21 - Red Figure B

Question 1

Pan Painter

Answer 1

480-50. Slender and elongated. Cherishes a rather Archaic way of rendering garments with rich folds that end in arcs and wavy lines. The heads are round with full chins and are distinguished from the head through a prolonged chin line. Lips aren’t full but are emphasized.

Question 2

Niobid Painter

Answer 2

470-445. Interested in working on large vases that allow for exploration of monumentality. Figures are impeccably drawn with a sculptural sense of gravitas. Not as obsessed as Euphronios with patterns, but garments demonstrate accuracy and fine details. Name giving vase - affinity with monumental painting, figures at different levels in the composition, extensive foreshortening, cut-off figures create a dynamic relationsihp between spacial frame and active figures, 3/4 views of faces, bodies, and objects.

Question 3

Penthesilea Painter

Answer 3

470-50. Ample use of white and gilt relief. Name giving vase: figures occupy almost entire surface and thus acquire monumental dimensions. Medium and form don’t fit ambitious motif, but sophisticated use of frame: body of Amazon follows frame, while helmets of both warriors and shield of Achilles are partially hidden behind frame. Anatomical details of Achilles’ body are impeccable, but head is small. Dramatic moment when Achilles kills Penthesilea and falls in love with her by looking in the eyes.

Question 4

Achilles Painter

Answer 4

460-20. Seen as pupil of Berlin painter - shares interest in a single masterfully drawn figure on a black background. More interested in individuals studies than multifigural narrative scenes. Bodies share “squarish” quality with sculptures of Argive school of Polykleitos. Fluidity of lines is perfect, with concern in correct rendering of anatomy and posture.

Question 5

Polygnotos

Answer 5

450-20. Complication: 3 painters share the name of one of the most famous Classical Attic painters. One can be recognized due to “monumental” renderings of narratives - trying not to incorporate more than three of four figures into a scene, even with scenes like amazonomachy or centauromachy, which other people showed with numerous overlapping figures. Fluid lines but not as interested in complicated patterns on garments.

Question 6

Eretria painter

Answer 6

440-10. Anticipates Rich style in early work and then produces most vases within the style. Ambitious with unusual shapes and topics; interested in luxuriously shaped garments, but the interaction between garment and body is somewhat inorganic.

Question 7

Meidias Painter

Answer 7

420-390 BCE. Master of Rich/Wet style in vase painting. Likes using kalpis/hydria, which he decorates with one large freize covering handle and shoulder areas, or two smaller ones that cover almost entire body of vase. Not negating the use of a clear base line, but likes to distribute figures all over the surface without without creating impression of randomness. Lines, though exaggerated, are always perfectly accurate and fluid. Ballet-like.

Question 8

Talos Painter

Answer 8

410-390. Preference for large vase and monumental narratives. Rendering of garments are early Meidian in accuracy, delicacy, fluidity. Use of added white slip for Talos to show metallic figure - anatomical details drawn in a brownish slip giving a sculptural quality. Excellent facial and anatomical details.

Question 9

Marsyas painter

Answer 9

360-50. Continues interest in “monumental” figures and scenes that cover almost entire body of vase. His famous pelike shows two studies of the female nude in different postures. 3/4 views of both faces and bodies reach perfection. Lines are accurate, fluid, well balanced - no exaggeration. In many ways, anticipates accomplishments of Hellenistic sculpture.