Transcript Kleophrades

Kleophrades: pupil of Euthymides
Vase 1 Pointed
Amphora:
Dionysus and
followers
Vase 2
Hydria; Fall of Troy
Kleophrades: Pointed Amphora
• Technique: Red figure
• Shape: Pointed Amphora
• Painter:Attributed to the
Kleophrades painter
• Potter: Kleophrades
• Date:ca. 500 B.C. - 490 B.C.
• Dimensions:Height. 56cm
• Subject:
• Body; Dionysus with maenads
and silens.
• Neck; Athletes exercising
Composition Pointed Amphora
• Body: a continuous frieze around the
entire vessel.
• All figures on the same plane, little over
lapping of figures wider spacing compared
to Makron.
• On neck frieze interrupted by handles
Subject: Body center of Side A
• Dionysos moves to the right, holding in his left
hand a vine branch, whose tendrils curl around
him,
• and in his right hand a kantharos.
• He is wearing a long, transparent chiton through
which his legs are visible, a mantle around his
chest, and a panther skin knotted around his
neck, and is crowned with an ivy wreath.
• He strides to the right, looking behind him and
down towards the maenad behind him.
Subject: Dionysus center of Side A
• Dionysos
moves to the
right, holding
in his left hand
a vine branch,
whose tendrils
curl around
him.
Subject: Dionysus center of Side A
• Dionysos moves to
the right, holding in
his right hand, a
kantharos.
Subject: Dionysus center of Side A
• A panther skin
knotted around his
neck, and is crowned
with an ivy wreath.
Subject: Body center of Side A
• He is wearing a long,
transparent chiton
through which his
legs are visible, a
mantle around his
chest,
Subject: Dionysus center of Side A
• He strides to
the right,
looking
behind him
and down
towards the
maenad
behind him.
Subject: Body
• Two Maenads on
either side of the god
are being attacked by
Silenoi.
• Right Maenad fends
Silenoi off with her
thyrsos.
• Left Maenad holds a
snake.
Subject: Body, maenad to the left of
Dionysos
• She runs to the right towards Dionysos, looking
back over her shoulder at the silen.
• She holds a thyrsos in her right hand, and a
bearded snake entwined around her left hand.
• She wears a long transparent chiton, long
mantles whose ends dangle almost to the
ground; on her heads a bonnet t,his one wears a
fawn skin in addition.
• The silen is bent forward slightly, as if ducking
under the handle of the vase, and grabs her
thyrsos with his right hand while reaching for the
hem of her chiton with his left.
Subject: Maenad to the right of
Dionysos
• She runs to the left, towards the god,
looking over her shoulder and warding off
the silen with her hand and thyrsos. Both
these maenads wear long mantles whose
ends dangle almost to the ground.
• The silen reaches for her hair with his left
hand and for the hem of her chiton with his
left, and raises his left leg.
Subject: Body
• The silens are nude except for fawn skins
and ivy wreaths; they have horse ears and
tails, beards and snub noses, and are
ithyphallic.
Subject:
Body
Subject
: Body
Subject: Orgasmic Maenads &
Musican Satyr
• On the other side of the amphora are two
ecstatic maenads and a frontal silen
playing an aulos. The maenads flank and
turn away from the satyr at the center of
the scene, running towards Dionysos on
the other side of the vase.
Subject:
Frontal
Silenoi
Subject: Left
Ecstatic
Maenad
Subject:
Right
Ecstatic
Maenad
The right maenad
• She gazes slightly
upward as she runs.
She carries her
thyrsos on her
shoulder, and a
bearded snake with
open mouth is
entwined around her
left arm.
The right maenad
• She is wreathed with
ivy and her blond hair
is disheveled, painted
in dilute glaze; her
eyes are light-colored,
like Dionysos'.
The right maenad
• She wears the same
long transparent
chiton and mantle as
the other maenads,
and also a fawn skin.
