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1. Achilles and Ajax

Achilles and Ajax

Description: Scenes from the mythological Trojan War decorate this Athenian black-figure neck-amphora. On the front, Achilles and Ajax, two great heroes of the Greeks, sit playing a board game. The goddess Athena stands in front of the board and gestures. The warriors have their armor and weapons ready, as if just pausing during a break in the conflict. This scene of Ajax and Achilles gaming was very popular in Athenian vase-painting of the late 500s B.C. and was a favorite of the painters in the Leagros Group. Many scholars believe that this mythological scene also served as a contemporary political parable on the value of staying alert, since the tyrant Peisistratos had been able to take control of the city of Athens while the army was distracted. The back of the vase depicts three hoplites, or warriors, in a line. Such files of hoplites are rather unusual in vase-painting, and this depiction may have been meant to relate to the scene on the front of the vase. These hoplites may be Greeks on the march to counter a Trojan attack, while Ajax and Achilles are notified by Athena. Such an interpretation would explain Athena's unusually prominent position on this rendition of the scene. --J. Paul Getty Museum; Bareiss Loan: S.80.AE.292, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 24.; 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. 2, no. 19.; Brommer, Frank. Vasenlisten zur griechischen Heldensage. 3rd ed. (Marburg: 1973) p. 335, no. 23.; Woodford, Susan.

2. Reveler with lyre

Reveler with lyre

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

3. 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

4. Singer/Reveler

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

5. Herakles

Description: Photograph from the personal collection of Dr. Steven Lowenstam (1945-2003), Department of Classics, University of Oregon.

6. Achilles and Ajax

Achilles and Ajax

Description: Scenes from the mythological Trojan War decorate this Athenian black-figure neck-amphora. On the front, Achilles and Ajax, two great heroes of the Greeks, sit playing a board game. The goddess Athena stands in front of the board and gestures. The warriors have their armor and weapons ready, as if just pausing during a break in the conflict. This scene of Ajax and Achilles gaming was very popular in Athenian vase-painting of the late 500s B.C. and was a favorite of the painters in the Leagros Group. Many scholars believe that this mythological scene also served as a contemporary political parable on the value of staying alert, since the tyrant Peisistratos had been able to take control of the city of Athens while the army was distracted. The back of the vase depicts three hoplites, or warriors, in a line. Such files of hoplites are rather unusual in vase-painting, and this depiction may have been meant to relate to the scene on the front of the vase. These hoplites may be Greeks on the march to counter a Trojan attack, while Ajax and Achilles are notified by Athena. Such an interpretation would explain Athena's unusually prominent position on this rendition of the scene. --J. Paul Getty Museum; Bareiss Loan: S.80.AE.292, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 24.; 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. 2, no. 19.; Brommer, Frank. Vasenlisten zur griechischen Heldensage. 3rd ed. (Marburg: 1973) p. 335, no. 23.; Woodford, Susan.

