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J. Paul Getty Museum
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Red-figure
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- Description
- Reclining on a couch, an older balding man tilts his head back and sings, accompanying himself on the lyre. Several features of the scene, such as the couch, the pillow, and especially the wreath the man wears, reveal that he is a participant at a symposion or drinking party. Many Greek vases, especially elaborate cups, were designed for use at such parties. Therefore, vase-painters frequently decorated these vessels with scenes of revelry and drinking. The circular area or tondo on the interior of a cup presented problems for Greek vase-painters. It was difficult to fit upright figures in this limited, curving space. Artists devised different solutions for this problem: some drew a line across the circle to create an artificial ground-line for their figures. On this vase, Epiktetos came up with a creative solution. He drew a line across the circle but made it the man's couch, rather than a ground-line. The edge of the man's mantle slipping down behind and below the line, creates the impression of depth and space. Epiktetos also used the circular frame of the tondo as part of the composition: it supports the man's pillow, and he props his foot on it. --J. Paul Getty Museum ; Bareiss Loan Number: S.80.AE.252
2. Singer
- Description
- Reclining on a couch, an older balding man tilts his head back and sings, accompanying himself on the lyre. Several features of the scene, such as the couch, the pillow, and especially the wreath the man wears, reveal that he is a participant at a symposion or drinking party. Many Greek vases, especially elaborate cups, were designed for use at such parties. Therefore, vase-painters frequently decorated these vessels with scenes of revelry and drinking. The circular area or tondo on the interior of a cup presented problems for Greek vase-painters. It was difficult to fit upright figures in this limited, curving space. Artists devised different solutions for this problem: some drew a line across the circle to create an artificial ground-line for their figures. On this vase, Epiktetos came up with a creative solution. He drew a line across the circle but made it the man's couch, rather than a ground-line. The edge of the man's mantle slipping down behind and below the line, creates the impression of depth and space. Epiktetos also used the circular frame of the tondo as part of the composition: it supports the man's pillow, and he props his foot on it. --J. Paul Getty Museum ; Bareiss Loan Number: S.80.AE.252
- Description
- Reclining on a couch, an older balding man tilts his head back and sings, accompanying himself on the lyre. Several features of the scene, such as the couch, the pillow, and especially the wreath the man wears, reveal that he is a participant at a symposion or drinking party. Many Greek vases, especially elaborate cups, were designed for use at such parties. Therefore, vase-painters frequently decorated these vessels with scenes of revelry and drinking. The circular area or tondo on the interior of a cup presented problems for Greek vase-painters. It was difficult to fit upright figures in this limited, curving space. Artists devised different solutions for this problem: some drew a line across the circle to create an artificial ground-line for their figures. On this vase, Epiktetos came up with a creative solution. He drew a line across the circle but made it the man's couch, rather than a ground-line. The edge of the man's mantle slipping down behind and below the line, creates the impression of depth and space. Epiktetos also used the circular frame of the tondo as part of the composition: it supports the man's pillow, and he props his foot on it. --J. Paul Getty Museum ; Bareiss Loan Number: S.80.AE.252
- 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
5. 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
- Description
- Side A: Dancing youth holding a kylix in one hand; Side B: Dancing man; his features are those of a non-Greek.--True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 32-35, no. 21, fig. 21a-c; p. 75, no. 97.; Bareiss Loan Number: S.80.AE.327, P. Graupe, Berlin. Sale cat., Verschiedener deutscher Kunstbesitz. May 27-29, 1935. lot 911; pl. 82.; Beazley, J. D. Attic Red-figure Vase-painters. Oxford: 1942. p. 134, no. 40.; Kunst-Auktion Fritz Nagel, Stuttgart. Sale cat, October 12, 1962. pl. 15, 326.; Beazley, J. D. Attic Red-figure Vase-painters. 2nd ed. Oxford: 1963. pp. 200, no. 51; 1700.; Munzen und Medaillen, Basel. Auktion 26, October 5, 1963. lot 128.; 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. 4, no. 39.; Beazley, J. D. Paralipomena. Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters. 2nd ed. Oxford: 1971. p. 342.; Matheson, Susan Burke, and J. Jerome Pollitt. Greek Vases at Yale. New Haven: 1975. pp. 50-51, no. 45, fig. 45.; Kurtz, Donna C. Athenian White Lekythoi: Patterns and Painters. Oxford: 1975. pp. 14, 199; pl. 7.3.; Bothmer, Dietrich. Review of S. Matheson and J. Pollitt, Greek Vases at Yale. Art Bulletin 58 (1976). p. 615.; Cardon, Carol M. The Berlin Painter and His School. Ann Arbor, Michigan: University Microfilms, no. 78-3069, 1977. p. 62, no. 73; p. 81; pl. 48.; Johnston, Alan. Trademarks on Greek Vases. Warminster: Aris & Phillips, 1979. p. 158, type 10F, no. 8.; Kurtz, Donna C., and John D. Beazley. The Berlin Painter. Oxford: 1983. pp. 52, 76, and 89.; True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 32-35, no. 21, fig. 21a-c; p. 75, no. 97.; Williams, D.J.R. "Close Shaves," Ancient Greek and Related Pottery. Proceedings of the international Vase Symposium in Amsterdam, April 12-15,1984. Amsterdam: 1984. pp. 275-281. p. 280, n. 38.; "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 160 - 161, no. 7.; Euwe, J. "The Shape of Early Nolan Amphorae (490-480 B.C.): the Origin and Relation with Other Small Neck-Amphorae," Proceedings, 3rd Symposium on Ancient Greek and Related Pottery, Copenhagen, Aug. 31-Sept. 4, 1987. Copenhagen: 1988. pp. 144-151. p. 151, n. 4, no. 8.; Beazley Addenda: Additional References to ABV, ARV2, and Paralipomena. 2nd ed. Compiled by T. Carpenter with T. Mannack and M. Mendonca. Oxford: 1989. p. 192.; Oakley, John. H. Corpus Vasorum Antiquorum. Walters Art Gallery 1 (USA 28). Baltimore: 1992. p. 6, under comparanda.; Neer, Richard T. Corpus Vasorum Antiquorum. The J. Paul Getty Museum 7 (USA 32). Malibu: 1997. pp. 5-7, no. 4; pls. 331-332; and 335, 1-2.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 75.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 31, ill.; Jubier-Galinier, C. "Les Ateliers de Potiers: le Temoignage des Doubleens Amphorae" In Shapes and Uses of Greek Vases. Athena Tsingarida, ed. (Bruxelles: CReA-Patrimoine, 2009), 47-58. , p.52, fig. 4c.
- Description
- Side A: Dancing youth holding a kylix in one hand; Side B: Dancing man; his features are those of a non-Greek.--True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 32-35, no. 21, fig. 21a-c; p. 75, no. 97.; Bareiss Loan Number: S.80.AE.327, P. Graupe, Berlin. Sale cat., Verschiedener deutscher Kunstbesitz. May 27-29, 1935. lot 911; pl. 82.; Beazley, J. D. Attic Red-figure Vase-painters. Oxford: 1942. p. 134, no. 40.; Kunst-Auktion Fritz Nagel, Stuttgart. Sale cat, October 12, 1962. pl. 15, 326.; Beazley, J. D. Attic Red-figure Vase-painters. 2nd ed. Oxford: 1963. pp. 200, no. 51; 1700.; Munzen und Medaillen, Basel. Auktion 26, October 5, 1963. lot 128.; 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. 4, no. 39.; Beazley, J. D. Paralipomena. Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters. 2nd ed. Oxford: 1971. p. 342.; Matheson, Susan Burke, and J. Jerome Pollitt. Greek Vases at Yale. New Haven: 1975. pp. 50-51, no. 45, fig. 45.; Kurtz, Donna C. Athenian White Lekythoi: Patterns and Painters. Oxford: 1975. pp. 14, 199; pl. 7.3.; Bothmer, Dietrich. Review of S. Matheson and J. Pollitt, Greek Vases at Yale. Art Bulletin 58 (1976). p. 615.; Cardon, Carol M. The Berlin Painter and His School. Ann Arbor, Michigan: University Microfilms, no. 78-3069, 1977. p. 62, no. 73; p. 81; pl. 48.; Johnston, Alan. Trademarks on Greek Vases. Warminster: Aris & Phillips, 1979. p. 158, type 10F, no. 8.; Kurtz, Donna C., and John D. Beazley. The Berlin Painter. Oxford: 1983. pp. 52, 76, and 89.; True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 32-35, no. 21, fig. 21a-c; p. 75, no. 97.; Williams, D.J.R. "Close Shaves," Ancient Greek and Related Pottery. Proceedings of the international Vase Symposium in Amsterdam, April 12-15,1984. Amsterdam: 1984. pp. 275-281. p. 280, n. 38.; "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 160 - 161, no. 7.; Euwe, J. "The Shape of Early Nolan Amphorae (490-480 B.C.): the Origin and Relation with Other Small Neck-Amphorae," Proceedings, 3rd Symposium on Ancient Greek and Related Pottery, Copenhagen, Aug. 31-Sept. 4, 1987. Copenhagen: 1988. pp. 144-151. p. 151, n. 4, no. 8.; Beazley Addenda: Additional References to ABV, ARV2, and Paralipomena. 2nd ed. Compiled by T. Carpenter with T. Mannack and M. Mendonca. Oxford: 1989. p. 192.; Oakley, John. H. Corpus Vasorum Antiquorum. Walters Art Gallery 1 (USA 28). Baltimore: 1992. p. 6, under comparanda.; Neer, Richard T. Corpus Vasorum Antiquorum. The J. Paul Getty Museum 7 (USA 32). Malibu: 1997. pp. 5-7, no. 4; pls. 331-332; and 335, 1-2.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 75.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 31, ill.; Jubier-Galinier, C. "Les Ateliers de Potiers: le Temoignage des Doubleens Amphorae" In Shapes and Uses of Greek Vases. Athena Tsingarida, ed. (Bruxelles: CReA-Patrimoine, 2009), 47-58. , p.52, fig. 4c.