Search
You searched for:
Start Over
Style Period
Attic (Mainland Greek pottery styles)
Remove constraint Style Period: Attic (Mainland Greek pottery styles)
Work Type
kylikes
Remove constraint Work Type: kylikes
« Previous | 1 - 10 of 40 | Next »
Number of results to display per page
Search Results
- Description
- Pottery: black-figure kylix. Rough style. Interior, in a medallion: A potter, nude and beardless, with drapery over left shoulder, seated to right before a wheel, on which is a kylix of archaic shape, the handle of which he is moulding; on a shelf above him are four kylikes, in two piles, and an oinochoe. Exterior: (a) Gigantomachia: Athene advancing to right, with high-crested helmet, long chiton and himation, both embroidered, aegis on left arm, attacks Enkelados with spear; he has fallen back with right leg drawn up; he has an embroidered chlamys over his shoulder. On either side, eyes, black, with a white ring round the pupil. In the field, branches and bunches of grapes. (b) The same design. Under each handle, a dolphin to right. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Smith, A H; Pryce, F N, Corpus Vasorum Antiquorum: Great Britain 2, British Museum 2, London, BMP, 1926
- 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
- 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
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- Description
- Pottery: red-figured kylix. INTERIOR: seated old man and man. On the left an old man with beard and receding hair is seated on a simple stool with a striped cushion. He is dressed in long chiton and himation and has a red wreath in his hair. He holds a plain stick in his left hand and gestures towards the bearded man facing him with his right hand. This man wears a himation and shoes and has a red wreath in his hair. He leans to the left on a knotty stick and is seen in three-quarter back view. His left arm, covered in drapery, is bent back to hold the top of his stick which supports him under his left armpit. He gestures with his right hand towards the seated man. Border: dotted cross square alternating with five units of running maeander (five-stroke, clockwise); irregularities at 7 o'clock (three and a half maeander units) and at 8 and 9 o'clock (only four units). EXTERIOR: Briseis. Side A (lower): Briseis being led away from Achilles. On the far left a bearded herald in short chiton, chlamys, pilos hat with red ties and boots with horizontal divisions (dilute glaze) starts to move away to the left but turns back his head and torso so that his right leg is also seen from the back (dilute glaze wash in hair and beard). He holds a kerykeion up in his left hand; his right hand grips the draped hand or wrist of a woman behind him. She is Briseis and wears a chiton and a himation pulled up over the back of her head, faces to the left, a double red band around her head. Behind her is a second bearded herald (dilute glaze wash for beard). He wears a pilos hat with red ties, horizontally striped boots (dilute glaze) and a chlamys that covers the short chiton that he is presumably wearing beneath it. In the centre a bearded man in a himation leans on a knotty stick to the right, his right hand on his hip, his left arm hidden in his drapery. He has a red fillet in his hair. He faces the tent of Achilles which takes the form of four (only two shown) plain posts with simple block bases with a large striped textile with a fringed edge draped over them. Up in the folds of this marquee are, on the left, a Corinthian helmet with a long crest on a square hook or shelf and, on the right, a scabbard with a red strap. Next to the scabbard is planted a spear. In the centre of the tent sits Achilles on an elaborate folding stool (animal legs) with a cushion decorated with zigzags. He wears shoes and a himation which envelops all but the upper part of his face. He has a red fillet in his hair and dilute wash in his wavy hair. His left arm is wrapped around a knotty stick. Behind the tent, on the extreme right, stands a bearded elder in long chiton, himation and shoes; he also has a red hair-band. He holds a staff or sceptre in his right hand. Side Β (upper): Briseis being led back. On the left a bearded man, wearing a himation pulled up over the back of his head and a red fillet, leans on a knotty stick, his right leg frontal: he is presumably Agamemnon. In front of him stands a bearded elder to the left. He is dressed in long chiton (dilute glaze border), himation, shoes and a red fillet and rests his right hand on top of a plain stick. Behind him stands a second bearded elder similarly dressed and accoutred but facing to the right. In the centre is a fluted column with a plain block base but a Doric capital with architrave above. To the right of the central column a herald in pilos hat with red ties, chlamys and red thonged high sandals moves to the right. In his right hand he holds a kerykeion; his left hand is raised inside his chlamys; at his hip is a scabbard. In front of him is Briseis in chiton (upper folds done with dilute glaze) and himation pulled up over the back of her head. She has a double red band around her head. In front of her is a second herald who leads her by the hand - hers within its drapery. He is moving right but has turned back to look at her, his head to the left, torso and right leg frontal. He is dressed in short chiton, chlamys and pilos hat with red ties and holds a kerykeion up in his left hand. In front of him, on the extreme right, is a second column, as the first. These two columns are probably intended to be the entrance porch to Agamemnon's more palatial tent, out through which the two heralds are leading Briseis. Under either handle: a solid stone seat with dilute glaze strokes. Ground line: single reserved line. Relief line contour throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions. --The British Museum, Williams, Dyfri, Corpus Vasorum Antiquorum: Great Britain 17, British Museum 9, London, BMP, 1993; A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893
- 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
- 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