7. Teemessa covering body of Ajax

Teemessa covering body of Ajax

Description: Bothmer, Dietrich von. "Aspects of a Collection," Metropolitan Museum of Art Bulletin 27, June 1969. pp. 424-436. p. 427; fig. 11.; 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. 87.; B0eazley, J. D. Paralipomena. Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters. 2nd ed. Oxford: 1971. p. 367, no. 1 bis.; Shefton, Brian. "Agamemnon or Ajax," Revue Archeologique 24 (1973), pp. 203-218. fig. 1.; Davies, Mark I. "Ajax and Tekmessa. A Cup by the Brygos Painter in the Bareiss Collection," Antike Kunst 16, 1 (1973), pp. 60-70. pls. 9.1, and 10.; Boardman, John. Athenian Red Figure Vases: The Archaic Period. London: 1975. fig. 246.; Williams, Dyfri. "Ajax, Odysseus, and the Arms of Achilles," Antike Kunst 23 (1980), pp. 137-145. p. 137, n. 5; pls. 33, 7 and 36.1-2.; Touchefeu, Odette. "Aias I," Lexicon Iconographicum Mythologiae Classicae (1981), pp. 312-336. pp. 325, no. 72, and 332, no. 140 (as L.69-11.35).; True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 44-45, no. 30, figs. 30a-c; p. 79, no. 152.; Burow, Johannes. Corpus Vasorum Antiquorum. Tubingen 5 (Germany 54). Munich: 1986. Beilage 1, fig. 4.; Wescoat, Bonna D., ed. Poets and Heroes: Scenes of the Trojan War. Exh. cat, Emory University Museum of Art and Archaeology. Atlanta: 1986. pp. 52-57, no. 14.; Schefold, Karl. "Sophokles' Aias auf einer Lekythos," Antike Kunst 19 (1976). p. 72, n. 3.; "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 160 - 161, no. 7.; Beazley Addenda: Additional References to ABV, ARV2, and Paralipomena. 2nd ed. Compiled by T. Carpenter with T. Mannack and M. Mendonca. Oxford: 1989. p. 224.; Immerwahr, Henry. Attic Script. A Survey. Oxford and New York: 1990. p. 89, n. 37, no. 553; The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 47.; Williams, Dyfri. "Onesimos and the Getty Iliupersis," Greek Vases in the J. Paul Getty Museum 5. Occasional Papers on Antiquities 7 (1991), pp. 41-64. p. 44, and p. 63, n. 33.; Touchefeu-Meynier, Odette. "Odysseus," Lexicon Iconographicum Mythologiae Classicae VI (1992), pp. 943-970.; Robertson, Martin. The Art of Vase Painting in Classical Athens. Cambridge: 1992. p. 95; fig. 88 (wrongly cited as 81.AE.26).; March, J. R. Bulletin of the Institute of Classical Studies 38 (1991-1993), pp. 1-36. pp. 5-6; pl. 2a.; Shapiro, H. A. Myth into Art: Poet and Painter in Classical Greece. London and New York: 1994. p. 153, fig. 108, and p. 154, fig. 109.; Buxton, Richard. Imaginary Greece: The Contexts of Mythology. Cambridge: 1994 p. 126, fig. 14.; Buxton, Richard. La Grece de l'imaginaire. Les contextes de la mythologie. Paris: 1996. p. 189; fig. 14; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) p. 40.; Moore, Mary B. Corpus Vasorum Antiquorum. The J. Paul Getty Museum 8 (USA 33). Malibu: 1998. p. 33-35, no. 49; fig. 13; pls. 418-420.; March, Jenny. Cassell Dictionary of Classical Mythology. London: 1998. p. 368, s.v. Tecmessa; fig. 136.; Brinkman, Vinzenz. "Aias der Telamonier," Der Torso, Ruhm und Raetsel (exh. cat.), Glyptotek Muenchen, January 21-March 29, 1998. Munich: 1998. Pp. 127-133. p. 132; fig. 194; Boardman, John. The History of Greek Vases. London: 2001. p. 243; fig. 268.; Hedreen, Guy. Capturing Troy: The Narrative Functions of Landscape in Archaic and Early Classical Greek Art. Ann Arbor: 2001. fig. 28, pp. 104-105, 107, 108, 110, 111, 115, 117, n. 92, 143, nn. 73,74, 178, 221, 224, 234.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 47.; Immerwahr, Henry. R. A Corpus of Attic Vase Inscriptions. Preliminary Edition. Part VI: Supplement. 2001. no. 5015.; Tsingarida, Athena. "Soif d'emotions. La representation des sentiments dans la ceramique attique des VI et V siecles av. n. ere." Revue Belge de Philologie et D'Histoire 79. Brussels, 2001. p. 16, fig. 7.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 69.; Zwierlein, Otto. Hippolytus und Phaidra: Von Euripides bis D'Annunzio (Paderborn: Verlag Ferdinand Schoningh, 2005), pp. 26-27, abb. 5.; Sacks, David. Encyclopedia of the Anciet Greek World (New York: Facts on File, Inc, 2005) p. 17, illus.l; Neils, Jennifer. "The 'Unheroic' Corpse: Re-reading the Sarpedon Krater". In Athenian Potters and Painters, vol. 2. John H. Oakley and Olga Palagia, eds. (Oxford: Oxbow Books, 2009) 212-219 p.215, fig.6 , He must not be seen! I will cover his body, I will wrap him completely in my mantle. No one who loved him could bear to see the dark blood pouring from his nostrils and the raw wound in his breast. So declared Tekmessa when she discovered the body of her dead lover Ajax in an Athenian tragedy by the playwright Sophokles. Ajax was one of the greatest of the Greek heroes in the Trojan War. The matter of his suicide was recounted in epic poetry now lost to us, but Athenian vase-painters in the early 400s B.C. frequently drew on this tradition in showing his death. The interior of this red-figure cup attributed to the Brygos Painter shows Ajax impaled on his sword and Tekmessa running to cover the body. In a unique representation of the suicide, the sword enters through his back rather than the more natural position through the stomach. Beneath Ajax, the Brygos Painter attempted to convey the texture of the pebble beach where Ajax went to die. The exterior of the cup presents the events leading to Ajax's suicide. When Achilles was killed, Ajax saved his body from the Trojans, expecting to be rewarded with Achilles' armor. However, Odysseus also claimed the armor. One side of this cup shows the two heroes quarreling; on the other side, the Greek leaders cast votes in the form of stones piled in front of the opponents. The despondent Ajax clutches his bowed head, having lost by one vote. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.27

