LaurieAnnie's photos with the keyword: white-ground

Terracotta pyxis (box) Greek, Attic, white-ground, ca. 465-460 BC Attributed to the Penthesilea Painter The Judgment of Paris Accession # 07.286.36 During the middle of the 5th century BC, the white-ground technique was commonly used for lekythoi, the oil flasks placed on graves, and for fine vases of other shapes. As classical painters sought to achieve ever more complex effects with the limited possibilities of red-figure, the white background gave new prominence to the glaze lines and polychromy. This pyxis reflects the delight which an accomplished artist depicted traditional subjects. Text from the Metropolitan Museum of Art label.

Terracotta bobbin Greek, Attic, white-ground, ca. 460-450 BC Attributed to the Penthesilea Painter One side: Nike (the personification of victory) offering a fillet (band) to a youth Other side: Eros and a youth Accession # 28.167 This object belongs to a group of roughly half a dozen pieces, all of the same construction and exceptionally fine quality but of undetermined function. The two most frequently advanced interpretations are that they served as bobbins or yo-yos. The shape lends itself to either purpose. The fragility of the material makes clear that they must have been dedications. Like the adjacent pyxis, this bobbin demonstrates the Penthelisea Painter's wonderful gift for color and composition. Text from the Metropolitan Museum of Art label.

Terracotta bobbin Greek, Attic, white-ground, ca. 460-450 BC Attributed to the Penthesilea Painter One side: Nike (the personification of victory) offering a fillet (band) to a youth Other side: Eros and a youth Accession # 28.167 This object belongs to a group of roughly half a dozen pieces, all of the same construction and exceptionally fine quality but of undetermined function. The two most frequently advanced interpretations are that they served as bobbins or yo-yos. The shape lends itself to either purpose. The fragility of the material makes clear that they must have been dedications. Like the adjacent pyxis, this bobbin demonstrates the Penthelisea Painter's wonderful gift for color and composition. Text from the Metropolitan Museum of Art label.

Terracotta pyxis (box) Greek, Attic, white-ground, ca. 465-460 BC Attributed to the Penthesilea Painter The Judgment of Paris Accession # 07.286.36 During the middle of the 5th century BC, the white-ground technique was commonly used for lekythoi, the oil flasks placed on graves, and for fine vases of other shapes. As classical painters sought to achieve ever more complex effects with the limited possibilities of red-figure, the white background gave new prominence to the glaze lines and polychromy. This pyxis reflects the delight which an accomplished artist depicted traditional subjects. Text from the Metropolitan Museum of Art label.

Kylix (drinking cup), ca. 470 B.C.; Classical, white-ground Attributed to the Villa Giulia Painter Greek, Attic Terracotta; H. 2 7/16 in. (6.2 cm) The Bothmer Purchase Fund, Fletcher Fund, and Rogers Fund, 1979 (1979.11.15) On this red-figure and white-ground kylix (drinking cup), a goddess—identifiable by her scepter—stands by an Ionic altar to pour a libation from a phiale, a shallow bowl specifically designed for pouring liquid offerings. She wears a long chiton of very thin fabric as is evident from its multiple folds. Her hair has been gathered up in a bun at the back of her head. The bracelets and necklace that she wears, the fillet in her hair, the ends of her scepter, and her libation bowl are rendered in added clay and were originally gilded. Like other cups of high quality with representations of deities on a white ground, this piece may have been specially commissioned for dedication at a sanctuary. The interior of the cup was covered with a white slip that gives even greater resonance to the painter's exquisite use of line and color than does the usual orange background on red-figure vases. The addition of a thin layer of very fine white clay to the surface of a vase was practiced in Athens from the late seventh century B.C. onward, enjoying a period of particular favor from the second quarter to the end of the fifth century B.C. This cup is attributed to the Villa Giulia Painter, a preeminent artist of that period. He is named after a major collection of antiquities in Rome, and is known for his elegant, statuesque figures. Text from: www.metmuseum.org/toah/hd/grlg/ho_1979.11.15.htm