Orgasmic Maenad left
• This maenad seems
more intoxicated:
turning her face to the
sky she cries out with
her mouth open,
clutches her thyrsos
with both hands.
• Her curly black hair is
in small ringlets.
Orgasmic Maenad left
• Her right foot breaks the frame of the scene, her
toes over the maeander border.
Musical Silen
• Between the two
maenads, the frontal
silen plays the double
aulos. He bends
slightly to the right,
and is cross-eyed and
his brow furrowed,
and a fawn skin is
draped over his
shoulders.
Use of colour
• Purple and
dilute glaze are
used to great
effect, with
golden dilute
glaze used for
fawn and animal
skins, Dionysos'
kantharos, and
the snakes held
by the maenads.
Subject Neck
• On the neck, on either side are three
athletes practicing the diskos and throwing
spear. The athletes are nude and wear
fillets in their hair. In the background on
either side are picks for loosening the
earth for the long jump; on side B are an
aryballos and sponge for cleaning up after
exercising.
Side A Neck
Side B Neck
Inscriptions:
• KALOS, "(he is) beautiful" twice, near the
silens.
Kleophrades hydria
• Technique: REDFIGURE
• Shape: HYDRIA
• Attributed to
KLEOPHRADES
• Dates 490 – 480
• Height 45cm
• Decorated Area:
• Shoulder
• Subject: Fall of troy
Trojan War; Homer’s Illiad
• Subjects from the Trojan War are a
favorite topic of the Kleophrades Painter,
perhaps spurred by the tragedies of
Aeschylus
In the center
• Neoptolemos is killing Priam, who sits on the
altar holding his bleeding head, his dead
grandson Astyanax in his lap. Trojan women and
warriors cower and fall on either side.
The murder of Priam
Pathetic palm
• The naked Cassandra is pulled from the statue
of Athena by the lesser Ajax, who does not
notice Aeneas escaping with his father Anchises.
• Illustration 123 The naked Cassandra is
pulled from the statue of Athena by the
lesser Ajax, who does not notice Aeneas
escaping with his father Anchises.
• On the opposite side, the sons of Theseus
rescue their grandmother Aithra, and a
Trojan woman attacks a Greek with a
corn-pounder.
Rescuse of Aithra
Corn Pounder
Composition Murder of Priam
Composition Ajax & Cassandra
Composition Rescuse of Aithra
Foreshortening of foot
Composition
• The composition is sweeping and
complex, with even the subsidiary
ornament — running spirals above,
slanted palmettes below — contributing to
the sense of rolling destruction. The air of
grief and pathos are a departure for the
painter and indeed for Attic vase-painting
up to this time; in this sense, this vase is a
harbinger of the Early Classical style.
Trojan war illustrated companion
• http://www.philipresheph.com/demodokos/i
ndex.htm
General information about
Kleophrates Painter
Style
• He was a painter of
power, whose vital,
robust figures,
whether naked,
armored, or swathed
in luxurious drapery,
are imbued with
intelligence and will.
Secondary opinions on the
Kleophrades Painter
• Beazley called the Kleophrades Painter
the greatest pot-painter of the Late
Archaic period, giving him precedence
over his contemporary, the Berlin
Painter, an artist whose best works are
among the masterpieces of Attic vasepainting.
• His career lasted over thirty years,
ending in the late 470s
• Michael Padgett, The Kleophrades
Painter
http://www.perseus.tufts.edu/cgibin/ptext?doc=1999.04.0013
Influences
• In his earliest works, from the last decade of
the sixth century, the influence of
Euthymides is strong, and there can be no
doubt that the Kleophrades Painter trained
under him in the Pioneer workshop, where he
would also have been exposed to the works
of Phintias and Euphronios.
• Euthymides, influence on the Kleophrades
Painter is so great that Beazley originally
attributed to Euthymides some works he
later assigned to his pupil Kleophrades.
Style
• The firm lines and clear compositions of his
paintings were founded on careful designs,
worked out in extensive preliminary
sketches.