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21. Youth courting girl
Youth courting girl
Description
Komasts or revelers frolic around the exterior of this Athenian red-figure cup. The men dance and hold drinking cups, while female attendants provide the music. The unusual feature of this vase is the odd way the men are dressed. They wear long chitons and turban-like headdresses, and attendants shelter them with parasols. Several dozen vases with similarly dressed revelers survive. Scholars call these scenes of men in fancy dress Anakreontic, after the poet Anakreon, who came to Athens from East Greece in the late 500s B.C. Scholars do not agree on how to interpret this costume. Because the men's clothing is similar to that of the women in the scene, some scholars see the men as transvestites dressing up as women. Other scholars point out that this clothing was suitable male attire in the Greek colonies on the coast of Turkey and in the neighboring kingdom of Lydia. They see the adoption of Eastern dress for symposia, or drinking parties, as part of a larger infiltration of East Greek art and ideas into Athenian culture beginning in the 520s B.C. A quieter scene decorates the interior of the cup, with a young man offering a flower to a standing woman holding a mirror. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.37, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 33; figs. 14-15.; Bothmer, Dietrich von, and J. Bean. Greek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss. Exh. checklist, The Metropolitan Museum of Art. New York: 1969. p. 7, no. 90.; Bothmer, Dietrich von.
22. [No Caption] Steven Lowenstam Collection
[No Caption] Steven Lowenstam Collection
Description
Komasts or revelers frolic around the exterior of this Athenian red-figure cup. The men dance and hold drinking cups, while female attendants provide the music. The unusual feature of this vase is the odd way the men are dressed. They wear long chitons and turban-like headdresses, and attendants shelter them with parasols. Several dozen vases with similarly dressed revelers survive. Scholars call these scenes of men in fancy dress Anakreontic, after the poet Anakreon, who came to Athens from East Greece in the late 500s B.C. Scholars do not agree on how to interpret this costume. Because the men's clothing is similar to that of the women in the scene, some scholars see the men as transvestites dressing up as women. Other scholars point out that this clothing was suitable male attire in the Greek colonies on the coast of Turkey and in the neighboring kingdom of Lydia. They see the adoption of Eastern dress for symposia, or drinking parties, as part of a larger infiltration of East Greek art and ideas into Athenian culture beginning in the 520s B.C. A quieter scene decorates the interior of the cup, with a young man offering a flower to a standing woman holding a mirror. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.37, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 33; figs. 14-15.; Bothmer, Dietrich von, and J. Bean. Greek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss. Exh. checklist, The Metropolitan Museum of Art. New York: 1969. p. 7, no. 90.; Bothmer, Dietrich von.
23. Warrior
Warrior
Description
On this Athenian white-ground lekythos attributed to Douris, two young warriors put on their armor, assisted by a woman and a young boy. The main lines of the bodies and clothing are drawn in black glaze, and the rest of the drawing is rendered with a brownish line made from diluted glaze. The words written between the figures are kalos inscriptions, praising Athenian youths. Large, white-ground lekythoi with outline drawing like this one are unusual in the early 400s B.C., yet three such lekythoi can be attributed to Douris. In the late 500s B.C., Athenian potters began to paint over the natural reddish color of their pottery with a highly purified clay that turned white when fired. Initially artists applied this technique to a variety of shapes. However, because the white slip was rather fragile, by the mid- 400s B.C. artists limited the use of this technique to leykthoi used in funerary ritual. --J. Paul Getty Museum
24. Music Lesson
Music Lesson
Description
Scenes of the daily lives of Athenian schoolboys decorate this red-figure cup. In addition to basic literacy and mathematics, Greek boys were trained in athletics and music. On the interior of the cup, a boy holding a lyre stands in front of a bearded man, who must be his music teacher. On the outside, men and boys form similar scenes. The imagined walls of the schoolroom are hung with musical instruments and athletic equipment: lyres, string bags with knucklebones, sponges, and aryballoi. The scenes on this cup are not purely educational, however. On one side of the vase, a boy holds a hare on his lap, while on the other, a man offers a hare to another boy. In addition to serving as a classroom, the gymnasion in its role as the center of Greek physical and intellectual life was also the center of romantic courtship. Hares were popular love gifts in the homosexual relationships between older men and boys favored by the Athenian aristocracy in the early 500s B.C. --J. Paul Getty Museum Bareiss Loan: S.82.AE.36, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 31; fig. 13.; Bothmer, Dietrich von.
