home>learning resources>work of the month

SEARCH THE COLLECTION

EXHIBITIONS THE COLLECTION EDUCATION CALENDAR OF EVENTS PLANNING A VISIT GETTING INVOLVED PRIVATE EVENTS NEWS & INFORMATION MUSEUM SHOP

work of the month

---

When [Theseus] reached Crete on his voyage, most historians and poets tell us that he got from Ariadne, who had fallen in love with him, the famous thread, and that having been instructed by her how to make his way through the intricacies of the Labyrinth, he slew the Minotaur and sailed off with Ariadne and the youths.
—Plutarch, Lives, “Theseus” 19.1

What is an amphora, and what types of ornamentation are used?

Cristalleries de Baccarat (French). Neo-Grec Vase, ca. 1867. Blown and cased glass, acid-etched and gilded. Museum Purchase with funds donated by Mr. and Mrs. John S. Shannon, 91.48.

Derived from the Greek word meaning “carried on both sides,” an amphora (pl. amphorae) is a two-handled vessel used to carry either oil or wine. Decorated amphorae were highly valued as works of art in ancient times. Some amphorae portrayed mythological scenes (such as this example), while others showed genre scenes (scenes of everyday life, such as the adjacent Black-Figure Lekythos with warriors, charioteers, and horses). While many of these works could have been used solely for decoration, most were functional.

The Greeks decorated their vases with repeating patterns of flora. On the neck of this amphora are palmettes, while on the sides near the handles are thin lotus flowers (also interpreted as honeysuckle) that have been turned upside-down. Such patterns were widely used on vases of the period. Ringing the bottom are pear-shaped buds that are opening, each connected by curling leaves with an alternate bud. The ivy branches held by Dionysus are extremely simple, showing how early Greek artists represented flora in simple, stylized patterns. When ancient Greek styles were revived much later in the 19th century, lotus patterns were frequently used in decorative arts and architecture (see the Chrysler’s Neo-Grec Vase at right).

What is black-figure painting, and when was it made?

Phanyllis Group (Attic Greek). Black-Figure Lekythos, ca. 520-510 BC. Terracotta. Given in honor of Christine Coggins Rowland by her husband and daughters Lisa and Anne, 92.51.

As Athens and its surrounding area (Attica) became more commercially and politically powerful during the 6th century BC, its people valued an ideal beauty in their art. Over the course of the 6th century, vase painting showed increased emphasis on narrative scenes.

Black-figure painting describes the process of painting dark slip (a liquid form of clay) onto an unfired terracotta pot and using an incisor tool to depict the subjects of the artwork. In this manner, fine lines could be drawn that reproduced even the most intricate textiles faithfully. After the pot was baked in a kiln, the final color of the human figures and most of the decorative elements were black. Special processes like the six technique – in which an artist painted on red or white slip, then scraped off the color to reveal an underlying black base – heightened the subtlety of a work. This method was employed especially when portraying women, in order to add depth and realism to their eyes.

Black-figure painting was popular in ancient Greece during the Archaic era (ca. 800 – 500 BC), which falls between the Geometric period (ca. 1000 - 700 BC) and the better-known Classical age (ca. 480 – 323 BC). During this formative phase, artists explored how to represent the world around them and the human body more realistically. The women in this amphora’s Theseus scene resemble kourai, Archaic female sculptures which were fully clothed and rigid in style. The women are pale – painted white – in comparison to the male figures around them, who are tan. This artistic convention offers a glimpse into Athenian society of the time, when women were required to stay indoors and tend to the household.

Who was the Lysippides Painter?

The Lysippides Painter produced black-figure vases from approximately 530 to 510 BC. He decorated a variety of pottery, ranging from amphorae to cups, and usually depicted horses and mythological scenes. His painting style clearly identifies him as a student of the well known vase painter Exekias. Like most Greek vase painters, the true name of the Lysippides Painter is unknown; he may only be identified by his artistic style. He is named after an inscription of the youth Lysippides on a vase now housed in the British Museum. While the Chrysler’s amphora is not attributed directly to the Lysippides Painter, this artist’s style shares many characteristics with those of the Lysippides Painter and his master, Exekias.

How did the depictions of certain Greek divinities change over time?

The representations of Apollo, Dionysus, and Hermes on this vase show how Archaic Greek artists believed these Gods to look. Apollo, the patron of music, was generally portrayed as a beardless youth. The representations of Dionysus and Hermes changed, however, over time. Dionysus evolved from an aged man into a beardless youth much like Apollo (see the Chrysler’s Bacchus and Ariadne). In contrast, the wings that are on the front of Hermes’s shins (as on this amphora) migrated to the back of his ankles over time. This movement satisfies the contemporary belief that Hermes flew to deliver the messages of the gods.

What can this amphora and other pottery tell us about everyday life in ancient Greece?

On the Chrysler’s Black-Figure Amphora, both Dionysus and Hermes sit on folding stools. These stools were commonly used as seats for divinities or as symbols of dignity, especially when honoring the gods or high officials.

Detail of Apollo with kithara

The instrument that Apollo uses to serenade Dionysus and Hermes is a kithara, a specialized Greek lyre that was used by accomplished musicians. The instrument, held vertically towards the player, was constructed of a wooden soundboard and strong arms. A crossbar allowed the player to tune the instrument by moving a handle to change pitch. The player would strike the instrument with a plectrum, seen here in Apollo’s right hand.

Since no textiles survive in the archaeological record, those depicted on ancient pottery give us further clues about clothing and textile styles. The various textiles depicted on the vase also give clues to daily life in Archaic Greece. The Greeks used wool produced from sheep that they herded in the many mountainous areas of Greece; as well, they imported linen from eastern countries such as Egypt. Variations in color on the amphora indicate that Greek garments would have been dyed. The incisions show the folds, textures, and patterns of the fabric, like the simple meander pattern at the edges of the three divinities’ costumes.

—Dylan Rogers, Education Intern 2003-04
with Gary Baker and Kristi McMillan

Greek clothing glossary

Doric chiton – Tunic that pinned at the shoulder and was left to drape over the body
(see the women in the Theseus scene)

Chamydon – An elaborate form of loincloth with fabric drapes (see Theseus)

Hymation – A cloak generally hanging from the left shoulder and wrapping the body
(see Dionysus and Apollo)

Chlamys – Traveling cloak of wool or leather (see Hermes)

Pilos – A sun-cap with a pointed brim (see Hermes)

Sources

Boardman, John. Athenian Black Figure Vases. London: Thames and London, 1991.

Eubank, Keith, and Phyllis Totora. A Survey of Historic Costume. New York: Fairchild Publications, 1989.

Musical Instruments and Their Portrayal in Art, ex. cat. Baltimore, MD: Baltimore Museum of Art, 1946.

Osborne, Robin. Archaic and Classical Greek Art. New York: Oxford University Press, 1998.

Spiteris, Tony. Greek and Etruscan Painting. New York: Funk & Wagnalls, 1965.

Wanscher, Ole. The Art of Furniture: 5000 Years of Furniture and Interiors. New York: Reinhold Publishing Corp., 1966.