LaurieAnnie's photos with the keyword: BerlinPainter

Terracotta lekythos (oil flask),ca. 480 B.C. Attributed to the manner of the Berlin Painter Woman playing the lyre; on shoulder, Nike. Object Details Attributed to the manner of the Berlin Painter Period: Classical Date: ca. 480 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: 15 1/2in. (39.4cm) Other: 5 3/8in. (13.7cm) Classification: Vases Credit Line: Rogers Fund, 1941 Accession Number: 41.162.7 Text from: www.metmuseum.org/art/collection/search/254174

Terracotta lekythos (oil flask),ca. 480 B.C. Attributed to the manner of the Berlin Painter Woman playing the lyre; on shoulder, Nike. Object Details Attributed to the manner of the Berlin Painter Period: Classical Date: ca. 480 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: 15 1/2in. (39.4cm) Other: 5 3/8in. (13.7cm) Classification: Vases Credit Line: Rogers Fund, 1941 Accession Number: 41.162.7 Text from: www.metmuseum.org/art/collection/search/254174

Terracotta lekythos (oil flask),ca. 480 B.C. Attributed to the manner of the Berlin Painter Woman playing the lyre; on shoulder, Nike. Object Details Attributed to the manner of the Berlin Painter Period: Classical Date: ca. 480 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: 15 1/2in. (39.4cm) Other: 5 3/8in. (13.7cm) Classification: Vases Credit Line: Rogers Fund, 1941 Accession Number: 41.162.7 Text from: www.metmuseum.org/art/collection/search/254174

Terracotta lekythos (oil flask),ca. 480 B.C. Attributed to the manner of the Berlin Painter Woman playing the lyre; on shoulder, Nike. Object Details Attributed to the manner of the Berlin Painter Period: Classical Date: ca. 480 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: 15 1/2in. (39.4cm) Other: 5 3/8in. (13.7cm) Classification: Vases Credit Line: Rogers Fund, 1941 Accession Number: 41.162.7 Text from: www.metmuseum.org/art/collection/search/254174

Storage Jar with a Scythian Warrior Greek, made in Athens, 480-470 BC Red-figured amphora attributed to the Berlin Painter Inventory # 96.AE.98 Glancing anxoiously over his shoulder, a Scythian warrior flees from a Greek foot soldier, who appears on the other side of this vase. The warrior wears a typical Scythian costume: a tall cap; tight, patterned garments; and soft, pointed shoes. He is further identified as a foreigner by his stiff red hair and beard and his snub nose. The Scythians were renowned in antiquity as skilled horsemen and archers. The depictions on this storage jar may refer to the Greek triumph over the Persians in 479 BC, a recent event when the vessel was painted. The Scythians were allies of the Persians during that invasion. Text from the Getty Villa label.

Storage Jar with a Scythian Warrior Greek, made in Athens, 480-470 BC Red-figured amphora attributed to the Berlin Painter Inventory # 96.AE.98 Glancing anxoiously over his shoulder, a Scythian warrior flees from a Greek foot soldier, who appears on the other side of this vase. The warrior wears a typical Scythian costume: a tall cap; tight, patterned garments; and soft, pointed shoes. He is further identified as a foreigner by his stiff red hair and beard and his snub nose. The Scythians were renowned in antiquity as skilled horsemen and archers. The depictions on this storage jar may refer to the Greek triumph over the Persians in 479 BC, a recent event when the vessel was painted. The Scythians were allies of the Persians during that invasion. Text from the Getty Villa label.

