Who Owns the Art of Euphronios Krater Khan Academy
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| 33. Niobides Krater. Anonymous vase painter of Classical Hellenic republic known as the Niobid Painter. c. 460–450 B.C.East. Clay, red-figure technique (white highlights). |
| Cross-Cultural Comparisons: - Beaker with ibex motifs - The David Vases - Martínez, Black-on-blackness ceramic vessel |
| Content: - ii sides - i side is of war almost - the other is more peaceful - kind of like the Standard of Ur? - Front end: - Shows the story of a woman named Niobe - Niobe (a mortal woman) had 14 kids; seven girls and 7 boys - She bragged that her kids were morenumerous and more beautiful then the kids of goddess leto - Leto was the female parent of Artemis (huntress) and Apollo (lord's day and music) - Artemis and Apollo exacted revenge for their mother by killing all of Niobe'southward kids (this is the scene on the front) - Artemis is reaching into her quiver for some other arrow - Apollo is drawing his bow back - tin can encounter tension in Apollo'southward body and pall - dead children litter the field - god and goddess are in perfect profile - Niobe's kids are more frontal - Back - Herakles (aka hercules) in the eye (identify of importance) - half mortal half god - holding a club and wearing a lion skin -his feet don't touch the footing - everyone is placed effectually him - H erakles is surrounded by warriors some standing some reclining - Athena (wisdom) is on his left - possibly it's non a painting of herakles but rather a painting of a statue of herakles -maybe greek soldiers are coming to accolade him and inquire for protection before they become into battle - 490 bce - greeks boxing enormous Western farsi ground forces and somehow won - maybe this is showing soldiers asking forprotection before boxing at Marathon - there could have been very faint lines that evidence Herakles on a podium -which would make sense bc statue of a god with men rather than a god amongst men |
| Form: - figures are potent - early classical - severe style - made of dirt - reddish figure bc bodies are part of ruddy clay pot and so black background — lots of detail immune - in the by: greek vases earlier this had merely one "line" -now figures occupy unlike levels - sense of an illusion of space - foreground and background but all figures are the same size - suggesting depth - might be a copy of a wall painting by Polygnotus - polygnotus painted in Athens and sanctuary of delphi (n of athens) - he was credited with the idea of being the outset creative person to paint figures in depth - no aboriginal greek wall paintings have survived |
| Context: - Created during the classic period (look beneath for classic period pottery characteristics) Greek Pottery: -Made of terracotta (fired clay) - Methods : -Throwing - clay is centered on rotating cycle - While rotating, the potter pulls up the dirt and forms it to the desired shape -Turning and Joining - t rimming superfluous or uneven clay to refine the shape of a vase/reduce the thickness walls later information technology has been thrown - put on cycle -- wood, metal or bone tools used -Burnishing - used to create a perfectly polish surface for painting - when clay is leather-difficult - rubbed with a difficult, smooth object, most likely made of leather, wood, or smooth stone - Each period of time had its own technique - Geometric Catamenia (c. 900-700 B.C.E.) - geometric patterns - Orientalizing Period (c. 700-600 B.C.East.) - animal processions and Most Eastern motifs - Primitive and Classical Periods (c. 600-323 B.C.Eastward.) - vase-paintings primarily brandish human and mythological activities - painted scenes should not be idea of equally photographs that document reality -assist in reconstructing the lives and beliefs of the aboriginal Greeks - To produce the characteristic cherry and black colors - used liquid clay every bit paint (termed "slip") - 3 step process 1) kiln at 800 degrees centigrade - turns vase red ii) seal vents in kiln change temp to 900-950° centigrade- turns black; places with slip transformed into a glassy substance 3) vents reopened and unpainted zones become cerise once more; skid / the painted areas retained a glossy black hue Cherry-red figure technique - invented in Athens around 525-520 BCE - inverse of black-figure - light-colored figures are set against a dark background - thick slip used to create "relief lines" to help outline - lines raised prominently from the surface White-footing technique - polychrome figures on a white-done background Black effigy technique - black figures with light background - developed by near 700 B.C. in Corinth - not adopted by vase-painters in Athens until about 620 B.C.E. - surface was kickoff burnished and polished - ocher wash might have been applied for orange/cherry-red - burnished once more - outlined design of the figures so filled in with black. - firing, incisions were made through the black gloss with abrupt pointed tool evidence details of the figures -in the lighter colour of the underlying clay |
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| Office: - Blazon of vessle: Calyx-krater: - Big punch bowl -used to mix water and wine |
sources:
Source: https://sites.google.com/site/adairarthistory/ii-ancient-mediterranean/33-niobides-krater
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