8. Teemessa covering body of Ajax

Teemessa covering body of Ajax

Description: He must not be seen! I will cover his body, I will wrap him completely in my mantle. No one who loved him could bear to see the dark blood pouring from his nostrils and the raw wound in his breast. So declared Tekmessa when she discovered the body of her dead lover Ajax in an Athenian tragedy by the playwright Sophokles. Ajax was one of the greatest of the Greek heroes in the Trojan War. The matter of his suicide was recounted in epic poetry now lost to us, but Athenian vase-painters in the early 400s B.C. frequently drew on this tradition in showing his death. The interior of this red-figure cup attributed to the Brygos Painter shows Ajax impaled on his sword and Tekmessa running to cover the body. In a unique representation of the suicide, the sword enters through his back rather than the more natural position through the stomach. Beneath Ajax, the Brygos Painter attempted to convey the texture of the pebble beach where Ajax went to die. The exterior of the cup presents the events leading to Ajax's suicide. When Achilles was killed, Ajax saved his body from the Trojans, expecting to be rewarded with Achilles' armor. However, Odysseus also claimed the armor. One side of this cup shows the two heroes quarreling; on the other side, the Greek leaders cast votes in the form of stones piled in front of the opponents. The despondent Ajax clutches his bowed head, having lost by one vote. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.27

9. Love-Making

Description: Dorig, Jose, ed. Art Antique. Collections Privees de Suisse Romande. Exh, cat., Musee d'art et d'histoire, Geneve. Editions archeologiques de l'Universite de Geneve: 1975. cat. no. 205; figs. 205a-e.; Buitron, Diana. Douris. Ph.D. diss., Institute of Fine Arts, New York University: 1976. p. 48, no. 36.; "Acquisitions/1984." The J. Paul Getty Museum Journal 13 (1985), pp. 168-169, no. 19.; Kurtz, D. C. "Two Athenian White-ground Lekythoi," Greek Vases in the J. Paul Getty Museum 4. Occasional Papers in Antiquities 5 (1989). pp. 113-130. figs. 1a-e; Immerwahr, Henry. Attic Script. A Survey. Oxford and New York: 1990. p. 85 (no cat. number); The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 48.; Buitron-Oliver, Diana. Douris: A Master-Painter of Athenian Red-Figure Vases. Kerameus 9. Mainz: P. von Zabern, 1995. pp. 18, 44, 51-53, 64-65, and 75, cat. no. 45; p. 95, fig. 6E; pls. 28-29.; The J. Paul Getty Museum Handbook of the Collections. 4th ed. (Los Angeles: J. Paul Getty Museum, 1997), p. 47.; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) p. 37.; Immerwahr, Henry. R. A Corpus of Attic Vase Inscriptions. Preliminary Edition. Part VI: Supplement. 2001. no. 4978.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 47.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 70.; Cohen, Beth, ed. The Colors of Clay: Special Techniques in Athenian Vases, exh. cat. (Los Angeles: The J. Paul Getty Museum, 2006) pp. 213-215, cat. no. 58, figs. 58.1-58.3.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 29, ill.; Green, Christopher, and Jens M. Daehner. Modern Antiquity: Picasso, de Chirico, Leger, and Picabia (Los Angeles: J. Paul Getty Museum, 2011) 46, 152, no. 6; pl. 8 , On the interior of this Athenian red-figure kylix or cup, a seated youth pulls his older male lover down toward him for a kiss. In Athenian aristocratic circles in the Archaic period, older men often courted youths. Such homosexual relationships were viewed as a key element in the socialization of youths, involving strong elements of mentoring as well as eroticism. The exterior of the cup depicts youths and bearded men training in various athletic activities, including the javelin, discus, and long jump. The youth in the long robe playing the flutes provides music for the training. Greek vases of the Archaic period frequently depict favorite pursuits of the aristocratic patrons who used the vessels; scenes of athletic training, another key element in the socialization of Athenian youths, are among the most common.--J.Paul Getty Museum