Berlin Painter Attic Red-Figure Bell Krater Athens from 500-490 BCE Inventory # G 175 Ganymede, a young Trojan hero, considered to be "the most beautiful of mortals", was carried away by Zeus, who used him as his cupbearer on Olympus. This theme depicts the young man playing with his hoop and holding a cock on one side, with Zeus holding a scepter on the other. The two figures are arranged simply, on a band decorated with a meander. This decorative principle, perfected by Euphronios, was very often used by the Berlin Painter throughout his career. Zeus and Ganymede Ganymede, a young hero famous for his beauty, was carried off by Zeus – or, according to another version of the myth, by the eagle of Zeus – while he was watching his father's flocks near the town of Troy. Each side of the bell-krater is composed according to a scheme that the Berlin Painter favored throughout his career: a figure standing out against the black surface of the bowl is placed on a band decorated with a meander. On the main side of the krater the young man is represented nude with his red hair undone, crowned with leaves in red highlights, walking and turning his hoop with a stick. In antiquity the hoop was one of the games used by children and young people. On this vase it symbolizes Ganymede's youth. Furthermore, the presence of a cock in his hand represents the loving gift that couples give each other, which appears on vases, and expresses the nascent game of seduction between Zeus and Ganymede. On the other side, Zeus, wearing a himation and holding a scepter, is hurriedly heading towards the young man. The grace of the figures – particularly Ganymede – who are placed on each side of the vase, but united by an interplay of gestures and symbols, accentuates the sobriety and harmony of the composition. The Form of the Vase A variant of the bell-krater, the lugged krater, characterized by the oblique positioning of the handles, was used during banquets for mixing wine and water. This type of krater is fairly rare in Attic vase production, but was frequently used by the Berlin Painter. The absence of a foot suggests that the vase was placed on a base or support. Here, the potter has produced a krater with harmonious proportions: it has been noted that the height of the vase is equal to its diameter, and the diameter of the base is the same as the diameter of the hoop. The Berlin Painter This excellent anonymous Attic painter, to whom J.D. Beazley gave the name of the eponymous amphora in Berlin, did not inscribe his signature on his vases. He trained with the Attic red-figure Pioneers, who taught him to study the body in movement and represent nudity. An excellent draughtsman, he produced a large number of vases over the course of his career (from 500 to 460 BC). He decorated large vases but also numerous amphoras, making little use of the secondary decoration in favor of isolated figures linked by a common action. His technique of fine, fluid lines allowed him to excel in the use of relief lines and diluted slip, as evidenced by Ganymede's hair. Bibliography Martine Denoyelle, Chefs-d’œuvre de la céramique grecque, 1995, p. 114-115, Ed. de la Réunion des musées nationaux, n° 52. Feuillet pédagogique : Jeux et Jouets dans l’Antiquité, n° 3/48. Feuillet pédagogique : John Davidson Beazley et l’analyse scientifique des vases grecs, n° 3/15. Text from: www.louvre.fr/en/oeuvre-notices/attic-red-figure-bell-krater

Berlin Painter Attic Red-Figure Bell Krater Athens from 500-490 BCE Inventory # G 175 Ganymede, a young Trojan hero, considered to be "the most beautiful of mortals", was carried away by Zeus, who used him as his cupbearer on Olympus. This theme depicts the young man playing with his hoop and holding a cock on one side, with Zeus holding a scepter on the other. The two figures are arranged simply, on a band decorated with a meander. This decorative principle, perfected by Euphronios, was very often used by the Berlin Painter throughout his career. Zeus and Ganymede Ganymede, a young hero famous for his beauty, was carried off by Zeus – or, according to another version of the myth, by the eagle of Zeus – while he was watching his father's flocks near the town of Troy. Each side of the bell-krater is composed according to a scheme that the Berlin Painter favored throughout his career: a figure standing out against the black surface of the bowl is placed on a band decorated with a meander. On the main side of the krater the young man is represented nude with his red hair undone, crowned with leaves in red highlights, walking and turning his hoop with a stick. In antiquity the hoop was one of the games used by children and young people. On this vase it symbolizes Ganymede's youth. Furthermore, the presence of a cock in his hand represents the loving gift that couples give each other, which appears on vases, and expresses the nascent game of seduction between Zeus and Ganymede. On the other side, Zeus, wearing a himation and holding a scepter, is hurriedly heading towards the young man. The grace of the figures – particularly Ganymede – who are placed on each side of the vase, but united by an interplay of gestures and symbols, accentuates the sobriety and harmony of the composition. The Form of the Vase A variant of the bell-krater, the lugged krater, characterized by the oblique positioning of the handles, was used during banquets for mixing wine and water. This type of krater is fairly rare in Attic vase production, but was frequently used by the Berlin Painter. The absence of a foot suggests that the vase was placed on a base or support. Here, the potter has produced a krater with harmonious proportions: it has been noted that the height of the vase is equal to its diameter, and the diameter of the base is the same as the diameter of the hoop. The Berlin Painter This excellent anonymous Attic painter, to whom J.D. Beazley gave the name of the eponymous amphora in Berlin, did not inscribe his signature on his vases. He trained with the Attic red-figure Pioneers, who taught him to study the body in movement and represent nudity. An excellent draughtsman, he produced a large number of vases over the course of his career (from 500 to 460 BC). He decorated large vases but also numerous amphoras, making little use of the secondary decoration in favor of isolated figures linked by a common action. His technique of fine, fluid lines allowed him to excel in the use of relief lines and diluted slip, as evidenced by Ganymede's hair. Bibliography Martine Denoyelle, Chefs-d’œuvre de la céramique grecque, 1995, p. 114-115, Ed. de la Réunion des musées nationaux, n° 52. Feuillet pédagogique : Jeux et Jouets dans l’Antiquité, n° 3/48. Feuillet pédagogique : John Davidson Beazley et l’analyse scientifique des vases grecs, n° 3/15. Text from: www.louvre.fr/en/oeuvre-notices/attic-red-figure-bell-krater

