum.org/art/collection/search/249067

Terracotta Panathenaic prize amphora Attributed to the Kleophrades Painter Period: Archaic Date: ca. 500 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H: 25 in. (63.5 cm) Classification: Vases Credit Line: Rogers Fund, 1916 Accession Number: 16.71 Obverse, Athena Reverse, pankration (athletic contest) and judge After the mid-sixth century B.C., artists' signatures do not appear on Panathenaic prize amphorae. It seems, however, that certain artists used their own "trademark" shield devices. The Kleophrades Painter favored Pegasos, the winged horse. The reverse of this vase depicts the pankration, which combined wrestling, boxing, and kicking. The inclusion of the judge may highlight the particular danger of the event to the competitors. www.metmuseum.org/art/collection/search/249067

Terracotta Panathenaic prize amphora Attributed to the Kleophrades Painter Period: Archaic Date: ca. 500 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H: 25 in. (63.5 cm) Classification: Vases Credit Line: Rogers Fund, 1916 Accession Number: 16.71 Obverse, Athena Reverse, pankration (athletic contest) and judge After the mid-sixth century B.C., artists' signatures do not appear on Panathenaic prize amphorae. It seems, however, that certain artists used their own "trademark" shield devices. The Kleophrades Painter favored Pegasos, the winged horse. The reverse of this vase depicts the pankration, which combined wrestling, boxing, and kicking. The inclusion of the judge may highlight the particular danger of the event to the competitors. www.metmuseum.org/art/collection/search/249067

Terracotta Panathenaic prize amphora Attributed to the Kleophrades Painter Period: Archaic Date: ca. 500 B.C. Culture: Greek, Attic Medium: Terracotta; black-figure Dimensions: H: 25 in. (63.5 cm) Classification: Vases Credit Line: Rogers Fund, 1916 Accession Number: 16.71 Obverse, Athena Reverse, pankration (athletic contest) and judge After the mid-sixth century B.C., artists' signatures do not appear on Panathenaic prize amphorae. It seems, however, that certain artists used their own "trademark" shield devices. The Kleophrades Painter favored Pegasos, the winged horse. The reverse of this vase depicts the pankration, which combined wrestling, boxing, and kicking. The inclusion of the judge may highlight the particular danger of the event to the competitors. www.metmuseum.org/art/collection/search/249067

Panathenaic prize amphora, ca. 525–500 b.c.; black-figure Attributed to the Kleophrades Painter Greek, Attic Terracotta H. 25 in. (63.5 cm) Rogers Fund, 1916 (16.71) Reverse: pankration (athletic contest) and judge Obverse: Athena This splendid Panathenaic amphora is inscribed with the words "from the games at Athens." On one side is the figure of Athena, the presiding goddess at the Panathenaic games in Athens, and on the other side, shown here, is the pankration, the contest at which this vase was awarded as a prize. The object of the pankration, a combination of boxing and wrestling, was to bring one's opponent to the ground. A favorite trick was to seize a contestant by the leg and force him to fall backward, such as depicted here. One athlete has grasped the other's foot and is trying to throw him by placing an arm under his opponent's thigh. A trainer stands nearby, closely watching the struggle to see that all rules are properly observed The pankration was the toughest and most dangerous of all athletic events. One could twist, strangle, hit, and pound one's opponent; in fact, the only things forbidden were biting and gouging the eyes. Injury to the competitors was unavoidable since they sought to win by all possible means, heedless of the life of their opponents. Text from: www.metmuseum.org/toah/works-of-art/16.71

Panathenaic prize amphora, ca. 525–500 b.c.; black-figure Attributed to the Kleophrades Painter Greek, Attic Terracotta H. 25 in. (63.5 cm) Rogers Fund, 1916 (16.71) Reverse: pankration (athletic contest) and judge Obverse: Athena This splendid Panathenaic amphora is inscribed with the words "from the games at Athens." On one side is the figure of Athena, the presiding goddess at the Panathenaic games in Athens, and on the other side, shown here, is the pankration, the contest at which this vase was awarded as a prize. The object of the pankration, a combination of boxing and wrestling, was to bring one's opponent to the ground. A favorite trick was to seize a contestant by the leg and force him to fall backward, such as depicted here. One athlete has grasped the other's foot and is trying to throw him by placing an arm under his opponent's thigh. A trainer stands nearby, closely watching the struggle to see that all rules are properly observed The pankration was the toughest and most dangerous of all athletic events. One could twist, strangle, hit, and pound one's opponent; in fact, the only things forbidden were biting and gouging the eyes. Injury to the competitors was unavoidable since they sought to win by all possible means, heedless of the life of their opponents. Text from: www.metmuseum.org/toah/works-of-art/16.71

Red-Figure Volute Krater Kleophrades Painter Greek, Athens, about 490 B.C. Terracotta 22 3/8 x 16 3/16 in. 77.AE.11 Scenes from several Greek myths run around the neck of this enormous red-figure volute-krater, which was broken and reassembled from many fragments. On the front of the vase, the top row of decoration depicts a mythological battle against the Amazons. Much of this scene is missing, but Herakles, identifiable by his lionskin, grasps the hair of a fallen Amazon and prepares to deliver the fatal blow with his sword. The lower row shows excerpts of three Labors of Herakles: the Lernean Hydra, Geryon, and the Apples of the Hesperides. The better preserved back of the vase shows the Amazons preparing for battle and a scene with Peleus and Thetis, the parents of Achilles. The complexity of the decoration and the scale of this vase are unusual. In fact, this is the only surviving volute-krater with two rows of decoration on the neck. At this time, Athenian potters worked in close proximity and painters were very aware of each other's work. A showpiece like this vase may have been a response to the Kleophrades Painter's main competitor at this time, the Berlin Painter, who had been producing large volute-kraters with one frieze on the neck. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=8713