10. The Judgment of Paris

The Judgment of Paris

Description: ne side of this vase shows the Judgment of Paris, a myth with a long history in Greek art. The young Trojan prince Paris sits amid three goddesses and their guide Hermes, god of travelers. Paris's task is to decide which goddess is the most beautiful: Hera, queen of the gods; Athena, goddess of wisdom; or Aphrodite, goddess of love. But this was no mere beauty contest. Paris chose Aphrodite because her bribe was the best: He could have whomever among mortal women he thought most beautiful. His choice of Helen, queen of Sparta, was the ultimate cause of the Trojan War. The other side of the vase depicts a battle of Greeks and Amazons, a favorite theme for vase painters in this period. The bold use of color, raised relief areas, and gilding on this vase is typical of the Kerch Style of Athenian red-figure vase painting, named for an area on the Black Sea coast of southern Russia where many of these vases were found. The pelike was a favorite shape for Athenian vase painters of the 300s B.C. --J. Paul Getty Museum, "Acquisitions/1983." The J. Paul Getty Museum Journal 12 (1984), pp. 241 - 242, no. 52.; Schefold, Karl. "Parisurteil der Zeit Alexanders des Grossen," Greek Vases in the J. Paul Getty Museum, 2. Occasional Papers on Antiquities, 3 (1985), pp. 119-126 .; The J. Paul Getty Museum Handbook of the Collections. 1st ed. (Malibu: J. Paul Getty Museum, 1986), p. 51.; Schefold, Karl, and Franz Jung. Die Sagen von den Argonauten, von Theben und Troja in der klassischen und hellenistischen Kunst. Munich: 1989. p. 110; fig. 89.; Valavanes, P. D. Panathenaic Amphorai from Eretria, 1991. p. 295, 352, ill. pls. 140-141; The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 50.; Vallera-Rickerson, I. and M. Korma. "Merika ellenika ekthemata tou Mouseiou Getty", Archaiologia 43 (1992), pp. 84-87. p. 86, fig. 14.; Kossatz-Deissmann, Anneliese. "Paris Iudicium," Lexicon Iconographicum Mythologiae Classicae VII (1994), pp. 176-188. p. 181, no. 52a; pl. 118.; Sparkes, Brian A. The Red and the Black. Studies in Greek Pottery. London and New York: 1996. p. 26; fig. I:19.; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) p. 56.; The J. Paul Getty Museum Handbook of the Collections. 4th ed. (Los Angeles: J. Paul Getty Museum, 1997), pp. 52-53.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), pp. 14 (detail), 52-53.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 83.; Cohen, Beth, ed. The Colors of Clay: Special Techniques in Athenian Vases, exh. cat. (Los Angeles: The J. Paul Getty Museum, 2006) pp. 11-12, fig. 3. (incorrectly cited as 87.AE.10), pp. 337-338, cat. no. 104, figs. 104.1-104.2.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 35, ill.