Terracotta hydria: kalpis (water jar) Greek, Attic, red-figure, ca. 500 BC Attributed to the Berlin Painter Achilles and Penthesilea Accession # 10.210.19 Penthesilea, the queen of the Amazons who assisted the Trojans in the Trojan War, was killed by the Greek hero Achilles. He fell in love with her even as he dealt the mortal blow. The Berlin Painter wraps the figures diagonally around the shoulder of the kalpis. For artistic effect, Penthesilea is disproportionately tall and assumes an unnaturally balletic pose. The composition, however, is admirably appropriate for its placement. Text from the Metropolitan Museum of Art label.

Terracotta hydria: kalpis (water jar) Greek, Attic, red-figure, ca. 500 BC Attributed to the Berlin Painter Achilles and Penthesilea Accession # 10.210.19 Penthesilea, the queen of the Amazons who assisted the Trojans in the Trojan War, was killed by the Greek hero Achilles. He fell in love with her even as he dealt the mortal blow. The Berlin Painter wraps the figures diagonally around the shoulder of the kalpis. For artistic effect, Penthesilea is disproportionately tall and assumes an unnaturally balletic pose. The composition, however, is admirably appropriate for its placement. Text from the Metropolitan Museum of Art label.

Terracotta hydria: kalpis (water jar) Greek, Attic, red-figure, ca. 500 BC Attributed to the Berlin Painter Achilles and Penthesilea Accession # 10.210.19 Penthesilea, the queen of the Amazons who assisted the Trojans in the Trojan War, was killed by the Greek hero Achilles. He fell in love with her even as he dealt the mortal blow. The Berlin Painter wraps the figures diagonally around the shoulder of the kalpis. For artistic effect, Penthesilea is disproportionately tall and assumes an unnaturally balletic pose. The composition, however, is admirably appropriate for its placement. Text from the Metropolitan Museum of Art label.

Amphora, ca. 490 B.C.; Classical; red-figure Attributed to the Berlin Painter Greek, Attic Terracotta; H. 16 5/16 in. (41.5 cm) Fletcher Fund, 1956 (56.171.38) This red-figure amphora attributed to the Berlin Painter beautifully illustrates the symbiosis between the shape of a vase and its decoration. As one of the leading vase painters of the fifth century B.C., the Berlin Painter abandoned the rigid frames of panels on the amphora so that the contour of the vase itself focuses our attention on his solitary figures. On this particular vase, a musician in a long, slim garment accompanies himself on the kithara, a musical instrument used for formal performances in festivals and contests. The young musician, known as a kitharode, spreads the fingers of his left hand behind the strings and prepares to strike them with the plektron, or pick, in his right hand. The muscles in his neck stretch as he throws back his head and opens his mouth to sing. The sash below his kithara sways with the rhythm of his song. On the reverse side of the amphora, an instructor or, possibly, a judge listens intently and extends his right arm toward the young musician. The kithara was an instrument with seven strings of equal length and a solidly built, wooden body, usually with a flat base. Strings of gut or sinew were stretched from a holder at the base of the instrument over a bridge to the crossbar that joined the two sidepieces. The kitharode, who always stood while playing, made music by stroking the plektron in his right hand across the strings, sounding all those not damped with his left fingers. During performances, the instrument rested against the musician's shoulder, and was supported by a sling that wrapped around the left wrist. The musician could regulate pitch by the tension and, perhaps, thickness of the strings. Text from: www.metmuseum.org/toah/hd/grmu/hod_56.171.38.htm