25. Boy with lyre
Boy with lyre
Description
Scenes of the daily lives of Athenian schoolboys decorate this red-figure cup. In addition to basic literacy and mathematics, Greek boys were trained in athletics and music. On the interior of the cup, a boy holding a lyre stands in front of a bearded man, who must be his music teacher. On the outside, men and boys form similar scenes. The imagined walls of the schoolroom are hung with musical instruments and athletic equipment: lyres, string bags with knucklebones, sponges, and aryballoi. The scenes on this cup are not purely educational, however. On one side of the vase, a boy holds a hare on his lap, while on the other, a man offers a hare to another boy. In addition to serving as a classroom, the gymnasion in its role as the center of Greek physical and intellectual life was also the center of romantic courtship. Hares were popular love gifts in the homosexual relationships between older men and boys favored by the Athenian aristocracy in the early 500s B.C. --J. Paul Getty Museum Bareiss Loan: S.82.AE.36, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 31; fig. 13.; Bothmer, Dietrich von.
26. Couple
Couple
Description
Scenes of the daily lives of Athenian schoolboys decorate this red-figure cup. In addition to basic literacy and mathematics, Greek boys were trained in athletics and music. On the interior of the cup, a boy holding a lyre stands in front of a bearded man, who must be his music teacher. On the outside, men and boys form similar scenes. The imagined walls of the schoolroom are hung with musical instruments and athletic equipment: lyres, string bags with knucklebones, sponges, and aryballoi. The scenes on this cup are not purely educational, however. On one side of the vase, a boy holds a hare on his lap, while on the other, a man offers a hare to another boy. In addition to serving as a classroom, the gymnasion in its role as the center of Greek physical and intellectual life was also the center of romantic courtship. Hares were popular love gifts in the homosexual relationships between older men and boys favored by the Athenian aristocracy in the early 500s B.C. --J. Paul Getty Museum Bareiss Loan: S.82.AE.36, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 31; fig. 13.; Bothmer, Dietrich von.
27. Battle scene with backgroun
Battle scene with backgroun
Description
Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
28. Battle scene with backgroun
Battle scene with backgroun
Description
Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.
29. Woman splashing wine from Skyphos
Woman splashing wine from Skyphos
Description
Scenes of nude male revelers and hetairai, or high-class prostitutes, decorate this Athenian red-figure kylix or cup. On the interior of the cup, a reclining hetaira plays kottabos, a popular drinking game at symposia, or aristocratic drinking parties. The woman slips one handle of a cup over her index finger and tries to flick the dregs from the bottom of the cup at a target some distance away. Related scenes cover the outside of the cup. On one side, another reclining hetaira plays krotala, castanet-like instruments, while one youth offers her a large cup and another youth dances behind her. On the other side, three more youths dance. Scenes of hetairai were a were a popular subject in Greek vase-painting, especially on vases meant to be used at a symposion. For most Athenian men, the only interaction that they would have with women outside their own family was with mistresses or hetairai, who were usually slaves or foreigners. Respectable Athenian women led a very secluded life in which the nudity and frolicking shown on this vase would have been unthinkable. --J. Paul Getty Museum
30. Revelers
Revelers
Description
Scenes of nude male revelers and hetairai, or high-class prostitutes, decorate this Athenian red-figure kylix or cup. On the interior of the cup, a reclining hetaira plays kottabos, a popular drinking game at symposia, or aristocratic drinking parties. The woman slips one handle of a cup over her index finger and tries to flick the dregs from the bottom of the cup at a target some distance away. Related scenes cover the outside of the cup. On one side, another reclining hetaira plays krotala, castanet-like instruments, while one youth offers her a large cup and another youth dances behind her. On the other side, three more youths dance. Scenes of hetairai were a were a popular subject in Greek vase-painting, especially on vases meant to be used at a symposion. For most Athenian men, the only interaction that they would have with women outside their own family was with mistresses or hetairai, who were usually slaves or foreigners. Respectable Athenian women led a very secluded life in which the nudity and frolicking shown on this vase would have been unthinkable. --J. Paul Getty Museum
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