11. Voting over arms of Achilles

Voting over arms of Achilles

Description: Bothmer, Dietrich von. "Aspects of a Collection," Metropolitan Museum of Art Bulletin 27, June 1969. pp. 424-436. p. 427; fig. 11.; 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. 87.; B0eazley, J. D. Paralipomena. Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters. 2nd ed. Oxford: 1971. p. 367, no. 1 bis.; Shefton, Brian. "Agamemnon or Ajax," Revue Archeologique 24 (1973), pp. 203-218. fig. 1.; Davies, Mark I. "Ajax and Tekmessa. A Cup by the Brygos Painter in the Bareiss Collection," Antike Kunst 16, 1 (1973), pp. 60-70. pls. 9.1, and 10.; Boardman, John. Athenian Red Figure Vases: The Archaic Period. London: 1975. fig. 246.; Williams, Dyfri. "Ajax, Odysseus, and the Arms of Achilles," Antike Kunst 23 (1980), pp. 137-145. p. 137, n. 5; pls. 33, 7 and 36.1-2.; Touchefeu, Odette. "Aias I," Lexicon Iconographicum Mythologiae Classicae (1981), pp. 312-336. pp. 325, no. 72, and 332, no. 140 (as L.69-11.35).; True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 44-45, no. 30, figs. 30a-c; p. 79, no. 152.; Burow, Johannes. Corpus Vasorum Antiquorum. Tubingen 5 (Germany 54). Munich: 1986. Beilage 1, fig. 4.; Wescoat, Bonna D., ed. Poets and Heroes: Scenes of the Trojan War. Exh. cat, Emory University Museum of Art and Archaeology. Atlanta: 1986. pp. 52-57, no. 14.; Schefold, Karl. "Sophokles' Aias auf einer Lekythos," Antike Kunst 19 (1976). p. 72, n. 3.; "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 160 - 161, no. 7.; Beazley Addenda: Additional References to ABV, ARV2, and Paralipomena. 2nd ed. Compiled by T. Carpenter with T. Mannack and M. Mendonca. Oxford: 1989. p. 224.; Immerwahr, Henry. Attic Script. A Survey. Oxford and New York: 1990. p. 89, n. 37, no. 553; The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 47.; Williams, Dyfri. "Onesimos and the Getty Iliupersis," Greek Vases in the J. Paul Getty Museum 5. Occasional Papers on Antiquities 7 (1991), pp. 41-64. p. 44, and p. 63, n. 33.; Touchefeu-Meynier, Odette. "Odysseus," Lexicon Iconographicum Mythologiae Classicae VI (1992), pp. 943-970.; Robertson, Martin. The Art of Vase Painting in Classical Athens. Cambridge: 1992. p. 95; fig. 88 (wrongly cited as 81.AE.26).; March, J. R. Bulletin of the Institute of Classical Studies 38 (1991-1993), pp. 1-36. pp. 5-6; pl. 2a.; Shapiro, H. A. Myth into Art: Poet and Painter in Classical Greece. London and New York: 1994. p. 153, fig. 108, and p. 154, fig. 109.; Buxton, Richard. Imaginary Greece: The Contexts of Mythology. Cambridge: 1994 p. 126, fig. 14.; Buxton, Richard. La Grece de l'imaginaire. Les contextes de la mythologie. Paris: 1996. p. 189; fig. 14; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) p. 40.; Moore, Mary B. Corpus Vasorum Antiquorum. The J. Paul Getty Museum 8 (USA 33). Malibu: 1998. p. 33-35, no. 49; fig. 13; pls. 418-420.; March, Jenny. Cassell Dictionary of Classical Mythology. London: 1998. p. 368, s.v. Tecmessa; fig. 136.; Brinkman, Vinzenz. "Aias der Telamonier," Der Torso, Ruhm und Raetsel (exh. cat.), Glyptotek Muenchen, January 21-March 29, 1998. Munich: 1998. Pp. 127-133. p. 132; fig. 194; Boardman, John. The History of Greek Vases. London: 2001. p. 243; fig. 268.; Hedreen, Guy. Capturing Troy: The Narrative Functions of Landscape in Archaic and Early Classical Greek Art. Ann Arbor: 2001. fig. 28, pp. 104-105, 107, 108, 110, 111, 115, 117, n. 92, 143, nn. 73,74, 178, 221, 224, 234.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 47.; Immerwahr, Henry. R. A Corpus of Attic Vase Inscriptions. Preliminary Edition. Part VI: Supplement. 2001. no. 5015.; Tsingarida, Athena. "Soif d'emotions. La representation des sentiments dans la ceramique attique des VI et V siecles av. n. ere." Revue Belge de Philologie et D'Histoire 79. Brussels, 2001. p. 16, fig. 7.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 69.; Zwierlein, Otto. Hippolytus und Phaidra: Von Euripides bis D'Annunzio (Paderborn: Verlag Ferdinand Schoningh, 2005), pp. 26-27, abb. 5.; Sacks, David. Encyclopedia of the Anciet Greek World (New York: Facts on File, Inc, 2005) p. 17, illus.l; Neils, Jennifer. "The 'Unheroic' Corpse: Re-reading the Sarpedon Krater". In Athenian Potters and Painters, vol. 2. John H. Oakley and Olga Palagia, eds. (Oxford: Oxbow Books, 2009) 212-219 p.215, fig.6 , He must not be seen! I will cover his body, I will wrap him completely in my mantle. No one who loved him could bear to see the dark blood pouring from his nostrils and the raw wound in his breast. So declared Tekmessa when she discovered the body of her dead lover Ajax in an Athenian tragedy by the playwright Sophokles. Ajax was one of the greatest of the Greek heroes in the Trojan War. The matter of his suicide was recounted in epic poetry now lost to us, but Athenian vase-painters in the early 400s B.C. frequently drew on this tradition in showing his death. The interior of this red-figure cup attributed to the Brygos Painter shows Ajax impaled on his sword and Tekmessa running to cover the body. In a unique representation of the suicide, the sword enters through his back rather than the more natural position through the stomach. Beneath Ajax, the Brygos Painter attempted to convey the texture of the pebble beach where Ajax went to die. The exterior of the cup presents the events leading to Ajax's suicide. When Achilles was killed, Ajax saved his body from the Trojans, expecting to be rewarded with Achilles' armor. However, Odysseus also claimed the armor. One side of this cup shows the two heroes quarreling; on the other side, the Greek leaders cast votes in the form of stones piled in front of the opponents. The despondent Ajax clutches his bowed head, having lost by one vote. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.27