Amphora, ca. 490 B.C.; Classical; red-figure Attributed to the Berlin Painter Greek, Attic Terracotta; H. 16 5/16 in. (41.5 cm) Fletcher Fund, 1956 (56.171.38) This red-figure amphora attributed to the Berlin Painter beautifully illustrates the symbiosis between the shape of a vase and its decoration. As one of the leading vase painters of the fifth century B.C., the Berlin Painter abandoned the rigid frames of panels on the amphora so that the contour of the vase itself focuses our attention on his solitary figures. On this particular vase, a musician in a long, slim garment accompanies himself on the kithara, a musical instrument used for formal performances in festivals and contests. The young musician, known as a kitharode, spreads the fingers of his left hand behind the strings and prepares to strike them with the plektron, or pick, in his right hand. The muscles in his neck stretch as he throws back his head and opens his mouth to sing. The sash below his kithara sways with the rhythm of his song. On the reverse side of the amphora, an instructor or, possibly, a judge listens intently and extends his right arm toward the young musician. The kithara was an instrument with seven strings of equal length and a solidly built, wooden body, usually with a flat base. Strings of gut or sinew were stretched from a holder at the base of the instrument over a bridge to the crossbar that joined the two sidepieces. The kitharode, who always stood while playing, made music by stroking the plektron in his right hand across the strings, sounding all those not damped with his left fingers. During performances, the instrument rested against the musician's shoulder, and was supported by a sling that wrapped around the left wrist. The musician could regulate pitch by the tension and, perhaps, thickness of the strings. Text from: www.metmuseum.org/toah/hd/grmu/ho_56.171.38.htm

Amphora, ca. 490 B.C.; Classical; red-figure Attributed to the Berlin Painter Greek, Attic Terracotta; H. 16 5/16 in. (41.5 cm) Fletcher Fund, 1956 (56.171.38) This red-figure amphora attributed to the Berlin Painter beautifully illustrates the symbiosis between the shape of a vase and its decoration. As one of the leading vase painters of the fifth century B.C., the Berlin Painter abandoned the rigid frames of panels on the amphora so that the contour of the vase itself focuses our attention on his solitary figures. On this particular vase, a musician in a long, slim garment accompanies himself on the kithara, a musical instrument used for formal performances in festivals and contests. The young musician, known as a kitharode, spreads the fingers of his left hand behind the strings and prepares to strike them with the plektron, or pick, in his right hand. The muscles in his neck stretch as he throws back his head and opens his mouth to sing. The sash below his kithara sways with the rhythm of his song. On the reverse side of the amphora, an instructor or, possibly, a judge listens intently and extends his right arm toward the young musician. The kithara was an instrument with seven strings of equal length and a solidly built, wooden body, usually with a flat base. Strings of gut or sinew were stretched from a holder at the base of the instrument over a bridge to the crossbar that joined the two sidepieces. The kitharode, who always stood while playing, made music by stroking the plektron in his right hand across the strings, sounding all those not damped with his left fingers. During performances, the instrument rested against the musician's shoulder, and was supported by a sling that wrapped around the left wrist. The musician could regulate pitch by the tension and, perhaps, thickness of the strings. Text from: www.metmuseum.org/toah/hd/grmu/hod_56.171.38.htm

Storage Jar with a Youthful Dancer Greek, made in Athens, about 480 BC Terracotta Red-figured neck amphora attributed to the Berlin Painter Inventory # 86.AE.187 A youthful dancer crowned with an ivy wreath performs while holding a wine cup. The Berlin Painter skillfully captured the body's movements and musculature with a few lines. His compositions often feature a single figure on each side of a vessel, surrounded by an expanse of black glaze. Text from the Getty Villa museum label.

Storage Jar with a Youthful Dancer Greek, made in Athens, about 480 BC Terracotta Red-figured neck amphora attributed to the Berlin Painter Inventory # 86.AE.187 A youthful dancer crowned with an ivy wreath performs while holding a wine cup. The Berlin Painter skillfully captured the body's movements and musculature with a few lines. His compositions often feature a single figure on each side of a vessel, surrounded by an expanse of black glaze. Text from the Getty Villa museum label.