12. Quarrel and Voting over arms of Achilles

Quarrel and Voting over arms of Achilles

Description: He must not be seen! I will cover his body, I will wrap him completely in my mantle. No one who loved him could bear to see the dark blood pouring from his nostrils and the raw wound in his breast. So declared Tekmessa when she discovered the body of her dead lover Ajax in an Athenian tragedy by the playwright Sophokles. Ajax was one of the greatest of the Greek heroes in the Trojan War. The matter of his suicide was recounted in epic poetry now lost to us, but Athenian vase-painters in the early 400s B.C. frequently drew on this tradition in showing his death. The interior of this red-figure cup attributed to the Brygos Painter shows Ajax impaled on his sword and Tekmessa running to cover the body. In a unique representation of the suicide, the sword enters through his back rather than the more natural position through the stomach. Beneath Ajax, the Brygos Painter attempted to convey the texture of the pebble beach where Ajax went to die. The exterior of the cup presents the events leading to Ajax's suicide. When Achilles was killed, Ajax saved his body from the Trojans, expecting to be rewarded with Achilles' armor. However, Odysseus also claimed the armor. One side of this cup shows the two heroes quarreling; on the other side, the Greek leaders cast votes in the form of stones piled in front of the opponents. The despondent Ajax clutches his bowed head, having lost by one vote. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.27

13. Tecnessa covering Ajax

Tecnessa covering Ajax

Description: Bothmer, Dietrich von. "Aspects of a Collection," Metropolitan Museum of Art Bulletin 27, June 1969. pp. 424-436. p. 427; fig. 11.; 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. 87.; B0eazley, J. D. Paralipomena. Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters. 2nd ed. Oxford: 1971. p. 367, no. 1 bis.; Shefton, Brian. "Agamemnon or Ajax," Revue Archeologique 24 (1973), pp. 203-218. fig. 1.; Davies, Mark I. "Ajax and Tekmessa. A Cup by the Brygos Painter in the Bareiss Collection," Antike Kunst 16, 1 (1973), pp. 60-70. pls. 9.1, and 10.; Boardman, John. Athenian Red Figure Vases: The Archaic Period. London: 1975. fig. 246.; Williams, Dyfri. "Ajax, Odysseus, and the Arms of Achilles," Antike Kunst 23 (1980), pp. 137-145. p. 137, n. 5; pls. 33, 7 and 36.1-2.; Touchefeu, Odette. "Aias I," Lexicon Iconographicum Mythologiae Classicae (1981), pp. 312-336. pp. 325, no. 72, and 332, no. 140 (as L.69-11.35).; True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 44-45, no. 30, figs. 30a-c; p. 79, no. 152.; Burow, Johannes. Corpus Vasorum Antiquorum. Tubingen 5 (Germany 54). Munich: 1986. Beilage 1, fig. 4.; Wescoat, Bonna D., ed. Poets and Heroes: Scenes of the Trojan War. Exh. cat, Emory University Museum of Art and Archaeology. Atlanta: 1986. pp. 52-57, no. 14.; Schefold, Karl. "Sophokles' Aias auf einer Lekythos," Antike Kunst 19 (1976). p. 72, n. 3.; "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 160 - 161, no. 7.; Beazley Addenda: Additional References to ABV, ARV2, and Paralipomena. 2nd ed. Compiled by T. Carpenter with T. Mannack and M. Mendonca. Oxford: 1989. p. 224.; Immerwahr, Henry. Attic Script. A Survey. Oxford and New York: 1990. p. 89, n. 37, no. 553; The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 47.; Williams, Dyfri. "Onesimos and the Getty Iliupersis," Greek Vases in the J. Paul Getty Museum 5. Occasional Papers on Antiquities 7 (1991), pp. 41-64. p. 44, and p. 63, n. 33.; Touchefeu-Meynier, Odette. "Odysseus," Lexicon Iconographicum Mythologiae Classicae VI (1992), pp. 943-970.; Robertson, Martin. The Art of Vase Painting in Classical Athens. Cambridge: 1992. p. 95; fig. 88 (wrongly cited as 81.AE.26).; March, J. R. Bulletin of the Institute of Classical Studies 38 (1991-1993), pp. 1-36. pp. 5-6; pl. 2a.; Shapiro, H. A. Myth into Art: Poet and Painter in Classical Greece. London and New York: 1994. p. 153, fig. 108, and p. 154, fig. 109.; Buxton, Richard. Imaginary Greece: The Contexts of Mythology. Cambridge: 1994 p. 126, fig. 14.; Buxton, Richard. La Grece de l'imaginaire. Les contextes de la mythologie. Paris: 1996. p. 189; fig. 14; Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997) p. 40.; Moore, Mary B. Corpus Vasorum Antiquorum. The J. Paul Getty Museum 8 (USA 33). Malibu: 1998. p. 33-35, no. 49; fig. 13; pls. 418-420.; March, Jenny. Cassell Dictionary of Classical Mythology. London: 1998. p. 368, s.v. Tecmessa; fig. 136.; Brinkman, Vinzenz. "Aias der Telamonier," Der Torso, Ruhm und Raetsel (exh. cat.), Glyptotek Muenchen, January 21-March 29, 1998. Munich: 1998. Pp. 127-133. p. 132; fig. 194; Boardman, John. The History of Greek Vases. London: 2001. p. 243; fig. 268.; Hedreen, Guy. Capturing Troy: The Narrative Functions of Landscape in Archaic and Early Classical Greek Art. Ann Arbor: 2001. fig. 28, pp. 104-105, 107, 108, 110, 111, 115, 117, n. 92, 143, nn. 73,74, 178, 221, 224, 234.; The J. Paul Getty Museum Handbook of the Collections. 6th ed. (Los Angeles: J. Paul Getty Museum, 2001), p. 47.; Immerwahr, Henry. R. A Corpus of Attic Vase Inscriptions. Preliminary Edition. Part VI: Supplement. 2001. no. 5015.; Tsingarida, Athena. "Soif d'emotions. La representation des sentiments dans la ceramique attique des VI et V siecles av. n. ere." Revue Belge de Philologie et D'Histoire 79. Brussels, 2001. p. 16, fig. 7.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 69.; Zwierlein, Otto. Hippolytus und Phaidra: Von Euripides bis D'Annunzio (Paderborn: Verlag Ferdinand Schoningh, 2005), pp. 26-27, abb. 5.; Sacks, David. Encyclopedia of the Anciet Greek World (New York: Facts on File, Inc, 2005) p. 17, illus.l; Neils, Jennifer. "The 'Unheroic' Corpse: Re-reading the Sarpedon Krater". In Athenian Potters and Painters, vol. 2. John H. Oakley and Olga Palagia, eds. (Oxford: Oxbow Books, 2009) 212-219 p.215, fig.6 , He must not be seen! I will cover his body, I will wrap him completely in my mantle. No one who loved him could bear to see the dark blood pouring from his nostrils and the raw wound in his breast. So declared Tekmessa when she discovered the body of her dead lover Ajax in an Athenian tragedy by the playwright Sophokles. Ajax was one of the greatest of the Greek heroes in the Trojan War. The matter of his suicide was recounted in epic poetry now lost to us, but Athenian vase-painters in the early 400s B.C. frequently drew on this tradition in showing his death. The interior of this red-figure cup attributed to the Brygos Painter shows Ajax impaled on his sword and Tekmessa running to cover the body. In a unique representation of the suicide, the sword enters through his back rather than the more natural position through the stomach. Beneath Ajax, the Brygos Painter attempted to convey the texture of the pebble beach where Ajax went to die. The exterior of the cup presents the events leading to Ajax's suicide. When Achilles was killed, Ajax saved his body from the Trojans, expecting to be rewarded with Achilles' armor. However, Odysseus also claimed the armor. One side of this cup shows the two heroes quarreling; on the other side, the Greek leaders cast votes in the form of stones piled in front of the opponents. The despondent Ajax clutches his bowed head, having lost by one vote. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.27

14. Aias and Tecmessa

Aias and Tecmessa

Description: He must not be seen! I will cover his body, I will wrap him completely in my mantle. No one who loved him could bear to see the dark blood pouring from his nostrils and the raw wound in his breast. So declared Tekmessa when she discovered the body of her dead lover Ajax in an Athenian tragedy by the playwright Sophokles. Ajax was one of the greatest of the Greek heroes in the Trojan War. The matter of his suicide was recounted in epic poetry now lost to us, but Athenian vase-painters in the early 400s B.C. frequently drew on this tradition in showing his death. The interior of this red-figure cup attributed to the Brygos Painter shows Ajax impaled on his sword and Tekmessa running to cover the body. In a unique representation of the suicide, the sword enters through his back rather than the more natural position through the stomach. Beneath Ajax, the Brygos Painter attempted to convey the texture of the pebble beach where Ajax went to die. The exterior of the cup presents the events leading to Ajax's suicide. When Achilles was killed, Ajax saved his body from the Trojans, expecting to be rewarded with Achilles' armor. However, Odysseus also claimed the armor. One side of this cup shows the two heroes quarreling; on the other side, the Greek leaders cast votes in the form of stones piled in front of the opponents. The despondent Ajax clutches his bowed head, having lost by one vote. --J. Paul Getty Museum; Bareiss Loan Number: S.82.AE.27

15. Achilles and Ajax

Achilles and Ajax

Description: Achilles and Ajax, two great heroes of the Trojan War, play a board game on this Athenian black-figure amphora. Behind the table stands the goddess Athena. The scene of the warriors at leisure but with their armor at the ready might have taken place during a break in fighting the Trojan War. This depiction of Ajax and Achilles gaming was especially popular in Athenian art in the late 500s B.C.; over 150 surviving vases show the scene. Why was this image so popular? Some scholars have argued that it was politically motivated. They interpret this scene as a mythical parallel for the tyrant Peisistratos's return from exile, when he was able to regain power because the Athenian army was unprepared for battle. If so, then these vases would be anti-Peisistratid propaganda, alerting Athenians to the importance of vigilance by reminding them of the consequences of their recent failure. The back of the vase shows a warrior departing for battle, standing between two old men. This was a common scene on vases and, in this case, a subject loosely connected with the scene on the front of the vase. --J. Paul Getty Museum, Green, Christopher, and Jens M. Daehner. Modern Antiquity: Picasso, de Chirico, Leger, and Picabia (Los Angeles: J. Paul Getty Museum, 2011) 45, 152, no. 5; pl. 3

16. Achilles and Ajax

Achilles and Ajax

Description: Achilles and Ajax, two great heroes of the Trojan War, play a board game on this Athenian black-figure amphora. Behind the table stands the goddess Athena. The scene of the warriors at leisure but with their armor at the ready might have taken place during a break in fighting the Trojan War. This depiction of Ajax and Achilles gaming was especially popular in Athenian art in the late 500s B.C.; over 150 surviving vases show the scene. Why was this image so popular? Some scholars have argued that it was politically motivated. They interpret this scene as a mythical parallel for the tyrant Peisistratos's return from exile, when he was able to regain power because the Athenian army was unprepared for battle. If so, then these vases would be anti-Peisistratid propaganda, alerting Athenians to the importance of vigilance by reminding them of the consequences of their recent failure. The back of the vase shows a warrior departing for battle, standing between two old men. This was a common scene on vases and, in this case, a subject loosely connected with the scene on the front of the vase. --J. Paul Getty Museum, Green, Christopher, and Jens M. Daehner. Modern Antiquity: Picasso, de Chirico, Leger, and Picabia (Los Angeles: J. Paul Getty Museum, 2011) 45, 152, no. 5; pl. 3

17. Achilles and Ajax

Achilles and Ajax

Description: Achilles and Ajax, two great heroes of the Trojan War, play a board game on this Athenian black-figure amphora. Behind the table stands the goddess Athena. The scene of the warriors at leisure but with their armor at the ready might have taken place during a break in fighting the Trojan War. This depiction of Ajax and Achilles gaming was especially popular in Athenian art in the late 500s B.C.; over 150 surviving vases show the scene. Why was this image so popular? Some scholars have argued that it was politically motivated. They interpret this scene as a mythical parallel for the tyrant Peisistratos's return from exile, when he was able to regain power because the Athenian army was unprepared for battle. If so, then these vases would be anti-Peisistratid propaganda, alerting Athenians to the importance of vigilance by reminding them of the consequences of their recent failure. The back of the vase shows a warrior departing for battle, standing between two old men. This was a common scene on vases and, in this case, a subject loosely connected with the scene on the front of the vase. --J. Paul Getty Museum, Green, Christopher, and Jens M. Daehner. Modern Antiquity: Picasso, de Chirico, Leger, and Picabia (Los Angeles: J. Paul Getty Museum, 2011) 45, 152, no. 5; pl. 3

18. 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.

19. 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.

20. 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.

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

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

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

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

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

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

31. Achilles and Ajax

Achilles and Ajax

Description: Scenes from the mythological Trojan War decorate this Athenian black-figure neck-amphora. On the front, Achilles and Ajax, two great heroes of the Greeks, sit playing a board game. The goddess Athena stands in front of the board and gestures. The warriors have their armor and weapons ready, as if just pausing during a break in the conflict. This scene of Ajax and Achilles gaming was very popular in Athenian vase-painting of the late 500s B.C. and was a favorite of the painters in the Leagros Group. Many scholars believe that this mythological scene also served as a contemporary political parable on the value of staying alert, since the tyrant Peisistratos had been able to take control of the city of Athens while the army was distracted. The back of the vase depicts three hoplites, or warriors, in a line. Such files of hoplites are rather unusual in vase-painting, and this depiction may have been meant to relate to the scene on the front of the vase. These hoplites may be Greeks on the march to counter a Trojan attack, while Ajax and Achilles are notified by Athena. Such an interpretation would explain Athena's unusually prominent position on this rendition of the scene. --J. Paul Getty Museum; Bareiss Loan: S.80.AE.292, May, Helmut, ed. Weltkunst aus Privatbesitz, exh. cat. (Cologne: Kunsthalle Köln, 1968), cat. no. A 24.; 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. 2, no. 19.; Brommer, Frank. Vasenlisten zur griechischen Heldensage. 3rd ed. (Marburg: 1973) p. 335, no. 23.; Woodford, Susan.

32. [No Caption] Steven Lowenstam Collection

[No Caption] Steven Lowenstam Collection

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.

33. [No Caption] Steven Lowenstam Collection

[No Caption] Steven Lowenstam Collection

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.